Military

JROTC: This is never going to work

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Wouldn’t a martial-arts program be a better option?
(Photo of Master Jung from Koreanmartialarts.com

Okay, I’m all for getting rid of JROTC in the public schools. But I also recognize that there are some kids — about 1,600 — who like the program and get something out of it.

So the School Board has been looking around for an alternative — and I’m sorry, but this is never going to work.

Ethnic studies is a great idea, and ought to be part of the SFUSD curriculum. But the kids and parents who support JROTC aren’t going to see it as a viable alternative. And it’s pretty clear why.

Ethnic studies sounds like a class. JROTC is popular in some circles because it’s not just classroom education. It’s physical activity, it’s fun, it’s leadership development and it has a community-building element. The most popular part of the program, I’m told, is the marching band.

You need something that offers the same sort of attractions, but isn’t a military recruitment tool. And it seems to me there are plenty of options.

School Board members have talked about trying to find a program that feeds into the San Francisco Fire Department or even the Police Department. I don’t love the police option, but hey: Better to get kids interested in law enforcement than in the Army (and it might actually help San Francisco recruit some local people with community roots to be police officers). And a junior firefighter-paramedic program would have all kinds of benefits. The district hasn’t been able to work anything out with those options, though, in part because there’s no existing infrastucture; you can’t send 14-year-olds to the Police Academy, and the city’s paramedic classes are limited to people 18 and older.

But there’s another solution, too — and it seems pretty obvious to me.

San Francisco already has at least 50 good martial-arts schools and clubs that teach kids. I’ve been involved in Tae Kwon Do for almost 20 years, and my son is now a student at the Korean Martial Arts Center , and I can tell you that these classes offer physical fitness, confidence building, leadership development, and create communities and team spirit. You get uniforms. You learn to respect yourself and others. Good programs, and there are plenty around, teach conflict resolution and nonviolence.

And it’s fun and really cool.

Best of all, the infrastructure already exists.

The SFUSD spends $800,000 a year on JROTC. Most martial arts clubs in San Francisco are financially modest operations, and most instructors aren’t in if for the money. Getting a group of local martial arts clubs to set up satellite programs in the schools would be cheap. (The schools already have facilities and insurance, and the uniforms and equipment are — by the standards of what we spend on JROTC — inexpensive.

The kids now get phys ed credit for JROTC — another big attraction — but that’s a stretch anyway, since the state now requires phys ed teachers to have a California teaching certificate and none of the JROTC instructors qualify. Figure out a way around that for martial-arts instructors and you’d have it made.

I called Jane Kim, a school board member who’s on the curriculum committee, and she told me she was a little startled by the Ethnic Studies proposal, too. “We’ve been pushing the district to create an Ethnic Studies plan for a long time now,” she said, “but I was surprised to see that they combined that with replacing JROTC.” She’s a little dubious about this plan, too.

“We’re going to keep the marching band, though,” she said. “That’s a given.”

Which is a start.

Another Hole in the Head: another couple of reviews!

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The San Francisco Independent Film Festival’s sci-fi, horror, and fantasy offshoot Another Hole in the Head kicks off tomorrow! Read Trash’s take on HoleHead’s offerings here; intrepid film intern Amber Humphrey chimes in below with mini-reviews of two fest flicks that just happen to be made by local filmmakers. Check HoleHead’s website for screening information.

Circulation In writer-director Ryan Harper’s unique vision of the afterlife, Gene, a retired American truck driver, and Ana, a Mexican waitress, meet while traveling through a desert purgatory where the dead gradually develop animal-like instincts. The story moves at a very deliberate pace and though there is an enjoyable sense of menace from start to finish — Ana’s jealous ex-husband stalks her, even in death — the film feels unnecessarily elusive. Gene seems like a pretty decent guy; so why is he turning into a blood-thirsty spider? This being said, Circulation may be worth watching simply for those oddly entertaining moments of fly regurgitation.

Homeworld When a race of telepathic aliens threaten to destroy mankind, a military strike team equipped with a deadly virus is sent to the alien home world to exterminate them. Down on the planet, what first appears to be a simple enough task is quickly complicated as the boundaries between reality and illusion and right and wrong are blurred. Homeworld primarily focuses on the crew’s psychological journey — which I suppose is to be expected when facing telepathic aliens—but the characters rarely seem to be in any kind of physical peril. Though the film is often visually impressive, there isn’t much action—which I would be willing to forgive if the dialogue had a little more punch.

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Rise above

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Also in this issue:
>>An interview with outlaw biker Ian Schwartz
>>An interview with SJBMX.com’s Chris McMahon
>>Sit the fuck down: The Sean Parker story

› duncan@sfbg.com

I push off and head down a makeshift plywood runway, compressing as I roll over the edge and into the Technicolor graffiti of the drainage ditch. The transition between the banked wall and the flatbottom has an abrupt kink in it, enough to send you to your face if you’re caught sleeping. I take some weight off the front end and try to maintain my speed as I pump into the opposite corner and carve the far end of the ditch where there’s an over-45-degree wall that runs behind what my friends and I call the "death pit" — a gaping cutaway in the bottom of the culvert, five feet deep, filled with broken glass, and frequently used as a urinal. Since I’m at the apex of my backside carve, up a wall 10 feet above last week’s Miller Time, I’m jolted by the crackle of a loudspeaker:

"You are trespassing. Leave the area at once or you will be arrested."

My concentration shot by the sheriff’s announcement, I jump off my deck and over the chasm at the base of the bank, barely clearing the skater’s version of a Vietnam tiger pit, and land on the rough concrete beyond the edge. My board bullets straight in, though, so I’ve got to lower myself — gingerly — into the mostly dry detritus and rescue it before my friends and I jet out of the spot and into the manicured back nine of Pleasanton’s Castlewood golf course. We get to the car, throw the boards in the trunk — mine has a "Skateboarding Is Not a Crime" sticker on the bottom — and head to the next spot, a ditch called the Rat Trap.

The year is 1987. I’m 16, in high school, and living with my parents in Fremont. The scene plays out over and over in much the same way: a drainage ditch, a nicely painted curb or ledge at a shopping center, the occasional backyard pool, and night sessions at the Tar Banks, a set of embankments around a loading dock with curbs at the top. It’s an underground railroad of repurposed architecture, none of it designed with a skateboard in mind but all of it highly skateable.

Taking the $4.7mil Cunningham skatepark. Video by Jarrod Allen, www.jarrodallen.com

Every weekend my crew hits as many spots as we can, and the constants shape up like this: urethane, aluminum, Canadian hard rock maple, concrete, and asphalt. Maybe blood, maybe beer — we’re teenagers after all — but nearly always: cops.

Skateboarding may not be a crime, but it sure as hell feels like one.

Flash forward 20 years. I’m with a different crew as I pull onto a street in suburban Redwood City, and I’m no longer rollin’ in my mom’s Plymouth Sundance, but my own truck. The other thing that’s changed is the number of wheels per head. There are four heads to eight wheels, and we’re here to ride the Phil Shao Memorial Skatepark. On bikes.

The park does not disappoint. There are a million kids trying tech ollie flip tricks around the perimeter of the park, but the bowl is what I’m about. Big and shapely with almost burlesque hips poured into her concrete, I’m in love as soon as I roll in. There are a few local bikers who have the place dialed, nonchalantly airing a few feet out and throwing the bars before heading back down the tranny. The only two skaters riding the bowl are a tall skinny teenager and his little sister, who looks to be about 10, and they have it on lockdown: lipslides on the spine, grinds, rock and rolls — everything smooth and fast. "Yeah!" I yell as they take their runs, stoked on their skills.

I know the times have changed when I see the little girl come up out of the bowl in the $450,000 public piece of silky-smooth concrete perfection, walk over to her mother, who’s posted up on a ledge, get a cell phone and make a call. Not five minutes later there are seven (I counted) Redwood City police officers converging on the bench where my friends and I are sitting. They randomly collar my buddy Scott — though I was the last one to drop in — and write him a ticket for $100. I have to admit, I’m flabbergasted.

Guess what: skateboarding isn’t a crime anymore — it’s gone mainstream. Successful companies hire lobbyists to promote the sport, and communities spend big bucks building new facilities for skaters. And now some skaters, many of them kids who never had to live in the underground world that I did, are using their legitimacy to push out the new outlaws — people who ride BMX bikes.

It’s crazy — two cultures that share so much, fighting over how many wheels they ride.

"Is that your daughter’s bike?"

The question comes from one of my coworkers, and, believe it or not, it’s not intended to be snarky. I can’t ride in public without someone saying "cute little bike," while giggling to themselves — or laughing and pointing. Seeing a six-foot-tall, 200-pound, bald-headed, tattooed white dude on a "kid’s bike" is like being passed on the sidewalk by a bear on a unicycle. At one point reactions like these would’ve rubbed me the wrong way, but nowadays, I nod and smile. Sometimes, I try to explain what constitutes a "full grown" BMX bike. While it’s got small wheels — 20 inches in diameter — the top tube, from the seat to the stem, measures 21 inches, and the handlebars are considered pro-sized at eight inches high by 28 inches wide.

Bicycle motocross, or BMX, is purported to have started in 1963 when the Schwinn corporation of Chicago unveiled the Stingray, which was basically a downsized version of the company’s balloon-tired cruiser-type bikes. Kids pretended to be grown-ups by aping Roger DeCoster and other moto heroes — launching their bikes off jumps, racing in empty fields and abandoned lots, and cranking wheelies down the sidewalks of Anytown, USA.

"It all began the way most individual sports start," motorcycle customizer Jesse James says in a voiceover at the beginning of the 2005 BMX nativity story/documentary Joe Kid on a Stingray, "kids pretending to be grown-ups, but acting like big kids."

I have been riding since I was seven. After three decades, one truism remains, and I can’t candy-coat it. I’ve got to speak it like a true BMXer: BMX is rad. It is and always has been an entity unto itself, progressing from wheelies, skids, and bombing hills to encompass myriad styles and surfaces, from streets to pools to dirt jumps to ramps to the balletic grace of flatland freestyle.

This summer, big kids on little bikes will be jumping 30-foot gaps at as many miles per hour as BMX pays homage to its racing roots at the 2008 Olympic Games in Beijing. On June 12 in New York’s Central Park, Kevin Robinson will try to break the legendary Mat Hoffman’s record for the highest quarter-pipe air on a bike — 26 feet, 6 inches.

It doesn’t take death-defying world records, the X Games, the Olympics, or the stupefaction of squares with cameras to make BMX legit. That feeling of overcoming fear and doubt by jumping a little farther, a little higher, the rush of nailing a trick, or carving a bowl, hasn’t changed in half a century. The legitimacy lies in that feeling, behind your breastbone, and it doesn’t change as you get older. Your wrists hurt, your ankles hurt, and your back hurts, but the feeling is the same. Kid’s bike? Hell yeah, it’s a kid’s bike.

It’s not as though I was blissfully unaware of a beef between bikers and skaters that day in Redwood City. Ask any BMXer to tell you a story of friction between the two and four-wheeled sets, and it’s not going to take them long to come up with something.

"When I was 12 years old, a skateboarder threw my bike out of the bowl at Ripon skatepark," says Jackson Ratima, now 19, a Daly City rider sponsored by Fit Bikes. "He was, like, 20 years old or something."

Tim "Wolfman" Harvey, 21, another up-and-coming pro, tells a similar story about a visit to the Bay Area from his native Massachusetts, when a local skater hassled him at the Novato skatepark. "I didn’t even know anything about California. It was my first time out bike riding, period. The guy was giving me all kinds of crap, yelling at me."

Ironically, Harvey, as friendly and easygoing a guy as you could hope to meet, almost turned pro for skateboarding before an ankle injury made it nearly impossible to ollie, an essential trick in street skating. He now lives in Petaluma and is a member of the painter’s union in San Francisco, where he’s a familiar face at street spots, but now on a bike. Back then, though, he "thought California was a scary place."

The Bay Area — and SF in particular — may be the worst place for bikers seeking a vibe-free session. "I’ve never experienced hostility like it is out here," Ratima says.

Smoldering after the Redwood City incident, I began to fixate on the "Skateboarding Is Not a Crime" slogan from my youth. Originally a bumper sticker made by Transworld Skateboarding magazine in the mid ’80s, Santa Cruz Skateboards currently makes a deck with that written on it, so the skate community has gotten a lot of mileage out of being oppressed.

"Skateboarding isn’t a crime?" I’d ask myself. You’re damned straight skateboarding isn’t a crime: it’s the law. BMX is a crime. There isn’t a biker alive who rides transition who hasn’t rolled into a taxpayer-funded park and had a knee-high grommet point to the sign and say, "Bikes aren’t allowed."

Not allowed, huh? Son, I skated my first pool when you were doing the backstroke in your papa’s ball bag.

Look: I love skateboarding and always will. Both skaters and bikers are doing the same thing, copping that same feeling rolling over the same terrain. The war makes no sense.

"We have religion and race and class dividing us. I refuse to be divided by what type of wheel size I have," says Jon Paul Bail, a local at Alameda’s Cityview skatepark.

Bail, 40, is the artist and pundit behind politicalgridlock.com. Through the Home Project, a program run through the Alameda Unified School District, Bail helped raise $150,000 to build the park, $8,000 of which came directly from his company’s coffers. He helped design the park, and he helped pour the concrete in the park, which opened in 1999. Mixed sessions of bikers and skaters were going down for six months with minor tensions but no major incidents when then–City Attorney Carol Korade advised City Hall that mixed use was too dangerous, and shut the bikers out.

My call to Corinne Centeno, Redwood City’s Director of Parks, Recreation, and Community Services, got off to a rough start: "I understand [the Phil Shao Skatepark] is not bike-legal, right?"

"Right. It was built as a skatepark," she replied, subtly italicizing the first syllable with her tone of voice.

"It wasn’t designed for bikes," she repeated, before adding, "but their having been prohibited from the start hasn’t necessarily kept people out." In an effort to do just that, the city is building a fence around the park, with bids currently ranging from $23,000 to $60,000.

The semantic argument — "it’s called a ‘skatepark,’ not a ‘bike park’<0x2009>" — is usually reserved for laypeople who don’t know enough about skateboarding or bike riding to see its inherent lack of logic.

Drainage ditches are not called a "skating ditches," nor were they designed for skating. Swimming pools are not called "skating pools." Yet, therein lie the roots of the modern skatepark, along with full pipes, which are based on industrial-size drainage systems also not intended for wheels. Every day skateboarders and bikers transcend these limits through creative repurposing.

Collision, and the fear of collision, is the main thing public officials cite when shutting bikers out of parks. "It’s unnerving," Vancouver pro skater Alex Chalmers wrote in a 2004 Thrasher manifesto, "BMX Jihad: Keep It in the Dirt."

"BMXers cover so much ground so quickly, especially when they’re pedaling frantically to blast a transfer, that it’s particularly hard to gauge these collisions," he wrote.

But the fact is that in any given park BMXers and skaters take different lines, and the best way to acclimate each group to the other is through exposure. If bike riders are banned, it increases the risk of collisions when a few bikers decide to chance the ticket or brave the vibe-out and ride anyway. A lot of bikers hit parks early in the morning because they don’t want to deal with hassles. During the overlap in "shifts," this leads to bewildered skaters who aren’t used to the lines a biker takes, and vice versa.

And the head-on menace is greatly overstated, largely disappearing when a park is integrated, if only unofficially. At Cityview, the police have displayed somewhat less zeal in ticketing bikers during the past few years. "They treat us like gays in the military," says Bail. "Don’t ask, don’t tell." And yet everyone manages to coexist.

At the new $850,000 skatepark in Benicia, which opened in October, integration isn’t a big deal. "From its conception, we designed it to be a skateboard park and also for bikes," says Mike Dotson, assistant director of parks and recreation. Technically, the park has designated bike hours, but since it’s largely unsupervised, there’s a mildly laissez-faire approach to enforcement. "In the very beginning there was a lot of concern about the use of both bikes and skateboards," Dotson says, stating that the park was packed the first few months. "Initially we had one or two calls on it. Since then I can say I haven’t had any calls on it — in relation to bikes and skateboards being in it at the same time or other complaints."

And there are mixed-use parks all over the world, as far away as Thailand and as nearby as Oregon: "You go to Oregon, and you can ride wherever you want," says a stunned Maurice Meyer, 41, lifelong San Francisco resident and founding member of legendary bike and skate trick team the Curb Dogs. Long Beach, Las Vegas, Phoenix, even Alex Chalmers’ hometown of Vancouver — all have parks where bikes and skates legally ride at the same time. What’s up with the Bay?

Lawyers, insurance underwriters, and city hall types may never understand how a park works. "It’s out of ignorance," Bail says. "To them it looks like chaos. To anyone who has skate etiquette — which is everyone — we all take turns."

Besides, let’s face facts: a skatepark is a dangerous place — to different degrees at different times, and for different reasons. "I swear to God, every time I go to the skatepark I see a hundred boards flying all over the place," Ratima says, "and I’ve never seen a bike go flying and land on a guy’s head." It’s not an inflatable jumpy house — it’s fun, but it’s not made out of cotton balls and your mother isn’t here. Usually.

Rose Dennis, press liaison for the San Francisco Recreation and Park Department, seemed baffled that someone would want to ride a bicycle inside the skatepark part of the new Potrero del Sol. Perhaps as a way of distracting me from my damn-fool idea, she kept hyping the park’s "other amenities."

I live three blocks from Golden Gate Park — if I want to play Frisbee, I’m not going to drive across town. I want to ride. When I brought up the possibility of scheduling bike-only sessions in the yet-to-be opened park, she suggested I draft a letter to general manager Yomi Agunbiade, before adding that "the facility wasn’t designed for that type of recreation."

When I (graciously, I thought) let her know that it would be not only possible to ride a bike there, but highly gratifying, she got a little heated: "At the end of the day, the buck stops with us. If one of you guys breaks your skull open and you’re bleeding all over the place, believe me, no one’s going to have any sympathy for Rec and Park if they make really nonjudicious decisions."

In other words, like a lot of city officials, she’s worried about getting sued.

But you know what? There’s actually less chance a BMXer will successfully sue the city. I give you California Government Code Section 831.7, which states the following: "Neither a public entity nor a public employee is liable to any person who participates in a hazardous recreational activity … who knew or reasonably should have known that the hazardous recreational activity created a substantial risk of injury to himself or herself and was voluntarily in the place of risk."

The law lists "bicycle racing or jumping" as being a "hazardous recreational activity." It’s on a fairly extensive list, along with diving boards, horseback riding, and the ever-popular rocketeering, skydiving, and spelunking, which, as I’m sure you’ve heard, are all the rage with the kids these days — much more popular than BMX.

But the words "skateboarding," "skateboarder," and "skateboard" are not listed anywhere in the text of the Hazardous Recreational Activities law, commonly called the HRA law. In fact, the International Association of Skateboard Companies has been lobbying to get the bill amended to specifically include "skateboarding" since 1995, when Assemblymember Bill Morrow (R-San Diego) took up the issue. Morrow’s bill was rejected by the state Senate Judiciary Committee in 1996. In 1997, Morrow and skateboard association lobbyist Jim Fitzpatrick gave up on amending the HRA and instead pushed Assembly Bill 1296, which added Provision 115800 to the state’s Health and Safety Code, which states, in part and in much less forceful language — without using the word "liable," for instance — that owners or operators of local skateparks that are not supervised must require skaters to wear helmets, elbow pads, and knee pads, and that they must post a sign stating said requirement.

It doesn’t say anything about "if one of you guys breaks your skull open and you’re bleeding all over the place" while wearing a helmet, then you can’t hold the operator liable.

When I asked San Francisco Deputy City Attorney Virginia Dario-Elizando how the law might apply to the city’s skateparks, she told me, "This question has never come up. I must tell you, I’ve never even seen the rules for the skateparks — no one’s ever asked me to look at them."

BMXers are willing to compromise if that’s what it takes. In May, San Jose opened the 68,000-square-foot Lake Cunningham skatepark, built by the same design firm (Wormhoudt) as the Benicia park at a price of $4.7 million, and the place has bike hours. Like any park, there are rules. Like some parks, there’s supervision, so the rules are enforced: separate bike sessions; helmet, elbow, and knee pads required at all times; brakes required on bikes; no smoking; no songs with swear words over the park soundsystem; no bikes in the three bowls with pool coping even though they only allow plastic pegs, which are undoubtedly softer on coping than metal skateboard trucks … it’s a long list of restrictions. It’s inconvenient for guys who don’t like pads or don’t run brakes, and there’s some griping, but we’ve got our eyes on the prize: the place is amazing, with a huge full pipe, massive vert bowls, and a decent street course.

I would like skaters to realize a couple of things: skating and BMX aren’t so different from each other, at least in the feeling each gives you, right there, behind your sternum, where your heart beats.

Bikers are going to ride no matter what, just like skaters are going to skate. Legal or not, we’re not going to go away. "I got arrested for riding there when I was 14," Ratima says of the Daly City skatepark. "They took my bike and threw it in the back of the car. I just kept going every day, and finally they just gave up."

"I’ve ridden bikes on vert," Thrasher editor Jake Phelps tells me during a phone conversation. "I can ride a bike in a pool, I can do that. I’m stoked when I ride a bike in a pool. Feels hella fun to me. Catching air on a bike is awesome, no doubt about that."

This, from the longtime editor of the bible of the "fuck BMX" set. It’s either baffling or heartening. I can’t decide which. "I don’t mind people that are just regular," he says. "If they’re skateboard people or they’re bike people too, I’ll respect anybody that respects me."

That’s what it comes down to: respect. I respect the fact that skateboarders did not come into this age of skateparks easily. I faded out when there was nothing, and I came back when they were in small towns across America, and I missed all the politicos and dreary meetings. It’s time for bikers to stop feeling like second-class citizens and demand a seat at the table. In the words of Black Flag, it’s time to rise above.

Matt Smith loves prop. 98

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I almost don’t know what to say about Matt Smith’s SF Weekly piece in favor of Prop. 98. I know Smith gets a little unhinged when it comes to housing issues, but his faith in the free market to lower the price of housing in San Francisco – against all odds and all evidence – is just looney.

He starts off with the typical landlord/libertarian argument against rent control, which is that it screws up the marketplace:

Tens of thousands of other apartments are kept off the market through “hoarding,” as individual tenants remain in cheap and cavernous three-bedrooms, hang on to their old $200-a-month apartments long after they’ve moved in with a spouse, or are otherwise motivated to cling to their leases.

Except that Prop. 98 would allow existing tenants to stay in existing rent-controlled apartments, which lose rent control forever when they’re vacated. So the rent-controlled units would be even more valuable, and the incentive to “hoard” even greater. As would be the incentive for landlords to evict long-term tenants.

But wait, there’s more:

Studies also show that rent control discourages construction of new rental apartments New housing construction fell by one third in the seven years after San Francisco’s rent control law passed in 1979. During the 1990s, meanwhile, the number of rental units actually decreased by 7,500.

Ah, but all newly constructed units are exempt from rent control anyway. So something else must be going on here. Perhaps the number of rental units decreased because developers, who care nothing for the city’s housing needs, realized there’s more money to be made selling condos. It’s the same reasons Lennar Corp. broke its promise to build rental housing in Hunters Point: There’s more money in selling units right now than in renting them.

And, of course, we’re losing rental housing – not to rent control but to condo conversions, another way property owners can make money.

Smith seems to think that without rent control

“it’s reasonable to surmise … that downtown apartment construction would accelerate. Rents would stabilize or decline. …. Businesses would flock to San Francisco, which would have ample new office space and more, cheaper homes for their employees.”

Sounds idyllic, if you want to live in Manhattan, which I don’t.

In fact, Matt Smith’s vision of a “great city” is by nature one that’s constantly growing and ever-more dense. He berates the urban environmentalists:

San Franciscans replaced what had been a metropolitan vision of the future with one best described as suburban. Rather than being a great city, it would instead be a tranquil place to live.

Matt, you have no sense of history. After World War II, the captains of industry who had completely taken over planning and development policy, in the military model of command and control, to make the West Coast war machine work, decided they liked that way of doing business. So a handful of them sat down and planned the future of the Bay Area. Low-cost South of Market housing would be demolished to make way for hotels and a convention center. Following the suburban model, BART would connect outlying bedroom communities with a dense downtown office core. High-rise buildings would hold the economic center of the Pacific Rim. A network of freeways would cross the city in a Los Angeles-style grid.

That’s what the master planners who Smith lauds had in mind. And the people who lived here decided that it wasn’t fair that nobody asked them about it. So they fought back, cutting off the freeways, down-zoning neighborhoods, fighting over-development (which, by the way, hurts city coffers more than it helps) and trying to keep this a decent place to live.

Rapid growth is not always good, not always desirable. Cities are places where people live, and keeping them livable is a noble pursuit.

And when it comes to housing in a city like San Francisco, the market will never, ever solve the problem. I’ve written about this over and over, but here’s the latest.

Regulation – treating housing not just like a fungible commodity but like a necessity of life that the market can’t fairly provide – is the only way to keep San Francisco affordable.

No one likes to be defeated

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› cheryl@sfbg.com

Most folks who settle down to watch a Harmony Korine film know not to expect the familiar. Korine is, after all, the guy who wrote Larry Clark’s hot-button Kids (1995), and the writer-director of 1997’s Gummo, one of the head-scratchingest flicks ever to attain cult status. His latest — his first feature since the 1999 Dogme entry Julien Donkey-Boy — is perhaps his most unusual effort to date, but not for the reasons seasoned Korine watchers might expect.

Yeah, Mister Lonely is about a Michael Jackson impersonator (Diego Luna) who falls for a Marilyn Monroe impersonator (Samantha Morton) while performing in Paris. Though she’s married (to a faux-Charlie Chaplin), he agrees when she asks him to come live with her in the Scottish highlands — on a commune populated by even more impersonators, including a Madonna wannabe and a pseudo-Pope. That said, the film is conventionally structured, with three acts shot in a straightforward manner. (Of course, there’s also a parallel tale involving flying nuns — but more on that later.)

"[Mister Lonely] is probably my most traditional story," agreed the 35-year-old Korine, speaking from his home in Nashville. "[My] other films were about deconstructing the narrative or breaking down the story and images — kind of an assault, or a collage, with images and sound coming from all directions. With this, I felt a little bit more peace about the story and these characters. So I decided early on that I should just go with the image itself."

Korine, who coscripted Mister Lonely with his younger brother, Avi, kept his own particular fascinations in mind while writing. "I’ve always been interested in marginalized or obsessive people in real life," he said. "I just thought it was a strange existence — there’s something odd about living as an icon. And visually I thought it was interesting. I spent time on a hippie commune as a kid, and I always wanted to make a movie that was set somewhere slightly communal. I started toying with this idea of impersonators and icons all being together — what it would be like to see Sammy Davis Jr. cleaning his socks, or Abe Lincoln riding a lawnmower. It just felt right."

The commune dwellers, whose farm-bound activities are indeed surreal, though not always played for comedic effect, were carefully cast. Some, like the Sammy Davis Jr. character, were impersonators by trade in real life; others, like French actor Denis Lavant, who plays Chaplin, were not.

"What was most important was that [the celebrities being impersonated] needed to have a certain kind of mythology about them, where the myth could actually bleed into the narrative of the story," Korine explained. "Plus, they were also just people that I liked — I loved all of those characters. And I knew I would never be able to work with the Three Stooges, or Buckwheat, so it was like my attempt at going back."

When it came to plotting out his Michael Jackson, Korine — who didn’t write with Luna in mind but did offer him the role first — had some specific ideas about how the character-within-a-character should look. He’s patterned after Jackson’s Dangerous era — face masks, military armbands, fedoras, and shoulder-grazing straight hair.

"I just thought he looked the best during that period," Korine noted. Earlier, he’d mentioned that while he finds Jackson interesting, he’s not a fan on the level of, say, buying his new albums. "He’s like the world’s greatest eccentric, and that was when he was on his way to becoming this incredible abstraction."

Interspersed between poignant sequences depicting Michael struggling to fit in, even among others of his kind, are a series of increasingly odd occurrences in the Panamanian jungle. A group of nuns — overseen by a bossy priest (Werner Herzog, who also starred in Julien Donkey-Boy) — are shocked to discover they can skydive without parachutes. It’s a bizarre conceit that allows Mister Lonely its most glorious images: nuns joyfully clasping hands in the air while plummeting safely to the ground. Yo, Harmony, what’s that got to do with Jacko?

"I always want to write a novel with pages missing in the right places," Korine said. "I think it’s best to leave some things undefined, to not complete the circle. To me, it was the same movie. They are the same story. The narratives were parallel to each other. They spoke to each other. They both had this idea of faith of and transcendence, wanting to be other than who you are, being outside the system and creating your own language. I knew there would be a certain kind of person who doesn’t want to try to make that connection, and that’s fine — but there are so many movies being made where you’re told what to think every step of the way. It’s not that important for me."

What is important to Korine is something that goes beyond the usual filmmaking process. Don’t look for him to pull a David Gordon Green, for example, and direct a mainstream stoner comedy.

"What I like is making things. I like to film things and put them together, whether they’re like movies or features or essays or clips. Movies are what I love, but in some ways there’s too much focus on everything being features. Sometimes it’s nice to see things that are just moments. Sometimes, in 30 seconds, I can feel more than I do in 30 hours," he explained. "I always felt like, in movies, they waste so much time getting to the good part, and resolving after the good part. I was just like, why can’t you make movies that consist only of good parts?" *

MISTER LONELY opens Fri/23 in Bay Area theaters.

JROTC must go now

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OPINION In November 2006, San Francisco made history when the school board made this the first big city in the nation to ban JROTC [Junior Reserve Officer Training Corps]. The board’s resolution, which called for phasing out JROTC from high schools this June, stated that “JROTC is a program wholly created and administrated by the United States Department of Defense, whose documents and memoranda clearly identify JROTC as an important recruiting arm.”

A poison pill was added to the resolution at the last minute: it called for a task force to be set up to find an “alternative” program to JROTC. The school district administration, in a particularly despicable move, set up the task force with more than 10 members supporting JROTC, and only one member opposed.

Surprise! After sitting for almost a year, the task force failed to come up with an alternative, so the school board rolled over and, except for two courageous members — Mark Sanchez and Eric Mar — voted last December to extend JROTC for another year.

In 2005, San Franciscans passed Proposition I by almost 60 percent, declaring it “city policy to oppose military recruiting in public schools.” That same year, by the Army’s own report, 42 percent of JROTC graduates across the nation signed up for the military. As this country enters its sixth year of the illegal occupation of Iraq and Afghanistan, it’s time for the school board to go back to its original decision to kick the military out of our schools.

The school board must end JROTC — now. JROTC is currently scheduled to be “phased out,” but not until June 2009. By then both Sanchez and Mar will be off the school board, and there will be little to prevent the military from orchestrating a vote to extend JROTC indefinitely. If, on the other hand, the school board votes to end JROTC this June as their original resolution required, JROTC would be gone.

Two progressives on the board must be convinced to send the military packing: Kim-Shree Maufas and Green Party member Jane Kim.

Both received endorsements from progressives. To convince them that they risk such endorsements in the future, the JROTC Must Go! Coalition is circuutf8g the following statement: “We will look very closely at the next school board vote on JROTC and will consider the votes carefully when making any endorsements for future candidates.”

Within a week, the Tenants Union, the Harvey Milk LGBT Democratic Club, and the San Francisco Bay View newspaper signed the statement. If Maufas and Kim join Sanchez and Mar, we’ll make history again.

Riva Enteen is the former program director for the National Lawyers Guild and the mother of two San Francisco school district graduates. Tommi Avicolli Mecca is a southern Italian queer atheist writer and activist. For more information contact the JROTC Must Go! Coalition: (415) 575-5543 or JROTCmustgo@gmail.com.

 

Bad war, good film

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REVIEW Okay, here’s another Iraq War fictive feature people won’t go see, although this may be the first one where it would be a real shame (as opposed to the many very good documentaries everyone ought to have seen). It delivers sweeping, multicharacter, wide-canvas drama à la 2006’s Babel within a docudrama style that’s as convincing and effective as Brian DePalma’s thematically overlapping 2007 Redacted was — let’s put this delicately — phony, crass, and just plain shitty. A mix of professional and first-time actors (including actual Iraq vet and ex-Marine Elliot Ruiz as the platoon leader) play more disparate elements in post-Saddam society and the US military than we’re used to seeing. They converge on a reenactment of the November 2005 events in which an IED bombing of a Marine convoy triggered indiscriminate, retaliatory, home-invasion killings of two dozen local residents, including myriad women and children. (One point made is that many citizens get identified as insurgents simply because real ones have threatened families with death if they squeal.) There’s a long, ominous buildup in which we’re introduced to lives that will soon be traumatically shaken up — and then bleep hits the fan. Battle for Haditha is like a realpolitik version of a 1970s disaster movie, sans soap operatics, Charlton Heston, or idle pleasure in the spectacle of order collapsing. It’s tense, immediate, and vivid (if not quite so potently) in the way 2006’s United 93 was. A rare dramatic film from veteran documentarian Nick Broomfield, this film’s final outcry of grief, vengeance, and injustice is a terrifying illustration of how badly we’ve bungled — by creating new terrorists in attempting to eradicate established ones.

BATTLE FOR HADITHA opens Fri/16 at the Roxie. See Rep Clock for showtimes.

Hot Jew-on-Jew action

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We’re getting word of a big standoff going on right now at San Francisco’s Jewish Community Center on California Street, where 30 Jewish activists protesting Israel’s policy toward Palestinians have blockaded the doors during an event celebrating the 60th anniversary of the establishment of the state of Israel. Police have reportedly shown up on the scene of the “No Time to Celebrate” protest, which also includes another 40 or so Jewish and Palestinian supporters, and arrests are expected.

Mayor Gavin Newsom just returned from a trip to Israel, where he told The Jerusalem Post that much of the criticism by Bay Area residents of Israel’s mistreatment of Palestinians and its longstanding military occupation of parts of Syria, Lebanon and Egypt was simply anti-Semitism, something these Semitic anti-war activists just might take issue with.

No peace, no work

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› news@sfbg.com

Workers, students, immigrants, and antiwar activists came together in historic fashion on May Day in San Francisco, but it was hard to tell from the next day’s mainstream media coverage, which adopted its usual cynical view of the growing movement to end the war in Iraq.

Sure, there were articles in newspapers from the San Francisco Chronicle to the New York Times about how the International Longshore and Warehouse Union shut down all 29 West Coast ports for the day, with far more than 10,000 workers defying both their employers and the national union leadership to skip work.

But each article missed the main point: this was the first time in American history that such a massive job action was called to protest a war.

“In this country, dock workers have never stopped work to stop a war,” Jack Heyman, the ILWU executive board member and Oakland Port worker who spearheaded the effort, told the Guardian.

The ILWU’s “No Peace, No Work” campaign and simultaneous worker-led shutdowns of the Iraqi ports of Umm Qasr and Khor Al Zubair are part of a broader effort, called US Labor Against the War, that labor scholars agree is something new to the political landscape of this country.

Steven Pitts, labor policy specialist at UC Berkeley’s Labor Center, told the Guardian the effort was significant: “It wasn’t simply a little crew of San Francisco radicals. It has a breadth that has spread out across the country.”

In fact, USLAW has about 200 union locals and affiliates with a detailed policy platform that calls for ending war funding, redirecting resources from the military to domestic needs, and boosting workers’ rights — including those of immigrants, who staged an afternoon march in San Francisco following the ILWU’s morning event.

Traditionally labor unions have been big supporters of US wars. But Pitts said the feelings of rank-and-file workers have always been more complex than the old “hard hats vs. hippies” stories from the Vietnam era might indicate.

Blue-collar workers have always been skeptical of war, Howard Zinn, a history professor and author of the seminal book A People’s History of the United States (HarperCollins, 1980), told the Guardian.

“Working people were against the [Vietnam] War in greater percentages than professionals,” Zinn told us, referring to polling data from the time. “There is always a tendency of organizations to be more conservative than their rank and file.”

This time, union members and the public as a whole have more aggressively pushed their opposition to the Iraq War, winning antiwar resolutions among the biggest unions in the country and in hundreds of US cities and counties.

“I think it’s a reflection of how far the nation as a whole has come in our anger at the continuation of this war,” Zinn told us.

The media coverage of the May Day event belittled its significance, noting that missing one day of work had little practical impact to the economy or war machine, while playing up comments by spokespeople for the Pacific Maritime Association and National Retail Federation that the strike was insignificant and perhaps more aimed at upcoming contract talks than the war.

Heyman wasn’t happy about that bias.

The strike “was totally for moral, political, and social reasons. It had nothing to do with the contract,” Heyman told us.

A big factor for the ILWU was the newfound solidarity between dock workers in the United States and those in Iraq, who were prohibited from organizing in 1987 by the Baathist regime, an edict that the US has continued to enforce.

The Iraqi dock workers issued a May Day statement that detailed the horrors of their situation: “Five years of invasion, war, and occupation have brought nothing but death, destruction, misery, and suffering to our people.”

In fact, the banner leading the ILWU procession down the Embarcadero and into Justin Herman Plaza in San Francisco read, “An injury to one is an injury to all.” That theme of solidarity — among all workers, American and Iraqi, legal and illegal — was laced through all the speeches of the day.

Joining labor leaders on the podium were antiwar movement stalwarts such as Cindy Sheehan, who is running an independent campaign to unseat Speaker of the House Nancy Pelosi, now a target of the movement for continuing to fund the war.

“Nancy Pelosi wants to give George [W.] Bush more money [for the Iraq War] than he even asked for,” Sheehan said, drawing a loud, sustained “boo!” from the crowd. At the afternoon rallies at Dolores Park and Civic Center Plaza, which focused on immigration issues, the war was also a big target, with signs such as “Stop the ICE raids, Stop the War,” and “Si se puede, the workers struggle has no borders.”

Even for protest-happy San Francisco, it was an unusually spirited May Day, with more than 1,000 people appearing at each of the four main rallies and two big marches. There were lots of smaller actions as well, including demonstrations at the ICE offices and Marine recruiting center, and activists from the Freedom From Oil Campaign disrupting a Commonwealth Club speech by General Motors CEO Rick Wagoner.

But it was the port shutdown that was unique. Annually the 29 West Coast ports process 368 million tons of goods, averaging more than 1 million tons a day moved by 15,000 registered ILWU workers and a number of other “casuals.” Eight percent of that comes in and out of Oakland, but West Coast trade affects business throughout the country — as many as 8 million other workers come in contact with some aspect of that trade.

Mike Zampa, spokesperson for APL — the eighth-largest container shipping company in the world, with ports in Oakland, Los Angeles, and Seattle — told us, “Over a long period of time a shutdown like this does have an impact on the US economy.”

More port shutdowns are possible, Heyman said. But he hopes the action inspires other workers and activists to increase the pressure for an end to the war.

“We are taking action to swing the pendulum back the other way,” Heyman told us during the march. “We are stopping work to stop the war.”

“Broken Promised Land”

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REVIEW "Broken Promised Land" is a distracting title for Israeli photographer Shai Kremer’s exhibit at the Robert Koch Gallery. Though broken dreams and bombed-out promises are certainly present in the 11 color photographs on display from Kremer’s seven-year project shooting Israel’s militarily disfigured landscapes, it’s ultimately the subtlety of his work that defines its wide-ranging resonance.

Kremer also has shown works from this series at New York City’s Julie Saul Gallery. They grabbed the title "Infected Landscape," part of the name of Kremer’s forthcoming monograph from Dewi Lewis Publishing, advance copies of which are available for perusing at Robert Koch. That name is fine but "Broken Promised Land" might have been more potently called "Earth" — or in Hebrew, "Eretz." Kremer’s exquisitely lit land of riddled targets, separation walls, and military training centers with their sad, flimsy, make-believe villages appears simultaneously abandoned by humanity and swarming with energy, spiritless and ghostly. The edges of the landscapes feel as if they’re about to swallow up entire scenes and spit them out, dispensing with the human elements. Burned Olive Trees and Katyusha Crater, Lebanon War (2006) combines the beauty and timelessness of a Mediterranean hillside village with a scar in the landscape so severe that every glance reveals something different in the foreground: a controlled burn; a clean photograph of an olive grove, mounted on a dirty one; or the destruction wrought by a rocket. Shooting Defense Wall, Gilo Neighborhood, Jerusalem, Israel (2004) displays a wall strangely painted to blend in with the street and landscape.

Kremer, born in 1974, shares a broad affinity with younger Middle Eastern artists such as Oraib Toukan, whose interest in cultural memory is returning significant results. "My goal is to reveal how every piece of land has become infected with loaded sediments of the ongoing conflict," Kremer has stated about the series. Unfortunately, he’s immensely successful.

BROKEN PROMISED LAND Through May 31. Tues.–Sat., 10:30 a.m.–5:30 p.m. Robert Koch Gallery, 49 Geary, fifth floor, SF. (415) 421-0122, www.kochgallery.com

The Cinco skinny: Drop that Corona

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By Justin Juul

cinco1a.jpg
Hey! Learn some history, dude.

I don’t know exactly how you’re going to celebrate Cinco de Mayo this year (or have celebrated it already) , but odds are it’s going to involve excessive drinking, a BBQ grill, and a few of your close friends. I mean that’s what it’s all about right? Drinking Mexican beer in the sun? Well, the simple answer is yes. Cinco de Mayo is one of those holidays, like St Patrick’s Day and Easter, that most Americans use as another excuse to drink beer when they should be working. But have you ever wondered what it’s really all about? I mean, the fifth of May wasn’t just picked randomly by The Corona Corporation was it? The date must signify something.
After a long weekend of cerveza and sun, The Guardian got to feeling a little guilty about its ignorant participation in the traditional (and early) Cinco de Mayo celebration at Dolores Park and decided to ask Paul Ortiz, professor of Latino/African American History at UC Santa Cruz and author of Emancipation Betrayed, to share his insights on the holiday.

SFBG: What exactly is Cinco de Mayo a celebration of?

Paul Ortiz: Cinco de Mayo commemorates the victory of a Mexican militia force over Napoleon III’s army at The Battle of Puebla in 1862. France sought to take advantage of a nation still reeling from the impact of The Mexican-American War (1846-1848) and the resulting internal strife. The French planned to install a puppet dictatorship in Mexico and they landed their imperial army in the state of Veracruz to implement this plan. The French expected little or no opposition. Instead, the Mexican people organized a volunteer militia and met the French expeditionary force near Puebla.

The Mexican soldiers were outnumbered and faced troops with superior military training and leadership. In spite of this, these citizen soldiers prevailed over the French and defeated them on the field of battle.

The remarkable victory at Puebla provided a much-needed sense of pride to an embattled nation. The French defeat also prevented Napoleon III from intervening in the U.S. Civil War on the side of the Confederate States of America. After the end of the Civil War, the U.S. assisted Mexico in expelling the remaining French occupying forces. Thus, Cinco de Mayo is a truly American day of celebration!

SFBG: I heard they don’t really celebrate the holiday in Mexico. If that’s true, then why do we celebrate it here?

Endorsements

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>>Click here for the full-text version of this story

Wait, wasn’t the primary election back in February? Yes, it was — in a way. The California Legislature, in an effort to make the state more relevant (that turned out well, didn’t it?) moved the presidential primary several months earlier this year but left the rest of the primary races, and some key initiatives, for the June 3 ballot. There’s a lot at stake here: three contested Legislative races, two judicial races, a measure that could end rent control in California … vote early and often. Our endorsements follow.

National races

Congress, District 6

LYNN WOOLSEY


It’s an irony that the congressional representative from Marin and Sonoma counties is far to the left of the representative from San Francisco, but Lynn Woolsey’s politics put Nancy Pelosi to shame. Woolsey was against the Iraq war from the start and the first member of Congress to demand that the troops come home, and she continues to speak out on the issue. At the same time, she’s also a strong advocate for injured veterans.

Woolsey, who once upon a time (many years ago) was on welfare herself, hasn’t forgotten what it’s like to have trouble making ends meet. She’s a leading voice against cuts in social service spending and is now pushing a bill to increase food stamp benefits. She richly deserves reelection.

Congress, District 7

GEORGE MILLER


George Miller, who has represented this East Bay district since 1974, is an effective legislator and strong environmentalist. Sometimes he’s too willing to compromise — he worked with the George W. Bush administration on No Child Left Behind, a disaster of an education bill — but he’s a solid opponent of the war and we’ll endorse him for another term.

Congress, District 8

NO ENDORSEMENT


Cindy Sheehan, the antiwar activist, is moving forward with her campaign to challenge Nancy Pelosi as an independent candidate in November, and we wish her luck. For now, Pelosi, the Speaker of the House and one of the most powerful people in Washington, will easily win the Democratic primary.

But Pelosi long ago stopped representing her San Francisco district. She continues to support full funding for Bush’s war, refused to even consider impeachment (back when it might have made sense), refused to interact with war critics who camped out in front of her house … and still won’t acknowledge it was a mistake to privatize the Presidio. We can’t endorse her.

Congress, District 13

PETE STARK


You have to love Pete Stark. The older he gets, the more radical he sounds — and after 32 years representing this East Bay district, he shows no signs of slowing down. Stark is unwilling to be polite or accommodating about the Iraq war. In 2007 he announced on the floor of the House that the Republicans "don’t have money to fund the war or children. But you’re going to spend it to blow up innocent people if we can get enough kids to grow old enough for you to send to Iraq to get their heads blown off for the president’s amusement." He happily signed on to a measure to impeach Vice President Dick Cheney. He is the only member of Congress who proudly admits being an atheist. It’s hard to imagine how someone like Stark could get elected today. But we’re glad he’s around.

Nonpartisan offices

Superior Court, Seat 12

GERARDO SANDOVAL


There aren’t many former public defenders on the bench in California. For years, governors — both Democratic and Republican — have leaned toward prosecutors and civil lawyers from big downtown firms when they’ve made judicial appointments. So the San Francisco judiciary isn’t, generally speaking, as progressive or diverse as the city.

Sup. Gerardo Sandoval, who will be termed out this year, is looking to become a judge — and there’s no way this governor would ever appoint him. So he’s doing something that’s fairly rare, even in this town: he’s running for election against an incumbent.

We’re happy to see that. It’s heartening to see an actual judicial election. Judges are technically elected officials, but most incumbents retire in the middle of their terms, allowing the governor to appoint their replacements, and unless someone files to run against a sitting judge, his or her name doesn’t even appear on the ballot.

Sandoval is challenging Judge Thomas Mellon, a Republican who was appointed by Gov. Pete Wilson in 1994. He’s not known as a star on the bench: according to California Courts and Judges, a legal journal that profiles judges and includes interviews with lawyers who have appeared before them, Mellon has a reputation for being unreasonable and cantankerous. In 2000, the San Francisco Public Defenders Office sought to have him removed from all criminal cases because of what the defense lawyers saw as a bias against them and their clients.

Sandoval hasn’t been a perfect supervisor, and we’ve disagreed with him on a number of key issues. But he’s promised us to work for more openness in the courts (including open meetings on court administration), and we’ll give him our endorsement.

State races and propositions

State Senate, District 3

MARK LENO


It doesn’t get any tougher than this — two strong candidates, each with tremendous appeal and a few serious weaknesses. Two San Francisco progressives with distinguished records fighting for a powerful seat that could possibly be lost to a third candidate, a moderate from Marin County who would be terrible in the job. Two people we genuinely like, for very different reasons. It’s fair to say that this is one of the hardest decisions we’ve had to make in the 42-year history of the Guardian.

In the end, we’ve decided — with much enthusiasm and some reservations — to endorse Assemblymember Mark Leno.

We will start with the obvious: this race is the result of term limits. Leno, who has served in the state Assembly for six years, argues, convincingly, that he is challenging incumbent state Sen. Carole Migden because he feels she hasn’t been doing the job. But Leno also loves politics, has no desire to return to life outside the spotlight, and if he could have stayed in the Assembly, the odds that he would have taken on this ugly and difficult race are slim. And if Leno hadn’t opened the door and exposed Migden’s vulnerability, there’s no way former Assemblymember Joe Nation of Marin would have thrown his hat into the ring. We’ve always opposed term limits; we still do.

That said, we’ll hold a few truths to be self-evident: In a one-party town, the only way any incumbent is ever held accountable is through a primary challenge. Those challenges can be unpleasant, and some — including Migden and many of her allies — argue that they’re a waste of precious resources. If Migden wasn’t scrambling to hold onto her seat, she’d be spending her money and political capital trying to elect more Democrats to the state Legislature. But Leno had every right to take on Migden. And win or lose, he has done a laudable public service: it’s been years since we’ve seen Migden around town, talking to constituents, returning phone calls and pushing local issues the way she has in the past few months. And while there will be some anger and bitterness when this is over — and some friends and political allies have been at each other’s throats and will have to figure out how to put that behind them — on balance this has been good for San Francisco. Migden has done much good, much to be proud of, but she had also become somewhat imperious and arrogant, a politician who hadn’t faced a serious election in more than a decade. If this election serves as a reminder to every powerful Democratic legislator that no seat is truly safe (are you listening, Nancy Pelosi?), then the result of what now seems like a political bloodbath can be only positive.

The Third Senate District, a large geographic area that stretches from San Francisco north into Sonoma County, needs an effective, progressive legislator who can promote issues and programs in a body that is not known as a bastion of liberal thought.

Both Migden and Leno can make a strong case on that front. Leno, for example, managed to get passed and signed into law a bill that amends the notorious pro-landlord Ellis Act to protect seniors and disabled people from evictions. He got both houses of the Legislature to approve a marriage-equality bill — twice. During his tenure in the unpleasant job of chairing the Public Safety Committee, he managed to kill a long list of horrible right-wing bills and was one of the few legislators to take a stand against the foolish measure that barred registered sex offenders from living near a park or school. Migden helped pass the landmark community-aggregation bill that allows cities to take a big step toward public power. She’s also passed several key bills to regulate or ban toxic substances in consumer products.

Migden’s record isn’t all positive, though. For a time, she was the chair of the powerful Appropriations Committee — although she gave up that post in 2006, abandoning a job that was important to her district and constituents, to devote more time to campaigning for Steve Westly, a moderate candidate for governor. When we challenged her on that move, she showed her legendary temper, attacking at least one Guardian editor personally and refusing to address the issue at hand. Unfortunately, that isn’t unusual behavior.

Then there’s the matter of ethics and campaign finance laws. The Fair Political Practices Commission has fined Migden $350,000 — the largest penalty ever assessed against a state lawmaker — for 89 violations of campaign finance laws. We take that seriously; the Guardian has always strongly supported ethics and campaign-finance laws, and this level of disregard for the rules raises serious doubts for us about Migden’s credibility.

Sup. Chris Daly posted an open letter to us on his blog last week, and he made a strong pitch for Migden: "While there are only a few differences between Carole and Mark Leno on the issues," he wrote, "when it comes to San Francisco politics, the two are in warring political factions. Carole has used her position in Sacramento consistently to help progressive candidates and causes in San Francisco, while Leno is a kinder, gentler Gavin Newsom."

He’s absolutely right. On the local issues we care about, Migden has been with us far more than Leno. When the public power movement needed money and support in 2002, Migden was there for us. When the University of California and a private developer were trying to turn the old UC Extension campus into luxury housing, Migden was the one who helped Sup. Ross Mirkarimi demand more affordable units. Migden was the one who helped prevent a bad development plan on the Port. Migden stood with the progressives in denouncing Newsom’s budget — and Leno stood with the mayor.

The district supervisorial battles this fall will be crucial to the city’s future, and Migden has already endorsed Eric Mar, the best progressive candidate for District 1, and will almost certainly be with John Avalos, the leading progressive in District 11. Leno may well back a Newsom moderate. In fact, he’s made himself a part of what labor activist Robert Haaland aptly calls the "squishy center" in San Francisco, the realm of the weak, the fearful, and the downtown sycophants who refuse to promote progressive taxes, regulations, and budgets at City Hall. His allegiance to Newsom is truly disturbing.

There’s a war for the soul of San Francisco today, as there has been for many years, and Leno has often tried to straddle the battle lines, sometimes leaning a bit to the wrong camp — and never showing the courage to fight at home for the issues he talks about in Sacramento. We’ll stipulate to that — and the only reason we can put it aside for the purposes of this endorsement is that Leno has never really had much in the way of coattails. He supports the wrong candidates, but he doesn’t do much for them — and we sincerely hope it stays that way.

While Leno is too close to Newsom, we will note that Migden is far too close to Gap founder and Republican leader Don Fisher, one of the most evil players in local politics. She proudly pushed to put Fisher — who supports privatizing public schools — on the state Board of Education.

A prominent local progressive, who we won’t identify by name, called us several months ago to ask how were going to come down in this race, and when we confessed indecision, he said: "You know, I really want to support Carole. But she makes it so hard."

We find ourselves in a similar position. We really wanted to support Migden in this race. We’d prefer to see the state senator from San Francisco using her fundraising ability and influence to promote the candidates and causes we care about.

But Migden has serious political problems right now, baggage we can’t ignore — and it’s all of her own making. Migden says her problems with the Fair Political Practices Commission are little more than technical mistakes — but that’s nonsense. She’s played fast and loose with campaign money for years. When it comes to campaign finance laws, Migden has always acted as if she rules don’t apply to her. She’s treated FPPC fines as little more than a cost of doing business. This latest scandal isn’t an exception; it’s the rule.

Unfortunately, it’s left her in a position where she’s going to have a hard time winning. Today, the election looks like a two-person race between Leno and Nation. And the threat of Joe Nation winning this primary is too great for us to mess around.

Despite our criticism of both candidates, we would be happy with either in the state Senate. We’re taking a chance with Leno; he’s shown some movement toward the progressive camp, and he needs to continue that. If he wins, he will have a huge job to do bringing a fractured queer and progressive community back together — and the way to do that is not by simply going along with everything Newsom wants. Leno has to show some of the same courage at home he’s shown in Sacramento.

But right now, today, we’ve endorsing Mark Leno for state Senate.

State Senate, District 9

LONI HANCOCK


This is another of several tough calls, another creature of term limits that pit two accomplished and experienced termed-out progressive assembly members against each other for the senate seat of termed-out Don Perata. We’ve supported both Loni Hancock and Wilma Chan in the past, and we like both of them. In this one, on balance, we’re going with Hancock.

Hancock has a lifetime of experience in progressive politics. She was elected to the Berkeley City Council in 1971, served two terms as Berkeley mayor, worked as the US Department of Education’s western regional director under Bill Clinton, and has been in the State Assembly the past six years. On just about every progressive issue in the state, she’s been an activist and a leader. And at a time when the state is facing a devastating, crippling budget crisis that makes every other issue seem unimportant, Hancock seems to have a clear grasp of the problem and how to address it. She’s thought through the budget calculus and offers a range of new revenue measures and a program to change the rules for budget passage (two-thirds vote in the legislature is needed to pass any budget bill, which gives Republicans, all but one who has taken a Grover Norquist–inspired pledge never to raise taxes, an effective veto).

Chan, who represented Oakland in the assembly for six years, is a fighter: she’s taken on the insurance industry (by cosponsoring a major single-payer health insurance bill), the chemical industry (by pushing to ban toxic materials in furniture, toys, and plumbing fixtures), and the alcoholic-beverages lobby (by seeking taxes to pay for treatment for young alcoholics). She’s an advocate of sunshine, not just in government, where she’s calling for an earlier and more open budget process, but also in the private sector: a Chan bill sought to force health insurance companies to make public the figures on how often they decline claims.

But she seems to us to have less of a grasp of the budget crisis and the level of political organizing it will take to solve it. Right now, at a time of financial crisis, we’re going with Hancock’s experience and broader vision.

State Assembly, District 12

FIONA MA


We were dubious about Ma. She was a pretty bad supervisor, and when she first ran for Assembly two years ago, we endorsed her opponent. But Ma’s done some good things in Sacramento — she’s become one of the leading supporters of high-speed rail, and she’s working against state Sen. Leland Yee’s attempt to give away 60 acres of public land around the Cow Palace to a private developer. She has no primary opponent, and we’ll endorse her for another term.

State Assembly, District 13

TOM AMMIANO


This one’s easy. Ammiano, who has been a progressive stalwart on the Board of Supervisors for more than 15 years, is running with no opposition in the Democratic primary for state Assembly, and we’re proud to endorse his bid.

Although he’s certain to win, it’s worth taking a moment to recall the extent of Ammiano’s service to San Francisco and the progressive movement. He authored the city’s domestic partners law. He authored the living wage law. He created the universal health care program that Mayor Newsom is trying to take credit for. He sponsored the 2002 public-power measure that would have won if the election hadn’t been stolen. He created the Children’s Fund. He authored the Rainy Day Fund law that is now saving the public schools in San Francisco. And the list goes on and on.

Beyond his legislative accomplishments, Ammiano has been a leader — at times, the leader — of the city’s progressive movement and is at least in part responsible for the progressive majority now on the Board of Supervisors. In the bleak days before district elections, he was often the only supervisor who would carry progressive bills. His 1999 mayoral challenge to incumbent Willie Brown marked a tectonic shift in local politics, galvanizing the left and leading the way to the district-election victories that brought Aaron Peskin, Matt Gonzalez, Jake McGoldrick, Chris Daly, and Gerardo Sandoval to office in 2000.

It’s hard to imagine the San Francisco left without him.

Ammiano will do a fine job in Sacramento, and will continue to use his influence to push the progressive agenda back home.

State Assembly, District 14

KRISS WORTHINGTON


This is another tough one. The race to replace Loni Hancock, one of the most progressive and effective legislators in the state, has drawn two solid, experienced, and well-qualified candidates: Berkeley City Council member Kriss Worthington and former council member Nancy Skinner. We like Skinner, and she would make an excellent assemblymember. But all things considered, we’re going with Worthington.

Skinner was on the Berkeley council from 1984 to 1992 and was part of a progressive majority in the 1980s that redefined how the left could run a city. That council promoted some of the best tenant protection and rent control laws in history, created some of the best local environmental initiatives, and fought to build affordable housing and fund human services. Skinner was responsible for the first local law in the United States to ban Styrofoam containers — a measure that caused McDonald’s to change its food-packaging policies nationwide. She went on to found a nonprofit that helps cities establish sustainable environmental policies.

Skinner told us that California has "gutted our commitment to education," and she vowed to look for creative new ways to raise revenue to pay for better schools. She’s in touch with the best economic thinkers in Sacramento, has the endorsement of Hancock (and much of the rest of the East Bay Democratic Party establishment), and would hit the ground running in the legislature.

Worthington, Berkeley’s only openly gay council member, has been the voice and conscience of the city’s progressive community for the past decade. He’s also been one of the hardest-working politicians in the city — a recent study by a group of UC Berkeley students found that he had written more city council measures than anyone else currently on the council and had won approval for 98 percent of them.

Worthington has been the driving force for a more effective sunshine law in Berkeley, and has been unafraid to challenge the liberal mayor, Tom Bates, and other leading Democrats. His campaign slogan — "a Democrat with a backbone" — has infuriated some of the party hierarchy with its clear (and intended) implication that a lot of other Democrats lack a spine.

"All of the Democrats in the assembly voted for 50,000 more prison beds," he told us. "We needed a Barbara Lee [who cast Congress’ lone vote against George W. Bush’s first war resolution] to stand up and say, ‘this is wrong and I won’t go along.’"

That’s one of the things we like best about Worthington: on just about every issue and front, he’s willing to push the envelope and demand that other Democrats, even other progressive Democrats, stand up and be counted. Which is exactly what we expect from someone who represents one of the most progressive districts in the state.

It’s a close call, but on this one, we’re supporting Kriss Worthington.

State ballot measures

Proposition 98

Abolition of rent control

NO, NO, NO


Proposition 99

Eminent domain reforms

YES, YES, YES


There’s a little rhyme to help you remember which way to vote on this critical pair of ballot measures:

"We hate 98, but 99 is fine."

The issue here is eminent domain, which is making its perennial ballot appearance. Californians don’t like the idea of the government seizing their property and handing it over to private developers, and the most conservative right-wing forces in the state are trying to take advantage of that.

Think about this: if Prop. 98 passes, there will be no more rent control in California. That means thousands of San Francisco tenants will lose their homes. Many could become homeless. Others will have to leave town. All the unlawful-evictions laws will be tossed out. So will virtually any land-use regulations, which is why all the environmental groups also oppose Prop. 98.

In fact, everyone except the Howard Jarvis anti-tax group hates this measure, including seniors, farmers, water districts, unions, and — believe it or not — the California Chamber of Commerce.

Prop. 99, on the other hand, is an unapologetic poison-pill measure that’s been put on the ballot for two reasons: to fix the eminent domain law once and for all, and kill Prop. 98 if it passes. It’s simply worded and goes to the heart of the problem by preventing government agencies from seizing residential property to turn over to private developers. If it passes, the state will finally get beyond the bad guys using the cloak of eminent domain to destroy all the provisions protecting people and the environment.

If anyone has any doubts about the motivation here, take a look at the money: the $3 million to support Prop. 98 came almost entirely from landlords.

This is the single most important issue on the ballot. Remember: no on 98, yes on 99.

San Francisco measures

Proposition A

School parcel tax

YES, YES, YES


Every year, hundreds of excellent teachers leave the San Francisco Unified School District. Some retire after a career in the classroom, but too many others — young teachers with three to five years of experience — bail because they decide they can’t make enough money. San Francisco pays less than public school districts in San Mateo and Marin counties and far less than private and charter schools. And given the high cost of living in the city, a lot of qualified people never even consider teaching as a profession. That harms the public school system and the 58,000 students who rely on it.

It’s a statewide problem, even a national one — but San Francisco, with a remarkable civic unity, is moving to do something about it. Proposition A would place an annual tax on every parcel of land in the city; the typical homeowner would pay less than $200 a year. The money would go directly to increasing pay — mostly starting pay — for teachers. The proposition, which has the support of almost everyone in town except the Republican Party, is properly targeted toward the newer teachers, with the goal of keeping the best teachers on the job past that critical three to five years.

Parcel taxes aren’t perfect; they force homeowners and small businesses to pay the same rate as huge commercial property owners. The way land is divided in the city most big downtown properties sit on at least five, and sometimes as many as 10 or 20 parcels, so the bill will be larger for them. But it’s still nowhere near proportionate.

Still, Prop. 13 has made it almost impossible to raise ad valorum property taxes (based on a property’s assessed value) in the state, and communities all around the Bay are using parcel taxes as a reasonable if imperfect substitute.

There’s a strong campaign for Prop. A and not much in the way of organized opposition, but the measure still needs a two-thirds vote. So for the sake of public education in San Francisco, it’s critical to vote yes.

Proposition B

City retiree benefits change

YES


San Francisco has always offered generous health and retirement benefits to its employees. That’s a good thing. But in this unfortunate era, when federal money is getting sucked into Iraq, state money is going down the giant deficit rat hole, and nobody is willing to raise taxes, the bill for San Francisco’s expensive employee benefit programs is now looking to create a fiscal crisis at City Hall. Officials estimate the payout for current and past employees could total $4 billion over the next 30 years.

So Sup. Sean Elsbernd and his colleagues on the Board of Supervisors have engineered this smart compromise measure in a way that saves the city money over the long run and has the support of labor unions (largely because it includes an increase in the pensions for longtime employees, partially offset by a one-year wage freeze starting in 2009) while still offering reasonable retirements benefits for new employees.

Previously, city employees who worked just five years could get taxpayer-paid health benefits for life. Under this measure, it will take 20 years to get fully paid health benefits, with partially paid benefits after 10 years.

It’s rare to find an issue that has the support of virtually everyone, from the supervisors and the mayor to labor. Prop. B makes sense. Vote yes.

Proposition C

Benefit denials for convicts

NO


On the surface, it’s hard to argue against Prop. C, a measure promoted as a way to keep crooks from collecting city retirement benefits. Sup. Sean Elsbernd’s ballot measure would update an ordinance that’s been on the books in San Francisco for years, one that strips public employees found guilty of "crimes of moral turpitude" against the city of their pensions. A recent court case involving a worker who stole from the city raised doubt about whether that law also applied to disability pay, and Prop. C would clear up that possible loophole.

But there are drawbacks this measure.

For starters, the problem isn’t that big: cases of rejected retirement benefits for city workers are rare. And the law still uses that questionable phrase "moral turpitude" — poorly defined in state law, never clearly defined in this measure, and as any older gay person can tell you, in the past applied to conduct that has nothing to do with honesty. The US State Department considers "bastardy," "lewdness," "mailing an obscene letter" and "desertion from the armed forces," among other things, to be crimes of moral turpitude.

Besides, Prop. C would apply not only to felonies but to misdemeanors. Cutting off disability pay for life over a misdemeanor offense seems awfully harsh.

The law that Elsbernd wants to expand ought to be rethought and reconfigured for the modern era. So vote no on C.

Proposition D

Appointments to city commissions

YES


Prop. D is a policy statement urging the mayor and the supervisors to appoint more women, minorities, and people with disabilities to city boards and commissions. It follows a study by the Commission on the Status of Women that such individuals are underrepresented on the policy bodies that run many city operations.

Despite the overblown concerns raised by local Republicans in the ballot arguments, this advisory measure would do nothing to interfere with qualified white males — or anyone else — getting slots on commissions.

Vote yes.

Proposition E

Board approval of San Francisco Public Utilities Commission appointees

YES


"The last thing we need is more politics at the San Francisco Public Utilities Commission," was the first line in Mayor Gavin Newsom’s ballot argument against Prop. E. That’s ironic: it was Newsom’s recent political power play — including the unexplained ousting of SFPUC General Manager Susan Leal and the partially successful effort to reappoint his political allies to this important body — that prompted this long overdue reform.

The SFPUC is arguably the most powerful and important of the city commissions, controlling all the vital resources city residents need: water, power, and waste disposal chief among them. Yet with the mayor controlling all appointments to the commission (it takes a two-thirds vote of the Board of Supervisors to challenge an appointment), that panel has long been stacked with worthless political hacks. As a result, the panel never pursued progressive approaches to conservation, environmental justice, public power, or aggressive development of renewable power sources.

Prop. E attempts to break that political stranglehold by requiring majority confirmation by the Board of Supervisors for all SFPUC appointments. It also mandates that appointees have some experience or expertise in matters important to the SFPUC.

If anything, this reform is too mild: we would have preferred that the board have the authority to name some of the commissioners. But that seemed unlikely to pass, so the board settled for a modest attempt to bring some oversight to the powerful panel.

Vote yes on Prop. E — because the last thing we need is more politics at the SFPUC.

Proposition F

Hunters Point-Bayview redevelopment

YES


Proposition G

NO


On the face of it, Proposition G sounds like a great way to restart the long-idle economic engine of the Bayview and clean up the heavily polluted Hunters Point Shipyard.

Who could be against a plan that promises up to 10,000 new homes, 300 acres of new parks, 8,000 permanent jobs, a green tech research park, a new 49ers stadium, a permanent home for shipyard artists, and a rebuild of Alice Griffith housing project?

The problem with Prop. G is that its promises are, for the most part, just that: promises — which could well shift at any time, driven by the bottom line of Lennar Corp., a financially stressed, out-of-state developer that has already broken trust with the Bayview’s low-income and predominantly African American community.

Lennar has yet to settle with the Bay Area air quality district over failures to control asbestos dust at a 1,500-unit condo complex on the shipyard, where for months the developer kicked up clouds of unmonitored toxic asbestos dust next to a K-12 school.

So, the idea of giving this corporation more land — including control of the cleanup of a federal Superfund site — as part of a plan that also allows it to construct a bridge over a slough restoration project doesn’t sit well with community and environmental groups. And Prop. G’s promise to build "as many as 25 percent affordable" housing units doesn’t impress affordable housing activists.

What Prop. G really means is that Lennar, which has already reneged on promises to create much-needed rental units at the shipyard, now plans to build at least 75 percent of its housing on this 770-acre waterfront swathe as luxury condos.

And with the subprime mortgage crisis continuing to roil the nation, there is a real fear that Prop. G’s final "affordability" percentage will be set by Lennar’s profit margins and not the demographics of the Bayview, home to the city’s last major African American community and many low-income people of color.

There’s more: The nice green space that you see in the slick Lennar campaign fliers is toxic and may not be fully cleaned up. Under the plan, Lennar would put condo towers on what is now state parkland, and in exchange the city would get some open space with artificial turf on top that would be used for parking during football games. Assuming, that is, that a deal to build a new stadium for the 49ers — which is part of all of this — ever comes to pass.

In fact, the lion’s share of a recent $82 million federal funding allocation will be dedicated to cleaning up the 27-acre footprint proposed for a new stadium. In some places, the city is planning to cap contaminated areas, rather than excavate and remove toxins from the site.

If the environmental justice and gentrification questions swirling around Prop. G weren’t enough, there remains Prop. G’s claim that it will create 8,000 permanent jobs once the project is completed. There’s no doubt that the construction of 10,000 mostly luxury homes will create temporary construction jobs, but it’s not clear what kind of jobs the resulting gentrified neighborhood will provide and for whom.

But one thing is clear: the $1 million that Lennar has already plunked down to influence this election has overwhelmingly gone to line the pockets of the city’s already highly paid political elite, and not the people who grew up and still live in the Bayview.

But there’s an alternative.

Launched as a last-ditch effort to prevent wholesale gentrification of the Bayview, Proposition F requires that 50 percent of the housing in the BVHP/Candlestick Point project be affordable to those making less than the median area income ($68,000 for a family of four).

That’s a reasonable mandate, considering that the city’s own general plan calls for two-thirds of all new housing to be sold or rented at below-market rates.

And if the new housing is built along Lennar’s plans, it will be impossible to avoid large-scale gentrification and displacement in a neighborhood that has the highest percentage of African Americans in the city, the third highest population of children, and burgeoning Latino and Asian immigrant populations.

Lennar is balking at that level, saying a 50-percent affordability mandate would make the project financially unfeasible. But if Lennar can’t afford to develop this area at levels affordable to the community that lives in and around the area, the city should scrap this redevelopment plan, send this developer packing, and start over again.

San Francisco has an affordable housing crisis, and we continue to doubt whether the city needs any more million-dollar condos — and we certainly don’t need them in a redevelopment area in the southeast. Remember: this is 700 acres of prime waterfront property that Lennar will be getting for free. The deal on the table just isn’t good enough.

Vote yes on F and no on G.

Proposition H

Campaign committees

NO


This one sounds just fine. Promoted by Mayor Gavin Newsom, Proposition H is supposedly aimed at ensuring that elected officials don’t solicit money from city contractors for campaigns they are sponsoring. But it lacks a crucial legal definition — and that turns what ought to be a worthy measure into little more than an attack on Newsom’s foes on the Board of Supervisors.

The key element is something called a "controlled committee." It’s already illegal for city contractors to give directly to candidates who might later vote on their contracts. Prop. H would extend that ban to committees, typically run for or against ballot measures, that are under the control of an individual politician.

Take this one, for example. Since Newsom put this on the ballot, and will be campaigning for it, the Yes on H campaign is under his control — he would be barred from collecting cash from city contractors, right? Well, no.

See, the measure doesn’t define what "controlled committee" means. So a group of Newsom’s allies could set up a Yes on H fund, raise big money from city contractors, then simply say that Newsom wasn’t officially aware of it or involved in its operation.

When Newsom first ran for mayor, the committee supporting his signature initiative — Care Not Cash — raised a fortune, and the money directly helped his election. But that wasn’t legally a "controlled committee" — because Newsom never signed the documents saying he was in control.

Prop. H does nothing to change that rule, which means it would only affect campaign committees that a politician admits to controlling. And guess what? Newsom almost never admits that, while the supervisors, particularly board president Aaron Peskin, are a bit more honest.

When Newsom wants to clearly define "controlled committee" — in a way that would have brought the Care Not Cash effort under the law — we’ll go along with it. For now, though, vote no on H.

San Francisco Democratic County Central Committee

The DCCC is the policy-making and operating arm of the local Democratic Party, and it has a lot of influence: the party can endorse in nonpartisan elections — for San Francisco supervisor, for example — and its nod gives candidates credibility and money. There’s been a struggle between the progressives and the moderates for years — and this time around, there’s a serious, concerted effort for a progressive slate. The Hope Slate, which we endorse in its entirety, has the potential to turn the San Francisco Democratic Party into a leading voice for progressive values.

There are other good candidates running, but since this group will have consistent support and is running as a slate, we’re going with the full crew.

13th Assembly District

Bill Barnes, David Campos, David Chiu, Chris Daly, Michael Goldstein, Robert Haaland, Joe Julian, Rafael Mandelman, Aaron Peskin, Eric Quezada, Laura Spanjian, Debra Walker

12th Assembly District

Michael Bornstein, Emily Drennen, Hene Kelly, Eric Mar, Jake McGoldrick, Trevor McNeil, Jane Morrison, Melanie Nutter, Connie O’Connor, Giselle Quezada, Arlo Hale Smith

Alameda County races

Superior Court judge, Seat 21

VICTORIA KOLAKOWSKI


There are two good candidates running for this open seat. Dennis Hayashi, a public-interest lawyer, would make a fine judge. Victoria Kolakowski would make history.

Kolakowski, who works as an administrative law judge for the California Public Utilities Commission, would be the first transgender person on the Alameda bench and, quite possibly, in the entire country. That would be a major breakthrough and important for more than just symbolic reasons: transpeople have extensive interactions with the judicial system, starting with the work to legally change their names; and, all too often, members of this marginalized community wind up in the criminal justice system. Having a sitting TG judge would go a long way toward educating the legal world about the importance of trans sensitivity.

Kolakowski is eminently qualified for the job: as a private intellectual property lawyer and later an ALJ at the CPUC, she’s handled a range of complex legal issues. She currently oversees administrative hearings that are very similar to court proceedings, and she has a calm and fair judicial temperament.

That’s not to denigrate Hayashi, who also has an impressive résumé. He’s spend much of his life in public-interest law, working for many years with the Asian Law Caucus, and he was co-counsel in the historic case that challenged Fred Korematsu’s conviction for refusing to report to a Japanese internment camp during World War II. He’s run the state’s Department of Fair Employment and Housing and was a civil rights lawyer in the Clinton administration.

We’d be happy to see either on the bench, but we’re going to endorse Kolakowski.

Board of Supervisors, District 5

KEITH CARSON


Keith Carson, the leading progressive on the board, has no real opposition this time around. He’s been a voice for protecting the fragile social safety net of the county, and we’re happy to endorse him for another term.

Oakland races

City Attorney

JOHN RUSSO


John Russo, who has made no secrets of his political ambition, failed in a bid to win the State Assembly seat for District 16 in 2006, and now he’s running unopposed for reelection. Russo has voiced some pretty ridiculous sentiments: he told a magazine for landlords in May 2006 that he opposed all forms of rent control and was against laws requiring just cause for evictions. That’s a horrible stand for a city attorney to take in a city with a huge population of renters. But Russo is smart and capable, and he’s one of the few city attorneys who consistently supports sunshine laws. We’ll endorse him for another term.

City Council, District 1

JANE BRUNNER


An attorney and former teacher, Jane Brunner spends a lot of time pushing for more cops; crime is the top issue in the North Oakland district she represents. And while we’d rather see anticrime approaches that go beyond hiring more officers, we appreciate that Brunner takes on the police department over its hiring failures. We also find her far more preferable on the issue than her opponent, Patrick McCullough, a longtime neighborhood activist who has become something of a celebrity since he shot a teenager who was hassling him in front of his house in 2005.

Brunner is one of the council’s strongest affordable housing advocates and has worked tirelessly for an inclusionary housing law. She deserves reelection.

City Council, District 3

NANCY NADEL


Nadel is hardworking, effective, a leader on progressive economic and planning issues, and one of the best members of the Oakland City Council. She asked the hard questions and demanded improvements in the giant Oak to Ninth project (although she wound up voting for it). She’s pushing for better community policing and promoting community-based anticrime efforts, including a teen center in a part of her district where there have been several homicides. She was a principal architect of the West Oakland industrial zoning plan, which she hopes will attract new jobs to the community (although she also pissed off a few artists who fear they’ll be evicted from living spaces that aren’t up to code, and she needs to address the problem). We’re happy to endorse her for another term.

City Council, District 5

MARIO JUAREZ


Somebody has to try to oust Ignacio De La Fuente, and this time around, Juarez is the best bet. A small-businessperson (he runs a real-estate operation with around 60 employees), he has some surprisingly progressive positions: he not only supports inclusionary housing but told us that he wanted to see the percentage of affordable units increased from 15 to 25 percent. He wants to see community policing integrated fully into Oakland law enforcement. He suggested that Oakland look into putting a modest fee on all airport users to fund local education. And he’s in favor of stronger eviction controls and tenant protections.

De La Fuente, the City Council president, has been the developers’ best friend, has run meetings with a harsh hand, often cutting off debate and silencing community activists, and needs to be defeated. We know Juarez isn’t perfect, but his progressive grassroots-based campaign was strong enough to get him the nod of both the Democratic Party and the Alameda County Greens. We’ll endorse him, too.

City Council, District 7

CLIFFORD GILMORE


Neither of the candidates in this race are terribly impressive, but incumbent Larry Reid has been so terrible on so many issues (supporting big-box development, inviting the Marines to do war games in Oakland, supporting condo conversions, etc.) that it’s hard to imagine how Clifford Gilmore, director of the Oakland Coalition of Congregations, could be worse.

City Council, at large

REBECCA KAPLAN


Rebecca Kaplan is exactly what the Oakland City Council needs: an energetic progressive with the practical skills to get things done. As an AC Transit Board member, she pushed for free bus passes for low income youths — and defying all odds, managed to get all-night transit service from San Francisco to the East Bay. She did it by refusing to accept the conventional wisdom that transit agencies on the two sides of the bay would never cooperate. She put the key players together in a meeting, convinced the San Francisco supervisors to allow AC Transit buses to pick up passengers in the city late at night, and put through an effective program to get people across the bay after BART shuts down.

Kaplan is running for City Council on a progressive platform calling for affordable housing, rational development, and community policing. Her latest idea: since Oakland has so much trouble attracting quality candidates for vacancies in its police department, she suggests the city recruit gay and lesbian military veterans who were kicked out under the Pentagon’s homophobic policies. Her proposed slogan: "Uncle Sam doesn’t want you, but Oakland does."

Vote for Rebecca Kaplan.

School Board, District 1

JODY LONDON


The Oakland schools are still stuck under a state administrator; the district, which was driven by mismanagement into a financial crisis several years ago, paid the price of a state bailout by giving up its independence. The school board has only limited authority of district operations, though that’s slowly changing. The state allowed the board to hire an interim superintendent, meaning issues like curricula and programs will be back under local control. So it’s a time of transition for a district that has had horrible problems, and the board needs experienced, level-headed leadership.

We’re impressed with Jody London, a parent with children in the public schools who runs a small environmental consulting firm. She has been active in the district, co-chairing the 2006 bond campaign that raised $435 million and serving on the bond oversight committee. She has a grasp of fiscal management, understands the challenges the district faces, and has the energy to take them on.

Her main opposition is Brian Rogers, a Republican who has the backing of outgoing state senator Don Perata and is a big fan of private charter schools. Tennessee Reed, a young writer and editor, is also in the race, and we’re glad to see her getting active. But on balance, London is the clear choice.

School Board, District 3

OLUBEMIGA OLUWOLE, SR.


Not a great choice here — we’re not thrilled with either of the two contenders. Jumoke Hinton Hodge, a nonprofit consultant, is too willing to support charter schools. Oluwole, who works with parolees, has limited experience with education. But on the basis of his community background (he’s on the board of the Oakland Community Organization) and our concern about Hodge and charter schools, we’ll go with Oluwole.

School Board, District 5

NOEL GALLO


Noel Gallo, the incumbent, is running unopposed. He’s been a competent member of the board, and we see no reason not to support his reelection.

School Board, District 7

ALICE SPEARMAN


Alice Spearman, the incumbent, isn’t the most inspiring member of the board — and she’s known for making some ill-considered and impolitic statements. But her main opponent, Doris Limbrick, is the principal of a Christian school and has no business running for the board of a public school district. So we’ll go with Spearman again.

Alameda County measures

Measure F

Utility users tax

YES


Measure F extends and slightly increases the utility tax on unincorporated areas of the county. It’s not the greatest tax, but it’s not terrible — and it provides essential revenue to pay for services like law enforcement, libraries, and code enforcement. The parts of Alameda County outside any city boundary have been dwindling as cities expand, but the county provides the only local government services in those areas. And, like every other county in California, Alameda is desperately short of cash. So Measure F is crucial. Vote yes.

Oakland Measure J

Telephone-user tax

YES


Measure J would update a 40-year-old tax on phone use that goes for local services. The tax law applies only to old-fashioned land lines, so cell phone users get away without paying. This isn’t the world’s most progressive tax, but Oakland needs the money and Measure J would more fairly share the burden. Vote yes.

Cancel Pelosi’s vacation

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petraeus911.jpg
Petraeus: “The big green weenie that we are giving to the troopers after politely asking them to bend over with ‘stop-loss’ and ‘involuntary extension’ is about this big. And it’s called the fifteenth month deployment.”
(From the blog of Sgt. Adam Kokesh)

Here’s a good idea: Cancel all leaves, vacation and family visits by member of Congress until the troops come home from Iraq. If the military can put “stop loss”orders on the troops, Congres ought to be able to abide by the same rules.

The stop-loss Congress group will bring Adam Kokesh, a former Marine Corps sergeant who is now active against the war.

Details on his appearance follow after the jump

Pentagon pundits: media facilitate Iraq propaganda

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By Bruce B. Brugmann

Every year, the Guardian runs a major front page story from Project Censored at Sonoma State University, listing the 20 major stories that have been “censored” or underreported during the previous year by the mainstream media.

Since 2003, when the U.S. invaded Iraq with “Shock and Awe,” the project’s stories have criticized the runup to the war, the lies of the Bush administration, the mendacity of the neocons promoting the war, the lousy media coverage, on and on. Neither the project nor most of the stories were published by the mainstream media. And the New York Times, and its sister paper the Santa Rosa Press Democrat near Sonoma State, refused to run the Censored story nor to explain why. (Last year, to its credit, the Press Democrat did a story on Censored.)

Now, the media reform organization Fairness & Accuracy in Reporting (FAIR) has raised anew an important point involving a major New York Times story on April 20 that exposed the Pentagon’s program of feeding talking points to military pundits featured on TV newscasts. (Fair pointed out rightly that the military analysts’ ties with military contractors and advocacy groups had been documented as far back as 2003 with a report in the Nation (4/21).

FAIR’s point: “While the Times article focused on the role of the Pentagon, the parties that arguable have most to answer for are the media organizations that relied on these Pentagon analysts and failed to disclose blatant conflicts of interest posed by their ties with defense contractors…Of course, the Pentagon’s propaganda plan would have little effect if not for the enthusiastic participation of the corporate media.”

My question: when will the mainstream media start interviewing such prominent war critics as Noam Chomsky, Howard Zinn, and others of this caliber? Meanwhile, keep an eye out for our Project Censored package later this year.

Here’s the FAIR article and its call to action to hassle the five major networks:

“Fox in the Mirror”

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REVIEW When artists speak of found objects, they sometimes mean found — in a marketing plan. But Liliana Porter is different. The Argentine artist is the real thing, hopelessly devoted to convincing us that something is missing, not from her impeccable arrangements of miniatures and figurines — or the potent, often-hilarious feelings they invoke — but from our too serious attitudes toward the private parts of our lives.

Porter’s 2007 video Fox in the Mirror, presented in a show of the same name at the Hosfelt Gallery, reveals the artist to be a sculptural Gertrude Stein. Stein gave language body — undressed it, laughed at it, cried for it, and cuddled it. Porter does the same with Fox, manipuutf8g small, signature objects to Sylvia Meyer’s arresting musical score, which varies from lush tangos to symphonic yet anticlimactic movie-trailer music. "Oriental" pentatonic melodies are thrown in ironically to match Porter’s musical and military Chinese figurines.

The video begins with a series of vignettes more powerful than the following narrative sequence, which is eerily conducted by a well-dressed fox. They sparkle with sex and sadness as a white candle resembling a man and woman dancing in formal wear spins into tears, a bright yellow chick encounters an emotional storm, and a duo of Mao wristwatches move one tick forward and a lifetime of ticks back to Meyer’s electro remix of a song from The Sound of Music (1965). Sketches named after types of punctuation stimulate feelings of expectation as a turbaned musician seems about to swallow a bird alive. Javier Marias wrote that the present is a curse because "it allows us to see and appreciate almost nothing." He has a point, but the beauty of the statement outweighs the sadness of its meaning. The same could be said about Porter’s transcendent art.

LILIANA PORTER: FOX IN THE MIRROR Through May 3. Tues.–Sat., 11 a.m.–5:30 p.m. Hosfelt Gallery, 430 Clementina, SF. Free. (415) 495-5454, www.hosfeltgallery.com

SFIFF: On tour

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› kimberly@sfbg.com

SFIFF His last letter read, "Forget me" and "I’m never coming back." But instead of crying, waiting, hoping he’ll return, or pleading, "Please, Mr. Postman, look and see, if there’s a letter, a letter for me," she decides she will follow him, wherever he may go, because maybe, just maybe, one fine day, they’ll meet once more, and he’ll want the love he threw away before.

What follows is the sublime La France (2007), a holy union of war movie and love story, consecrated in the same chapel of pop that houses tearful penitent Brian Wilson, radiant nun Anna Karina, and verse-scribbling choir boy Jacques Brel — and stage-set with the mist-swathed romanticism of Jean-Baptiste-Camille Corot.

After our heroine and "Dear Jeanne" letter recipient Camille (Sylvie Testud) dons the boyish garb of a wartime Viola to unearth news of her soldier husband, she stumbles on a mysterious military troop slumbering uneasily in the woods. Camille wants to eat like them, march like them, and become one of them, with the sacrificial passion of a lover desperate to wear the garments and walk in the footsteps of her pined-for mate. But in the fall of 1917, all is not-so-quiet far from the Western front as director Serge Bozon’s band of brothers — many played by the actor-auteur’s fellow French film critics — pick up impromptu instruments fashioned from canteens and pots to play the sweetest yet strikingly barbed lovelorn tunes. What better way to meet doom while their country takes some of the heaviest casualties of World War I? What better way to mend a broken heart?

La France is "a war movie but almost in the absence of war and a love movie almost in the absence of love," as Bozon explains via e-mail while attending a Buenos Aires film festival. It turns gracefully on "a quest — just like the war, because we are never in the battlefields. So the war is more a horizon — something outside, always close but almost never reached.

"The unifying impulse is this magnetization, by definition from outside," he continues. "I think here the master of magnetization is Jacques Tourneur, the Henry James of cinema: how to drive la mise en scène by the absence of something at the (double) center of the story."

Balancing the visually sumptuous La France (lensed by the director’s sister Céline) on what he describes as the edge and arrogance of English pop-sike and the narcotic etherealness of California sunshine pop, Bozon has made one of the most unique films in the festival. No joke. He sports only two shortish works — the 84-minute L’Amitie (1998) and the 59-minute Mods (2002) — beneath the belt of his modish slacks: La France is his first feature. It’s also inadvertently launched something of a burgeoning DJ career for the music-obsessed director, who promises to draw from his healthy garage rock and Northern soul singles collection for at least one dance-party during the fest.

SFBG Why did you title the film La France? Does the soldiers’ plight say something about your country in general?

SERGE BOZON To put it in the words of Michel Delahaye, one of my favorite film critics from the ’60s (in Cahiers du Cinéma) who wrote a paper about La France, I’ve tried to tell the story of those men who "got lost in the shadow of victory."

I wanted to deal with desertion, not to tell the story of the deserters who were caught by the French army, not to tell the story of the deserters who managed to reach their goal, but to tell the story of the deserters "in between," because they are the only ones who have left no trace (no trace in France, because they managed to escape France, and no trace in any other country, because they never attained their destination). So it’s like a secret story that only fiction can tell. To sum up, this crucial part of French history can only exist through fiction. That’s why I chose the title.

Just listen to "Going All the Way" by the Squires or "On Tour" by the Chancellors (two garage diamonds found by the mighty Tim Warren of Crypt Records), and you’ll understand the relation of this title to the music. "On Tour" is a song, as you can guess, about the life of a group on tour (the girls, the cities, the trains, boats and planes). But like all the real garage bands, the Chancellors never played even once outside their own city (Potsdam, actually). Now think about the "tour" of my soldiers. You begin by expecting some light pop, but in the end it’s only frustration and anger.

SFBG What do war movies mean to you?

SB It is the only classic American genre that is still alive in France, where a lot of war movies are made each year. The menace of war is unceasing — or even eternal. To be more precise, my movie is more a movie about the menace of war than about the war itself, so I could have done it in a present-day setting. But what I wanted, from a historical point of view, is to deal with the question of desertion, which was huge in France in 1917. I filmed only the menace, and this menace is in our present and desertion is, still, in our present history — "needles and pins," to quote the Ramones covering the Searchers.

SFBG Which war movies have intrigued you or inspired La France specifically?

SB The American and Russian war movies of the ’40s and ’50s. And I must press this point: the movies of [Samuel] Fuller, [John] Ford, [Raoul] Walsh, Tourneur, [Howard] Hawks are not more important for me than the sublime Russian war movies — for example [Ivan] Pyryev’s Tales of the Siberian Land (1947), [Leonid] Lukov’s Two Soldiers (1943), [Yuli] Raizman’s Mashenka (1942), [Alexander] Macheret’s Soldiers of the Swamp (1939).

In all of these movies, contrary to Walsh, Fuller, and company, you have songs in crucial moments and the moods do not have to be hard-boiled all the time. There is a lot of childish tenderness and emotive exuberance among the soldiers, because the relation of men to virility is more naive. You also have beautiful female characters. Mashenka, for example, is a war movie about a woman. You also have a non-American, rural way of filming the landscapes with a romantic touch (in the musical sense, like Berlioz).

For example, A Good Lad from 1943 by Boris Barnet is — in one hour! — a musical with opera singing during the war scenes, a comedy, a love story, and a war movie, and everything is perfectly balanced and free. By the way, Barnet is the best Russian film director ever, far away from the auto-proclaimed Russian geniuses like [Sergei] Eisenstein, [Andrei] Tarkovsky, and [Alexander] Sokurov, whose movies all suffer from a severe grandiloquence and solemnity disease.

In these different aspects, those Russian movies are more like the early ’30s American movies, when the exuberance of the filmmakers was not restricted by the Hays Code, the strict separation of genres, all those narrative and ethical codes. Just think of a typical ’30s masterpiece like Sailor’s Luck (1933) by Walsh. My movie, with some exceptions, is much more Russian than American.

SFBG What do you want those who see La France to come away with?

SB Ninety-six tears.

LA FRANCE May 2, 4:15 p.m., Kabuki; May 4, 3:30 p.m., Kabuki; May 6, 6:45 p.m., Clay


>SFBG goes to SFIFF 51: our deluxe guide

SFIFF: Ashes to ashes

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› a&eletters@sfbg.com

SFIFF One of the greatest pleasures of the 50th SF International Film Festival was Forever, Heddy Honigmann’s 2006 study of the living among the dead at Paris’ Père-Lachese cemetery. Between footage of the sun-dappled necropolis in all its hushed, springtime glory, Honigmann (who received last year’s Persistence of Vision award) profiles several regular visitors, who in the course of discussing an attachment to a particular resident — whether that dweller be Frédéric Chopin or a deceased husband — reveal a great deal about how we commune with memory in our daily lives.

Echoes of Honigmann’s film can be heard on the breezes that float and whip through John Gianvito’s lean and hypnotic Profit motive and the whispering wind (Gianvito’s use of lowercase is intentional). In focusing on a very different kind of memorial landscape, Gianvito uses Howard Zinn’s oft-revised 1980 radical assessment of American history, A People’s History of the United States, as a roadmap. He’s constructed an hour-long pilgrimage to the graves, minor monuments, and commemorative plaques erected to honor America’s freethinkers and radicals.

Static shot after static shot shows names etched in stone, carved on wood, or stamped on metal: Red Jacket, Sacagawea, Thomas Paine, Mary Dyer, John Brown, Sojourner Truth, Daniel Shays, Frederick Douglass, Fannie Lou Hamer (whose eloquent protest, "I am sick and tired of being sick and tired," is now her epitaph), Malcolm X, Dorothy Day, and César Chávez, to name just a dozen. America is a nation of defectors, suffragettes, abolitionists, Wobblies, anarchists, union members, community organizers, and conscientious objectors. We see commemorations of the labor movement’s bloody struggles: the Bread and Roses Strike in Lawrence, Mass., the Homestead Strike near Pittsburgh, and the Ludlow Massacre in Colorado. Occasionally we see signs that others have visited these sites: small tokens of solidarity left on graves, graffiti, piled pebbles. But many of the markers exhibit the creep of age and neglect.

Eschewing narration or interviews, Profit motive is near-silent, save for the ambient sounds of each site: chirping birds, the lazy buzz of insects, the occasional whiz of traffic, and most prominent, the whistling wind — though a whisper is only one part of its range. As Honigmann does in Forever, Gianvito periodically turns his camera away from the ground to watch the dance of sighing boughs or rustling plains. These almost animistic sequences remind us that the landscape has borne witness to the people who shaped it long before our time, underscoring the transience of human life and, by extension, political struggle.

The film’s jarring final minutes, however, break its meditative silence in a move that aims to establish affinities between the left’s scattered history and current protest movements. Gianvito’s dedication to Zinn seems to get the better of him, and the closing montage of contemporary protests juxtaposed against McDonald’s and Wal-Mart signs comes off as crudely didactic. The answer — or, at the very least, some incendiary spark out of the past — it seems, was blowing in the wind after all.

If Gianvito’s film is part eulogy and part rallying cry for America’s radical left, then Hartmut Bitomsky’s more conventionally structured documentary Dust (Straub) is a vanitas for late capitalism. Just as Gianvito marshals a certain poetic charge from his footage of rustling branches and swaying grass, Bitomsky’s cold yet compelling study also mines the many-faceted existential resonance of the particulate terrain it surveys.

Bitomsky’s gravelly-voiced narrator is fond of repeating a Raymond Queneau quote: "Dust always leaves a trace, no matter what; then, a trace of the trace. There’s always a trace you’ll never get." Indeed, dust is as ubiquitous as it is unremarkable. It is both the byproduct of human industry and what accretes once our industriousness has stopped. It is a bugaboo for museum preservationists, vacuum cleaner engineers, and clean room custodians. It is the cosmic prima materia from which the universe was born and to which we will all return long after the worms have had their fill. And as we are reminded in the documentary’s opening frames, dust is the very substance of film itself. What we watch are the shadows of dust, shot through with light.

From an industrial paints manufacturer, to a frighteningly OCD housewife, to a sweetly loopy artist who creates sculptural dust taxonomies, to military scientists testing for radioactive fallout from ballistics currently being used in Iraq, Bitomksy lets his unnamed subjects speak with little interruption on their Sisyphean efforts to analyze, sift through, and eradicate dust. At times, the extended and often extremely technical explanations of particle acceleration and filtration assembly can be tryingly dry. But the straightforward and de-personalized presentation of information is fitting with the film’s po-faced tone.

Bitomsky’s deadpan facade is tied on extra-tight. But faint traces of a smirk can be made out whenever he pauses on a particularly cruel irony (for instance, when he quotes military philosopher Carl von Clausewitz over photos of American and Iraqi babies deformed by in utero exposure to depleted uranium dust) or takes note of a pathetic one (a hulking, former GDR housing block imploded to make way for a shopping mall). As entropic as it is constant, dust is indifferent to human life or regime change.

Gianvito’s film clearly seeks to offer a momentary defense against our country’s tendency toward historical amnesia, though it also suggests that history may be one more notch on finitude’s marble bedpost. For Bitomsky, on the other hand, history is a dustbin.

DUST May 3, 1 p.m., PFA; May 5, 6:15 p.m., Kabuki; May 7, 4:15 p.m., Kabuki


>SFBG goes to SFIFF 51: our deluxe guide

SFIFF: Explosive stuff!

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› a&eletters@sfbg.com

SFIFF The pop detritus of today is the archaeological evidence of tomorrow, to be pieced together by future generations — should there be any — who will no doubt want to know what the hell we were thinking. Their conclusions may be bizarre. But will their conjecture be any stranger than our present-tense realities?

Inventing tomorrow’s conspiracy theories today is Mock Up on Mu, the latest pseudodocumentary, sci-fi historical dig, Situationist prank, and thinly veiled fight-the-power rant by San Francisco’s collage king, Craig Baldwin. In the mode of his prior cult faves Tribulation 99 (1992), O No Coronado! (1992) and Spectres of the Spectrum (1999) — albeit with a higher percentage of new staged sequences mixed into the ingeniously assembled archival errata — it again grinds fact and fiction into a tasty genre-defying pulp. For many, Mu‘s world premiere is the most eagerly awaited event in the 51st San Francisco International Film Festival’s goody-laden schedule.

It’s 2019 AD on the Empire of Mu — the Moon — where L. Ron Hubbard (Damon Packard) is building theme parks, selling crater-naming rights, and beaming corporate logos back to "that prison planet called Earth." Having been banished from our planet, he must dispatch "Agent C," a.k.a. Marjorie Cameron (Michelle Silva), back to the blue ball to engage in some espionage involving the seductions of both Ra-worshiping rocket scientist Jack Parsons (Kal Spelletich) and sleazy defense contractor Lockheed Martin (Stoney Burke). Realizing "Commodore" Hubbard’s purposes may be more nefarious than professed, she finds the truth is out there … way out there. It’s naked and shameless, in fact. Those hippies were right: free love will save us all.

As ever, there is a certain investigative method behind the Oakland-born Baldwin’s jigsaw madness. The real Parsons was the founder of the pre-NASA Jet Propulsion Laboratory and an avid occultist. He started a private boat dealership with none other than Hubbard, before Hubbard absconded with some money and Parsons’ girlfriend (whom he married). Soon thereafter, Hubbard wrote the original Dianetics: The Modern Science of Mental Health in 1950, which in turn led to that gift to mankind we call Scientology. As for Parsons, he went on to marry painter, author, and psychic Cameron, who, like him (as well as Hubbard) was an early American devotee of Aleister Crowley and a participant in sex magick rituals.

Thus you don’t need six degrees, let alone Kevin Bacon, to connect Wernher von Braun, Kenneth Anger, and Tom Cruise. History is fun! As is Mu, with its antic use of everything from old propagandistic footage to clips spanning eras of cinematic sci-fi: Georges Melies’ 1902 Trip to the Moon, the original Flash Gordon serial and 1936’s H.G. Wells–based Things to Come, drive-in trash (it’s always cheering to see 1962’s The Brain That Wouldn’t Die), and Star Trek. The resulting fair-use frolic nonetheless reveals a serious side or three while exploring the dense and slightly demented history of military and aerospace business in sunny California.

Baldwin recently took a break from his numerous other roles — programmer at Other Cinema; teacher at SF Art Institute, California College of the Arts, and Artists Television Access — to sound off on Mu.

SFBG I hate to ask such a blunt question, but what is this movie about?

CRAIG BALDWIN My "Mu-vie" is about how utopian visions of technology and space exploration became compromised by the military in the late 20th century. And [about] how the lives of [technological and space travel] pioneers afford a rich trace of California regional history after World War II: the complex crossing of alternative tech research, personal belief systems, lifestyles, artistic practices, newly organized and newly imported religions, and spiritual institutions. Plus that era brought an explosion of the formerly marginalized sci-fi genre, of which Mu is of course the very latest iteration!

Mu is also about the cult of film, especially experimental film. I’m trying to work though a new model of historiography or storytelling that I am calling collage-narrative. It’s a humble stab at opening up a new space in film practice that is not only of interest to historians but also to aesthetes. And, my dear, I don’t have to tell you that these groups are certainly not mutually exclusive!

SFBG Your father worked for a rocket manufacturer. Has that made you more interested in Cold War and military-industrial complex themes?

CB Yes, my dad worked for Aerojet. He was born the same year as Parsons! And I was born the year Parsons died. I am his reincarnation. But the point is something like 30 percent of Californians were involved in the aerospace biz at its height.

SFBG How much real Scientology material is in Mu?

CB [The film] remains at the level of Swiftian allegory or satire, spinning off of their Genesis story and [acting as] a meta-gloss on Hubbard’s own autobiography.

SFBG I wish Unarius had become the growth religious cult of our time. They’ve certainly made better movies. But regarding yours, the real life connections between Parsons, Hubbard, Crowley, "Mother of the New Age movement" Cameron, occultism, and scientific and military work are stranger than fiction.

CB Everyone has been very influenced by the New Age, uh, belief systems. But more than anything, I identify with postwar bohemians, beats, and hippies. Those days when rocket scientists and sci-fi pulpmeisters and occult conjurers and proto-Wicca ritual carnal orgiastic pagans intermingled may be long gone — though Kenneth Anger is still around.

SFBG Mu uses a lot of excerpts from mainstream and low budget entertainment. But where does the less familiar material — educational, promotional, and so forth — come from? You must spend infinite hours looking for the perfect clip.

CB It comes from my usual source: My basement archive of 2,500 industrial films. I do spend time in there, but could hardly claim to find the perfect clip. Au contraire. I call it "availabilism" — making what I do have work for me, through editing and audio techniques, overwriting it all into an associational stew hopefully akin to the half-memory, half-fantasy, sublinguistic colloid of thought itself.

SFBG What reaction does your work get from students? They presumably grok the pop culture stuff, but do they get the political undercurrents?

CB People can be responsive to the pop-cult clips, or the regional history, or the antiwar sentiments. But methinks [Mock Up on Mu] will be a touchstone for legions of occult or subcult partisans ravenous for these almost mythic tales of the roots of alternative religions.

SFBG Sir, your Thetan level must be off the charts.

MOCK UP ON MU Mon/28, 9:15 p.m., Sundance Kabuki; April 30, 8:55 p.m., Pacific Film Archive


>SFBG goes to SFIFF 51: our deluxe guide

Found objects

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REVIEW When artists speak of found objects, they sometimes mean found — in a marketing plan. But Liliana Porter is different. The Argentine artist is the real thing, hopelessly devoted to convincing us that something is missing, not from her impeccable arrangements of miniatures and figurines — or the potent, often-hilarious feelings they invoke — but from our too serious attitudes toward the private parts of our lives.

Porter’s 2007 video Fox in the Mirror, presented in a show of the same name at the Hosfelt Gallery, reveals the artist to be a sculptural Gertrude Stein. Stein gave language body — undressed it, laughed at it, cried for it, and cuddled it. Porter does the same with Fox, manipuutf8g small, signature objects to Sylvia Meyer’s arresting musical score, which varies from lush tangos to symphonic yet anticlimactic movie-trailer music. "Oriental" pentatonic melodies are thrown in ironically to match Porter’s musical and military Chinese figurines.

The video begins with a series of vignettes more powerful than the following narrative sequence, which is eerily conducted by a well-dressed fox. They sparkle with sex and sadness as a white candle resembling a man and woman dancing in formal wear spins into tears, a bright yellow chick encounters an emotional storm, and a duo of Mao wristwatches move one tick forward and a lifetime of ticks back to Meyer’s electro remix of a song from The Sound of Music (1965). Sketches named after types of punctuation stimulate feelings of expectation as a turbaned musician seems about to swallow a bird alive. Javier Marias wrote that the present is a curse because "it allows us to see and appreciate almost nothing." He has a point, but the beauty of the statement outweighs the sadness of its meaning. The same could be said about Porter’s transcendent art.

LILIANA PORTER: FOX IN THE MIRROR Through May 3. Tues.–Sat., 11 a.m.–5:30 p.m. Hosfelt Gallery, 430 Clementina, SF. Free. (415) 495-5454, www.hosfeltgallery.com

How to hire more cops

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kaplan.jpg

Rebecca Kaplan, who is one of my favorite politicians, is running for Oakland City Council — and she has a great idea how to solve one of the city’s most pressing problems.

See, Oakland can’t hire enough cops. That means a voter-approved community-policing plan, which requires foot patrols in all the districts, is way behind schedule; there just aren’t enough officers to walk the beats. The OPD has more than a hundred job openings, and not enough applicants. And among those who apply, a lot don’t make it through the police academy.

So the city of Oakland is spending a lot of money on recruiting (including billboards near the Bay Bridge, which Kaplan, an AC Transit board member, thinks is nuts: “I know the demographics of the people crossing that bridge, and trust me, none of them are going to apply to be Oakland cops.”)

One of the things the city has learned is that ex-military people tend to do better in the academy — they already have the physical fitness and disciplinary training. So the city is sending fliers to military bases around the country. “Which is not terribly effective,” Kaplan told us in an interview today. “The thing is, with stop-loss, nobody’s really gettiing OUT of the military right now.”

But there’s a perfect applicant pool that the city is ignoring.

“There are 5,000 people who have been kicked out of the military because they’re gay or lesbian,” she said. “They have a dishonorable discharge, so they may have trouble getting work. But a lot of them are totally qualified to be Oakland cops.

“The OPD pays about four times as much as the military, the Bay Area is a great place for gays and lesbians, and if you’ve been policing Baghdad, moving to Oakland is going to look pretty attractive.”

The names of those 5,000 people are accessible, if the city wanted to do a little work to round them up (Ron Dellums, former chair of the House Armed Services Committee, could probably handle it with one phone call).

But that might not even be necessary: “If the Oakland mayor and police chief held a press conference and said, hey, Uncle Sam doesn’t want you but Oakland does, I suspect the word would get out.”

Somebody ought to put this woman on the City Council.

Stop-Loss notes

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There were only 20 people, including myself, watching Stop-Loss when it opened in Oakland on Friday night. Two of those people were my family members.

Most of us were in, or close to, tears, by the end of the movie, which refers to a provision in all military service contracts that says a service member’s duty can be involuntarily extended, won’t be a box office hit.

Much like A Mighty Heart>, Rendition and In the Valley of Elah, films dealing with the nitty gritty of war aren’t popular with the movie-going public.

But if people can’t bear to spend 120 minutes looking at realities of war, how do they expect to bring troops home?

Metal Mania: Just keep Walken

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› duncan@sfbg.com

How would you feel? Your band has been together since 1999, struggling through lineup changes, two US tours, hundreds of shows, an album and two EPs, without so much as a write-up in the local weekly. Finally, after dropping your most recent CD last year — an untitled, self-released disc of skull-crushing riffs — you get a review in the bible of modern metal, Metal Maniacs, and the photo that runs with it is of another band.

In the case of the San Francisco four-piece Walken, it was a photo of a three-piece party-rock outfit from Sioux City, Iowa, whose MySpace "sounds like" reads: "Rush meets Metallica meets Blink 182 meets Nickelback meets Matchbox 20 meets Live meets Red Hot Chili Peppers." With all due respect to Neil Peart and pre-Load era Metallica — seriously?

"They’re total dicks," Shane Bergman, 25, vocalist and bassist for the Original Walken — otherwise known as Vintage Walken or Walken Classic — says during an interview at the Western Addition Victorian he shares with roommate and guitar player Sean Kohler, 27. It’s the crack of noon and the guys are posted up on the couch, drinking coffee, and eating toast and jam in their finest sweatpants. "I’d written the guy a long time ago," he continues. "’Hey, this isn’t cool. We’ve had this name for seven or eight years. We’ve actually put out stuff and toured the US. It’s not cool.’ And they were like, ‘Oh, it doesn’t really matter — we’re in different states.’ I just let it slide. And then I pick up that" — he points to the magazine — "and I’m, like, ‘Well, now it’s gone too far.’ You look through and see a picture of those tools … "

There have been more Walkens, including a band from Melbourne that played weddings and broke up in 2004. The reason for the popularity, most likely, is Christopher Walken’s 2000 "more cowbell" skit on Saturday Night Live. While this settles the name game with pretenders enamored with the sketch, it raises the question: if not for "more cowbell," then why "Walken"?

Like the actor, dancer, and celebrity beer-can-chicken chef, Walken is hard to pin down. When walking in on Walken’s live set and hearing the crushing, dual-guitar assault "Bitch Wizard," from their untitled, self-released 2007 EP, all pummeling drums and clean backing vocals contrasting with deathly, oven-throat howls, it’s difficult to characterize the group — which includes guitarist Max Doyle, 26, and drummer Zack Farwell, 29 — as anything but metal. Perhaps "fuckin’ metal" might be more apt. But it hasn’t always been so clear-cut. "Our Unstoppable record, it was just a weird record," Kohler says of the self-released 2004 full-length. "We thought we were being all revolutionary having these funny rock songs, with funk songs and blues songs … "

"And math rock," Bergman interjects. Unstoppable was Walken’s version, to steal a phrase from Lou Reed, of ‘growing up in public.’"

"Most people sit in their garage when they’re coming up with their sound, but we were actually out there playing it, trying to figure it out in front of people," Bergman says. The band’s music has coalesced into a pointed metal attack. It couldn’t have happened at a more opportune time. While the bottom has fallen out of the housing market, and spending $3 trillion bucks on blowing up Iraqis has wreaked havoc on the economy, stock in metal is clearly on the rise.

"That’s one thing that’s changed about metal," Kohler says. "All of the sudden it’s getting cool again. You can be big and be in a metal band, with Mastodon and High on Fire and bands like that." I’m sworn to (semi-)secrecy, but there’s something on the horizon for Walken, something that Kohler demanded I euphemistically term a "great opportunity," which will put the days of touring cross-country with Hightower on their own dime, playing a couple dozen shows, and coming home dog-dick broke, behind them.

But are the vanguard of 21st-century metal warriors and their burgeoning audience really anything new? While it’s no doubt refreshing to see metal — true metal, not the Hollywood hair-farmer crap that lined record company coffers in a pre-Nirvana world — crawl out from the underground, it seems that it’s still largely aimed at the dudes in black hoodies. Which leads us to simultaneously discuss two major concerns about the future of heavy music: is anything really new, truly revolutionary, or is it all just a remix of old ideas? And just what will it take to woo a crop of hot new metal women away from the evils of floppy-haired emo boys in so-called chick pants?

Thankfully, Kohler’s got some insight: "Everything that’s new is just a reinvention of something else. The only way that I really believe that there can be a new beginning is after most of the human population is annihilated. And then it starts over, just as creative expression is part of life. It slowly becomes a community thing. It starts organically, that’s the point."

"So basically, you blow up the world, and more chicks will come to metal shows," Bergman quips.

Walken is already well into writing a new full-length, but I’ve got to advise them: scrap those songs and work on the concept album. Imagine this: the year is the year is 3052. Global warming and perpetual war have taken their toll. The ice caps have melted and a tribe of mutant metal warrior women of Amazonian stature have arisen from the rubble, repurposing military technology found in underground bunkers into hybrid instrument-weapons, with which they can both rock out and kill you. They rock you to death. Everything metal is new again.

WALKEN

With Hightower, Three Weeks Clean, and Soulbroker

May 1, 9 p.m., $8

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Bad Voodoo tonight

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Editors note: Award-winning reporter and former KTVU news anchor Leslie Griffith sent us this dispatch.

By Leslie Griffith

Tonight you can watch the mother lode of reality shows. It’s called “Bad Voodoo War,” and it airs on PBS’ Frontline. “Bad Voodoo War” is the story of a platoon of 30 soldiers in Iraq armed with both military might and camcorders. Cameras are attached to their humvees and carried in their hands as they take us on a mind-molesting mine-field of monotony that turns into an eruption of violence and leaves viewers sitting as anxious as nervous fingers on a loaded gun.

Director Deborah Scranton (“The War Tapes”) uses her brilliant subject as reporter theme to tell “Bad Voodoo’s War.” With very few “embeds,” (journalists reporting from Iraq,) Scranton jars us into the reality of war by forcing us to see through the eyes of the soldiers.

She chose a California based National Guard unit with seasoned soldiers. Almost all of them have seen prior active duty. They are not wide-eyed “want to be” warriors. They know the ropes, and they know a meaningful mission when they see one. Viewers get the impression there are many reasons to doubt this mission is worth the lives of the extraordinary men Scranton’s cameras introduce us to.

At 18 years old, when most of our sons are working to get into someone’s pants, Jason Shaw learned how to tie tourniquets around his pant legs to keep himself and his fellow soldiers from “bleeding out” during battle. While fighting for control of the Baghdad airport in 1993, the 18-year-old Shaw was awarded the Military’s third highest award for valor, The Silver Star.

He lost six of his best friends during that tour, returned to the states and moved to California to help care for the child of one of those buddies killed in action. Shaw, suffered from post-traumatic stress syndrome, lost his girlfriend and his religion and insisted on returning to die with his “brothers” if he had to. He did not want them in a fight he might be able to help them win. His fear of them dying on the battlefield without him was stronger than his fear of returning to Iraq. He is now 22 years old in “Bad Voodoo War.” I wonder if he understands the bravest people are always afraid.

The Guardian Iraq War casualty report (03/24/08)

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For a breakdown of the positions that relevant politicians are taking on the war in Iraq, visit the slate.com link below. 36 U.S. soldiers were killed this month, which means at least one U.S. soldier was killed for every day that passed. Click here to view.

Casualties in Iraq

U.S. military:

4 U.S. Soldiers were killed in a bomb blast on Sunday bringing the American soldier death toll to 4,000, according to CNN.

The New York Times created a web page called Faces of the Dead, where you can view specific information about all of the U.S. Soldiers who have died in Iraq.

4,276: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

145 : Died of self-inflicted wounds, according to http://www.icasualties.org/

For the Department of Defense reports go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to: www.cnn.com

To view a breakdown of U.S. military casualties by state of residence, click here.

Iraqi civilians:

82,394 – 89,914: Killed since 1/03

Source: http://www.iraqbodycount.net

For a list of recent events that have resulted in Iraqi casualties, visit :
http://www.iraqbodycount.org/database/recent/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Iraq Military:

30,000?: Killed since 2003

Source: http://www.infoshout.com

Journalists:

127 journalists have been killed since the start of the war in March, according to CPJ.


Refugees:

2.2 million: Iraqis displaced internally

2 million: Iraqis displaced to neighboring states

Incessant violence across much of Iraq’s central and southern regions has forced tens of thousands of people to leave their homes every month, presenting the international community with a humanitarian crisis even larger than the upheaval aid agencies had planned for during the 2003 war, according to United Nations High Commissioner for Refugees’ estimates.

U.S. Military Wounded:

132,199: Wounded from 3/19/03 to 3/01/08

Source: http://www.icasualties.org/


The Guardian cost of Iraq war report (03/24/08): So far, $505 billion for the U.S., $63 billion for California and $1 billion for San Francisco.

Compiled by Paula Connelly

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $63 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have been used to provide 3,144,442 homes with renewable electricity, 726,370 people with health care, or 31,528 public safety. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

For more information on what the war is costing the United States visit the American Service Friends Committee website here.