Movies

Made in U.S.A.

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REVIEW Rialto Pictures founder Bruce Goldstein will scoop up the Mel Novikoff award at this year’s San Francisco Film Festival, but local audiences have a chance to sample his good work before then during the Castro Theatre’s run of Rialto’s freshly struck 35–mm print of Jean-Luc Godard’s widescreen, red-white-and-blue firecracker Made in U.S.A. (1967). If the picture seems a helter-skelter jumble of contingencies, it’s important to remember it was but one of four Godard movies to wash up on these shores during the otherwise turbulent 12-month period slicing through 1967 and 1968 (the other three were 2 or 3 Things I Know About Her, La Chinoise, and Week End). Of these, Made in U.S.A. gives the fullest demonstration of Godard’s aim to create a cinema that could take part in the jagged incongruities of modern life. Listing the film’s tangled referents — its confluence of aesthetics, politics, and violence crucially hinges on American hardboiled pulp and the real-life murder of Moroccan leftist Ben Barka — doesn’t begin to describe Made in U.S.A.‘s unexpected pathos. For all its agitprop overtures and modernist complications, the film is also a reflective, conflicted goodbye to the writer-director’s formative romances with American culture and Anna Karina. The porcelain actress, already divorced from Godard by the time the picture was made, gives a fragmented, emotional performance almost entirely in close-up. As the long day closes on Made in U.S.A., an old confidante tells Karina’s Bogart-like investigator that obsolete categories of Right and Left cannot adequately address political problems, to which she responds, "Then how?" That broken question, the neutron star of Godard’s career, shows no sign of letting up.

MADE IN U.S.A. opens Wed/1 at the Castro. See Rep Clock.

A talk with Steve McQueen

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By Johnny Ray Huston

Steve McQueen’s Hunger brings the story of Bobby Sands to the movie screen. As far as directorial debuts go, McQueen’s is a prodigious, visceral one. While a lot of filmmakers try to create Hitchcock-style suspense movies, in Hunger, McQueen goes deeper than those surface concerns to deliver the type of formal daredevilry and structural experimentation worthy of Hitch. He revives the bio drama genre — more specifically, the political bio drama — with a story of one man starving to death. I spoke on the phone with the Turner Prize-winning artist in January about Hunger and topics ranging from his Queen and Country project (Royal Mail stamps depicting recently deceased UK soldiers) to the 1982 Wimbledon final.

SFBG What is the status of Queen and Country at the moment?
Steve McQueen The Art Fund in England has supported the project, and aligned with me and the relatives. It’s a process. People have to be convinced. I spoke to Gordon Brown a couple of months ago, and he wrote back and is looking into the logistics. It’s something I don’t want to let go of until we get it done.

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Steve McQueen photographed by his Queen and Country art project

SFBG It seems there has been a heightened back and forth between the UK art world and feature film, with you and Douglas Gordon, or going back further, people such as Isaac Julien. And also there are filmmakers such as Gus Van Sant, David Lynch, and Michel Gondry, who have had gallery-related projects. By extension, considering you’ve made short works in the art world, I wondered what drew you to want to make a feature for commercial theatres.
SM I can’t answer the question as far as other people are concerned, I can answer simply for me. When I was in art school I wanted to be in film school, and when I was in film school, I wanted to be in art school. I was in NYU for three months but I hated it and left because they wouldn’t allow me to throw a camera up in the air. I went back to London to continue where I’d left off there, within an art context.
That back and forth has always been happening, though. It isn’t exclusive to now. Obviously there’s Warhol and Man Ray. And Ken Russell and so forth.

SFBG I’m glad you bring up Ken Russell — the descriptions I’ve read of [McQueen’s 1993 short film] Bear remind me of the wrestling scene in Women in Love.
SM I never saw it. I saw Tommy.

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Still from Steve McQueen’s Bear

SFBG For whatever reason, though, publications such as Artforum have really shifted their emphasis more to film and film-related art in recent years.
SM Feature film is more populist in its content and approach – it reaches more people. The net gets cast broader or wider year after year within the arts.
Also, film has a certain glamour and appeal to the mass public, and if you can cross over, then people love you even more.

Reilly on Hearst’s Hindenberg

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By Tim Redmond

Clint Reilly calls the San Francisco Chronicle “the greatest wealth destruction machine in American journalism today.” It’s an interesting hit on the situation; he cites a Wall Street Journal interview with investment banker (and media industry expert) Jonathan Knee, who notes:

The reason why most newspaper companies have gone bankrupt or appear perilously close to it is that they have too much debt, not that they have stopped being profitable. For the reasons I have already described, they are certainly less profitable than they used to be, but compared to most media businesses like movies and books, most newspapers still have higher profit margins. Unfortunately, many of these companies maxed out on available debt during a bubble in the debt market just before the debt bubble popped and their own profit margins precipitously declined. That does not mean that these companies cannot continue to generate significant cash flow once restructured into a sustainable capital structure.

Then points out that Hearst’s problem isn’t debt — I suspect the bean counters have already written off as a tax loss most of the $700 million the company paid to buy the Chron. The problem, he argues, is bad management:

With more than 75 percent of its circulation outside San Francisco, the Chronicle is unable to cover The City or the suburbs in depth. The paper’s circulation should have been cut in half many years ago; at 360,000, it remains massively expensive to produce, print and circulate. Resizing alone might have saved the paper by dramatically reducing operating costs across the organization.

All of which, of course, argues against Rep. Nancy Pelosi’s plan to eliminate anti-trust regs and allow the Chron to merge with, say, Dean Singleton’s Media News Group.

Ang Lee: Let’s talk about sex?

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By Danica Li

Ang Lee and James Schamus have, in tandem, produced and directed nearly a dozen movies. They count between them a trio of Taiwanese family dramas, a civil war epic, an Austen-derived austerely British comedy of manners, an encounter with the Hulk, and a Chinese-language film about flying warriors and a green sword of destiny that grossed a whopping 200 million bucks worldwide. The duo took the stage at Berkeley’s Zellerbach Hall recently, in conversation with the Berkeley English Department’s Professor Jeffrey Knapp. The premiere topic of conversation for the first half-hour? Sex.

I diagnose this as program coordinators On the Same Page‘s gesture at edginess and being “with it” — or at least as an effort at warding off the buttoned-up stodginess and rehearsed, by-rote deliveries that have plagued past presentations (see: Stephen Hawking, Garry Wills). For starters, the audience was treated to a presentation clip in which a series of explicit splices from 2007’s Lust, Caution were cross-cut with characters from Lee’s other films expressing distaste and affecting grimaces, a dynamic that ended with a raunchily symbolic big bang (taken from 2003’s Hulk). It was enough to provoke a smattering of laughs from the audience, and was an easy enough segue into the first question: Why do so many of Lee’s films involve sex, as it were?

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An unguarded moment from Ang Lee’s 2007 film Lust, Caution

Peepshow: Gay porn for spring

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Each week Justin Juul highlights a rad upcoming local sexy event

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Who Have you ever seen that movie where the guy pulls out his dick and rubs it on some other guy’s face and then another guy comes in and he’s like “Hey there buddies, can I get me summa dat?!” Or no, wait! How about the one where the guy is sitting in the sauna at 24 Hour fitness just minding his own business, reading the paper, and then another guy comes up and he’s like “Fancy a blowjob, sir?” Those movies were great! Someone should set up an awards show for all the people involved in making them, don’t you think? They could charge tons of money for admission, throw tailgate parties in The Castro, and invite that dude from Ugly Betty to perform stand up comedy. Maybe Margaret Cho could come too. Just a thought.

Janus A.D.: David Enos strikes again

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David Enos is a man of many talents: artist, musician, moviemaker. He recently had a show of art at [2nd floor projects], he’s made a lot of great comic books in the last few years, he did the covers (vinyl and CD) for the new album by the group he’s in, Papercuts. And now, Mr. Enos the director steps behind and in front of the camera once again to add a small chapter to a filmography that includes animated portraits of Jim Morrison, Dennis Wilson, and Leonard Cohen.

His latest effort adds a personalized twist to the great Damon Packard‘s flair for making movies that are previews. Witness Enos as the handsome caped romantic lead of Janus A.D., “an entirely different motion picture experience.”

Cat’s cradle

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› a&eletters@sfbg.com

Independent, slyly defiant, and given to zigzags, the cat is the spirit animal for a certain breed of cinematic gleaners. The films of Warren Sonbert and Chris Marker are packed with the feline kind. A kitty or two shows through the lucid abstractions of Nathaniel Dorsky’s recent work, and Agnès Varda’s La Pointe-Courte (1954) uses the animal as a structural device. Accordingly, Ben Rivers’ This is My Land (2006) opens with a lithe creature snapping its head to face the camera. There are several other such mysterious cameos across the 14-minute film, one of several bricolage studies Rivers has composed of off-the-grid settlers who are themselves catlike in both appearance (the whiskers and quick smile) and manner (gentle wildness).

Rivers must appreciate the cat’s association with the gothic, given his propensity to label his shorts as either horrors or portraits. The London-based filmmaker and programmer comes to town this week for two rare programs split along these lines, though it isn’t as stark a divide as it might first sound. The films are all exquisite documents of overgrown spaces, the kind in which the past is made palimpsest, audible in the creak of floorboards and everywhere apparent in the makeshift and ajar.

There are traces of Murnau, Dreyer, and Herzog in Rivers’ work; the films are welcome demonstrations that Expressionism is nothing so much as a feeling for how the physical world relates to the spiritual one, though musical references are equally revealing. The beards, spirits, and foliage evoke the deep English folk of the Incredible String Band and Roy Harper. In addition, the field recording quilt-work done by Lucky Dragons and the Books provides a useful analogue to Rivers non-sync style. Shot with a wind-up Bolex, Rivers processes the film stock himself, leaving grain and light flecks unpolished, with sound and image each representing an autonomous, well-portioned montage. The films open the same rich interstices of avant-garde, documentary, and ethnography as Apichatpong Weerasethakul’s work, but with an intense intimacy that makes them seem like home movies of the highest order.

The old dark house imagery of Rivers’ gothic curios strike a particularly English chord, but the back-to-the-land portraiture has a special resonance in California. We too know these beards, this tumble of wilderness, this particular migration. If these figures seem to age differently, it’s because their living choices represent a decisive approach to both space and time, something Rivers represents with great cinematic adroitness. The specter of global warming and natural disaster thickens these reclusive reliefs. Rivers has admitted his fondness for ’70s postapocalypse moves, a ripe genre rearticulated in the lunar landscapes and scrapyard play of Ah, Liberty! (2008). Horror, in this context, is a kind of awe. It is inseparable from nature — it is, in fact, nature reclaiming civilization.

"[There are] all kind of wild animals [here], and it’s only because I let it get wild. And that’s my point, but nobody will get it," the central figure of Astrika (2006) explains. Rivers, of course, does get it. The homesteaders’ scattered debris suggests Rivers’ own secondhand materials, improvised objects like a birdfeeder made from a milk container reflect his films construction, and the ethos of self-sufficiency is admired and enacted. The human warmth of his filmmaking emanates from these affinities, which go beyond sympathy to touch the elusive nerve of experience. Rivers’ wind-up camera means that no single shot can exceed 30 seconds. But when the pitter-patter of his images settles on something strange and moving, like a distant view of a horse rolling in the snow, it reminds us that beauty is often a humbling drama of the glimpse.

"THE POETIC HORROR OF BEN RIVERS"

Sat/28, 8:30 p.m., $6

Other Cinema at Artists’ Television Access

992 Valencia, SF

(415) 824-3890, www.atasite.org

"THIS IS MY LAND: BEN RIVERS’ PORTRAITS AND LANDSCAPES"

Sun/29, 7:30 p.m., $10

San Francisco Cinematheque at Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787, www.ybca.org

RIP, Parkway Speakeasy Theater

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Say it ain’t so! Oakland’s Parkway Theater announced this week that its doors will close Sunday, March 22. According to the theater’s web site:

“After more than twelve years of serving the great cultural crossroad of Oakland, the Parkway Speakeasy Theater will be closing at the end of business day, Sunday March 22, 2009.

From African Diaspora to Thrillville to lesbian fashion shows and educational porn, the Parkway has offered an eclectic array of movies and events. It was the first theater in California to offer food, beer and wine service in a lounge style movie theater. With a nudge or a push from the community, there was little programming the Parkway theater would not try in order to better be a community center and a safe haven for diverse ideas. The Parkway brought Baby Brigade for the shuttered and abandoned parents of newborns, the first international black gay, lesbian, bi-sexual, transgender film festival and Sunday Salon, a free event for cultural and community enhancement. We, at the Parkway Speakeasy Theater, are deeply proud of the Parkway and will profoundly miss serving its community. Thank you for your patronage.”

Fortunately, all is not entirely lost — the Parkway owners still have their Cerrito Speakeasy Theater, which, like the Parkway, has beer and pizza (and sandwiches with cheeky names: “The Zombie Cow,” anyone?) on the menu, along with new films and special events, including the ever-cool monthly B-movie celebration, Thrillville. It’s also very BART-friendly — literally just a handful of blocks and a Bed, Bath, and Beyond parking lot’s length from the station.

The Parkway closes down with a trio of standout films from 2008: The Wrester, Revolutionary Road, and Let the Right One In (your choice — five bucks!), plus a movie about Lucha Libre that looks pretty unmissable (seven bucks for this one). Head over and show your support Sun/22, or hit up the Cerrito in the coming months to make sure it keeps unspoolin’ films and pourin’ pitchers of PBR.

Ask a Porn Star: masturbation and legal prostitution

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In which super sexy porn people answer questions — each week — from Bay Area locals
Mediated by Justin Juul

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Fielding your questions this month is local writer/porn star, Stephen Boyer. Check out some of his movies/pics here and an excerpt from his upcoming novel here. Read our 2008 interview with Boyer here. Read the last installment of Ask a Porn Star here

James N: How would legalizing prostitution change the lives of sex workers?

Stephen Boyer: Legalizing prostitution would help prostitutes because they wouldn’t fear being labeled a criminal. They would be empowered and able to take control of their situations better. Plus it would do away with the hypocrisy we are currently indulging in as a society. Take the homophobic Ted Haggard for instance, the priest that was caught with a male escort and forced to leave his church and town. Well, Haggard has since gone on television and has publicly admitted that what he did was a “sin,” but as far as I know he never faced any legal penalties despite the fact he was on drugs committing an illegal act. However, low-end prostitutes are being booked all the time and being shoved down the hellish rabbit hole that is our present legal system. I’m for keeping everyone out of that mess!

Gerry H: How do things change when you tell people that you’ve done porn?

The rise and fall of a Polk Street hustler

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› news@sfbg.com

Last June, a small group of costumed 20-something activists from Gay Shame — wielding saxophones, loudspeakers booming electronica, and bullhorns — held a "séance" on Polk Street to "summon the ghosts of Polk Street’s past."

They performed in front of the recently constructed First Congregational Church — what they call "ground zero" for Polk Street gentrification — built over the remains of what they characterize as a gay hustler bar pushed out of the area by Lower Polk Neighbors (LPN), an organization not coincidentally holding its monthly meeting just a few feet beyond the window during the ear-splitting performance.

It was one of many ongoing clashes as new condos, upscale businesses, and trendy "metrosexual" bars replace Polk Street’s SRO apartment buildings, shuttered businesses, and hardscrabble hustler bars.

Protesters blamed the transition on LPN, a "pro-gentrification attack squad" working to transform the city’s "last remaining public gathering place for marginalized queers." New business and neighborhood associations counter that they are only working to beautify, make safer, and "revitalize" the area — a benefit to everyone, including the street’s marginal residents.

But what has been lost in the noise of this high profile, ongoing clash are the stories, needs, and wishes of the very people purportedly at the center of this conflict: the "marginal queers" and the homeless.

I conducted interviews with more than 60 people during the past year, including sex workers, merchants, the homeless, and social service providers — thanks to a grant from the California Council for the Humanities and the sponsorship of the GLBT Historical Society. And I learned that changes on Polk Street stem from a collapse of the area’s community-based economic and social safety nets in the 1990s, combined with the absence of a viable alternative from the city, the neighborhood, or an increasingly affluent gay political establishment.

That trend is illustrated by the story of one such "marginal queer," known on the street as "Corey Longseeker." In a changing neighborhood divided by distrust and tension, it seems that even people from opposing viewpoints are united in their familiarity with a story that has become the stuff of legend: the most beautiful, most successful boy on Polk Street who became the saddest, poorest homeless man in the neighborhood.

Now, during a time of recession and drastic budget cuts to mental health, drug abuse, and HIV-related services, Corey’s story traces the neighborhood’s history and its present challenges.

THEN AND NOW


Corey, now 39, is a constant presence in the neighborhood. He’s always alone when I see him, sometimes sitting on the sidewalk, his head of long stringy hair in his lap, rocking back and forth slightly. Or walking up and down the alleyways, sometimes stooping over and making cupping motions with his arms — picking up imaginary children, I’m later told. Or walking slowly, alone, near City Hall, his arms straight by his side, his body hunched.

"I came to San Francisco because I wanted to be an artist," he told me. He speaks slowly, softly, laboring, with long pauses. "When I first got here, there were a lot more people. We used to play guitars and drink beers or smoke a joint and just hang out and stay out of trouble."

He was diagnosed with schizophrenia, compounded by years of methamphetamine use and complications related from AIDS — a triple diagnosis that is unusually common among homeless people on Polk Street. Corey’s flashes of clarity alternate with moments in which memories blend into different times and places, and seemingly into dreams and fantasy: "I’ve been trying to protect my little self and my little brother and I’m about 500 homicides behind and I don’t know how to bump and grind to pick up the little morsels and the pieces of the people I liked and loved the way I used to know how to." He paused. "So I just keep on."

Dan Diez, now the co-chair of LPN, believes that homeless on the street such as Corey are negatively affecting businesses and residents who "should not have to put up with people sleeping in their doorways." He even talks of moving the homeless to facilities on Treasure Island as one solution. "I think it’s one of the reasons why these condos that have gone up have not been filled."

Corey and Diez may seem to have little in common, but they maintained a close relationship with each other for more than a decade, and Diez felt so close to him that he characterized himself as part of Corey’s "surrogate family."

It was 19 years ago that Diez first laid eyes on Corey, then a fresh-faced 19-year-old who had just moved to San Francisco. Diez, then a city government employee living in the East Bay, was sitting in the Q.T. II, Polk Street’s premier hustler bar — on the very plot of land where protesters later clashed with the LPN meeting.

Corey "wasn’t what I expected someone like a hustler to look like," Diez said. "I cannot tell you, this kid had movie star written all over him. He was extremely clean and very attractive and he just looked like somebody who walked out one of these suburban towns."

Dan befriended Corey, taking him to Burger King, listening to rock music in his car while Corey drew and writing poetry. Dan slipped him $20 bills and took him to movies. With time, he also brought him to the spas to clean Corey up, took care of his laundry, and bought him clean underwear and food.

"A lot of the kids on the street were hustling," Diez said, "but I did not pick up at that time. Corey was the only person I was really interested [in] ‘cuz he was something different. He was a person with a creative bent, which I really admired."

Diez says their relationship was not sexual, though he did enjoy being physically close with Corey. "He was someone I liked being around. It was just really a nice relationship."

In a letter Corey wrote in the late 1990s, he calls Dan one of his "sponcers" [sic], along with another man Diez said is a "multi-multimillionaire" and "very well known in San Francisco." This man bought Corey a car and provided him with plenty of cash and drugs as one of his clients. In Corey’s letter, he says the man "made me into a liveing legand [sic] at the age of twenty two years old by letting me have enough money." Corey listed as his "Boss" a bartender at the Q.T., widely known for facilitating hookups between johns and hustlers, and spoken of warmly by many as being a "big mama" to kids on the street.

By this time, many of the buildings that had held thriving businesses in the ’70s and ’80s were shuttered, leaving sex work and drug sales as a few of the street’s dominant economies. People such as Corey, widely considered to be the most beautiful and lucrative sex worker at the time, were Polk Street’s economic engines.

In fact, Q.T. manager Marv Warren was president of the merchant’s association in the 1990s. The sex trade turned profits on the streets and in the bars. "Most of us didn’t like the idea of these kids hanging out because it didn’t look good," Steve Cornell, owner of Brownies Hardware, recalled. "[But] if there are male prostitutes out there and there are businesses that thrive on that, they’re part of the business association too."

THE BOTTOM LINE


The current conflict on Polk Street has been framed as one between profit-hungry business owners and marginalized queers. But on Polk Street, a coveted bloc of city space long zoned as a commercial corridor, the buck has always been the bottom line.

This is not to discount the deeply emotional ties many have to the area, many who reported escaping abusive families and discrimination to find themselves and their first real family in Polk Street. Just the opposite: the history of Polk Street shows that community and commerce were closely linked.

In the early 1960s, gay men bought up failing shops along the street and created posh clothing stores, record shops, and elegant restaurants. Failing bars and taverns cashed in on gay consumer power. The community combined economic and political power to win major gay rights battles.

Most famously, bartenders formed the Tavern Guild in 1962, the nation’s first gay business association, which combined economic self-interest with charitable support for the nascent gay community. According to historian Nan Alamilla Boyd, the Guild "represent[ed] a marketplace activity that, in order to protect itself, evolves into a social movement."

The Imperial Court, part of the Guild’s fundraising arm, elected Empresses who raised funds for people in the community who needed housing, drug treatment, mental health services, or help with their medical bills. In the ’70s and ’80s, the Polk Gulch was a magnet for young people around the country escaping abusive homes and discrimination, and who therefore did not have the educational or employment background to make it on their own in the city.

Anthony Cabello came to Polk Street from a working class family in Fresno as a teenager in the late 1960s, dining as the guest of an older lover at the posh P.S. Lounge. As a student at a nearby college, he formed lifelong relationships with men on the street who took him to fancy hotels, plays, and dinners. "I did not mind the monetary help, but that wasn’t my primary concern," he said. "I was getting exposed to things that normally, I wouldn’t have the ability to do." He toured Europe in a theater troupe, worked a number of jobs on Polk Street, and now manages the neighborhood’s Palo Alto Hotel, which continues to house people living with AIDS and people of meager means.

Coy Ellison found a safe haven in Polk Street as a teenager in 1978. He did under-the-table work at gay businesses through an unofficial job pool at the street’s bars. That allowed him to avoid being caught by the police and sent back to an abusive home. "There were a lot of people doing that at the time," he said. "Let’s say you needed your apartment painted, was there a kid here who knows how to paint and [the bartenders would] send him off." He later climbed the employment ladder through the bars by working as a bouncer, providing support for new young people coming to the area. He now lives a few blocks away with his partner.

Kevin "Kiko" Lobo moved from San Francisco’s Mission District to Polk Gulch in the early 1980s and found work on the street as a sex worker in bars like the Q.T. "Nobody lost because the bar made money, I got a few drinks, and I met clients." He pooled money with his "street family," made up of teenagers escaping abusive homes and discrimination. On the street, "everything was family," Lobo said. "We all looked out for each other. If you didn’t make any money that day it didn’t mean you were going to sleep on the street." Kiko eventually worked his way into the bar business, becoming a bouncer and later a DJ.

COREY’S STORY


Diez learned that Corey grew up in a deeply religious family in a small town in Minnesota. His mother and father worked in factories, and hunted and fished in the countryside. But "something happened in that family," Diez said. "Either he did something really wrong and they could not put up with him, or they did something wrong and he could not put with up with them, or both — I don’t know." Corey never graduated high school, instead leaving Minnesota for San Francisco.

Corey gave Dan clues as to his move in a series of letters he wrote him from jail, where he was sent on a series of drug charges in the late 1990s. He wrote about three "childhood nightmares" that were "true life stories" and "part of my past survived existence."

He wrote of being part of a "bunch of little gay boys" in high school who "were not allowed to live a normal life one on one with their partners, among lost immediate family, and unforgiven [sic], misunderstanding, or nonaccepting [sic] religious traditional old fashioned folks.

"Our very own parents used to laugh and giggle, and be cruel to us. And no matter how gifted each child was, our parents watched us and made harsh comments, and truly not funny jokes, and then forced us by broken pride, trust, and rejection to survive in Satan’s swamp.

"Some parents are not willing to understand the flower children of the nineties," Corey wrote, but now "I am trying to step out of a nightmare and back into a Dream … [to] kickstart the new flower child era" in San Francisco, "like the hippies once did, so will we rise above once again."

A San Francisco State University study published in Pediatrics in January found that LGBT youth who reported higher rates of family rejection were eight times more likely to report having attempted suicide, and more than three times more likely to use illegal drugs and have unprotected sex, compared with their peers who reported lower levels of family rejection.

Those escaping persecution also appear more likely to be runaways or homeless. While approximately 3-10 percent of the U.S. population identifies as lesbian or gay, 30 percent of youth served by San Francisco’s Larkin Street Youth report that they are lesbian, gay, bisexual, transgender, or intersex.

POLK FALLS APART


By the time Corey arrived in 1990, the twin epidemics of AIDS and methamphetamine addiction were wreaking havoc on Polk Street.

Harvard-educated ethnographer Toby Marotta, who worked on several federally funded research projects in the Polk Gulch, said that by the mid-1980s "the whole southern end of Polk Gulch was being transformed because of methamphetamine use."

Speed was the perfect drug for the early days of AIDS, when people were terrified and confused: it produced feelings of euphoria, a sense of invulnerability, focus, and a desire for sex. But while the drug "produced long mind-escapes" for people who used it, Marotta said, it "completely undercut the personal relationships and social obligations essential to functioning community."

Combined with a national recession and a rash of Polk Street business closures, the economic health of the street, and the support systems enabled by it, suffered a tremendous blow. The money, energy, guidance, and options for street youth employment through local bars and businesses were quickly disappearing.

By the late 1970s, the city’s gay political center had moved to the more affluent Castro District. "For those of us that depended on the street to survive, the money was harder and harder and harder to make," Lobo said. "And that’s what [began] the downward spiral. Some very pretty boys have become very ugly people because of the … loss of the great community."

A large homeless shelter moved onto Polk in 1990, along with much of the hardscrabble Tenderloin population. A different kind of john came to the street, and there was less respect for sex workers, leading to more escape through drug use. Ellison left his work at the bars in the 1990s, when the community of bartenders that had kept violent crime in check on the street broke down. Sex workers increasingly started advertising in newspapers, and later on the Internet.

Corey began using the speed that was rampant on the block, quickly becoming addicted. Diez worried that by continuing to give Corey money, which he used for drugs, he was "keeping him where he was at" instead of helping. "I eventually always gave in because I always wanted to see him have something better," Diez said. "I just enjoyed being with him. Even if we weren’t talking and he was just writing, I just liked him being there. He was company."

As Corey began using more speed, his artwork "became wilder and wilder." He started to lose his teeth, and his blonde hair turned brown. "He went down, I would say, fairly fast," Diez recalled. Spas began to refuse to serve him. He would wander into the street to pick up imaginary children, and began to be more difficult to talk with. "He went into a lot of gibberish or psychobabble," Diez recalled. "He started to look almost Charles Manson-like."

James Harris, a Polk Street community member since 1978, met Corey when he came to the city in 1990. Harris left in the mid-’90s, and when he returned in 2001, he barely recognized Corey. "I just could not believe what I was seeing. What was once a strapping, good-looking, young man had been reduced to this homeless, toothless guy. It freaked me out so bad. It took me a little while to get over it."

Harris has no doubt that Corey’s decline was linked to the breakdown of the Polk community. "If Corey came to Polk Street in 1980, he would have a job as bartender maybe, working somewhere, maybe living in the Castro," he said. "No question about it." Many people who now work in Polk Street businesses and social service organizations started as runaways and sex workers on Polk.

"In the ’60s and the ’70s, it was like a big party atmosphere. I, fortunately was taken under several people wings," said Cabello, the Palo Alto Hotel manager. "Now people don’t have the cash flow, ‘cuz economically times have really changed. People who were out partying and being able to take somebody home and help them find a job are basically waiting in line at Social Security and making sure that their housing is together."

INTO THE SYSTEM


Gay bar patronage decreased citywide in the 1980s and 1990s, the result of AIDS-related deaths, a generational shift, and later the rise of the Internet. The Tavern Guild disbanded in 1995, and by the late 1990s, most of the Polk Street bar owners had either died or retired. Most of the remaining gay bars were remade into upscale heterosexual or mixed drinking establishments, serving new residents attracted by low rents during dot.com era.

Lower Polk Neighbors represented this new bloc of business owners. Diez joined LPN in 2001, when he retired and moved to Pacific Heights. They planted trees, cleaned sidewalks, and successfully pressured the city officials to increase the number of police patrols in the area. In one of their most controversial actions, they opposed the relocation of the RendezVous bar, which they blamed for nurturing the street and hustler population.

Corey and people like him, once the street’s economic engine, were now bad for business. After his string of arrests on drug charges in the late 1990s, Corey always came back to Polk Street after being released. In 1997, he was arrested, diagnosed with HIV while in jail, and sent to a psychiatric hospital.

The most recurrent theme in Corey’s letters from this period were finding love and proving to himself that his love was okay. In a poem, he wrote, "God’s gift a soul /it was not shattered, battered, but whole / … My love from within /was not curse … scattered, tattered, or sin/than [sic] I found I did win /see like yang of yin /by forgiving within /my mind and my kin. I’m forgiving their sins."

When the Rev. Megan M. Rohrer, director of the Welcome Ministry, first met him in 2001, Corey was having "loud, yelling conversations" on the sidewalk outside Old First Presbyterian Church, where he often slept at night. "He was having the conversation of the day he came out to her, and his Mom was always trying to tell him why he couldn’t be gay, and why it was a bad thing. He was always trying to have the conversation that that was who he was, and it was how he loved, and he just kept having the conversation over and over and over, trying to have a different result, which never happened."

The organization formed in the late 1990s as a result of complaints about the increasing number of homeless in the area. Rohrer estimates that 98 percent of the homeless who live in the Polk Gulch and come to the Welcome Ministry have been part of the Polk Street sex work industry. Like Corey, they had aged into the general homeless population.

For four years, Rohrer tried unsuccessfully to place Corey in a hospital or get long-term treatment from the city. Ironically, it was the result of increasing neighborhood complaints that he finally found this. "The neighbors were getting really angry and wanted to get rid of the homeless from the area," Rohrer recalls. In 2005, Corey was arrested on drug charges as part of what she characterized as a sting operation.

The breakthrough came when he was arrested and declared mentally unfit to stand trial for the first time since 1997. The court sent him to Napa State Hospital, a secured mental facility where he was required to take medications. "Finally Corey was getting the mental health services he needed," she said.

In the absence of sufficient social services, this has become standard policing practice, according to Al Casciato, who heads San Francisco Police Department’s Northern Station. "We do not have a front end to the criminal justice system in the health arena that allows us to take these people and put them in a secure facility," he told the Guardian.

"What happens is that we wait until they get in trouble in order to put them in jail to get them off the street and then try to get them into services. We should be trying to get them into services first, but we do not have the capacity to accept everybody into services." Even after police convince a person to use services, during the long waits due to the lack of services, sometimes months at a time, "they fall back into their pattern of either drug abuse, or if they have a mental health issue, their depression starts to spin out again."

Corey was at Napa State for nearly a year on medications. "Corey make some really good strides there," Diez said. "He was also at his artistic high points … he built balsawood airplanes that he gave to children." When he was declared competent to stand trial and sent back to San Francisco, "he was like a completely different person," Rohrer recalled. "He was so with it. He was really clear about what he wanted and where he wanted to go."

But Rohrer spent two months navigating the bureaucracy to get Corey the medication he needed, during which he had slid back into schizophrenia and was no longer willing to take his prescriptions. "It was like watching Corey emerge in this beautiful way and then to disappear," Rohrer said. He’s never been back on medication, and his condition has not improved.

Rohrer was able to find him housing in a nearby SRO hotel through the Homeless Outreach Team, instituted in 2004 as part of Care Not Cash — part of a dramatic move indoors for the homeless in the area. It was an improvement from the streets, on which the supportive "street families" had now broken down. But it’s unclear whether Corey is capable of living on his own, or whether the case managers assigned to him are sufficient.

"They weren’t there," Diez says. "Because I was vacuuming his floor, I was cleaning his sink, I was taking his dirty clothes out. As much as I hate to say it, Corey needs to be in a medical facility where he can have some psychiatric help."

When I visited Corey in his apartment a few months ago, cartoons played on the television, the only piece of furniture other than his bed. His walls were bare and the sink fastened to the wall was clogged with brackish water. The carpet was filthy with cigarette butts and a mouse ran over my feet.

BOTTOMING OUT


Now, with major budget cuts across the board, services are being cut at the time when they are most needed. This will have a tremendous negative impact not only on people like Corey, but also on business owners and service providers in the Polk neighborhood.

The Welcome Ministry will lose big grants next year, Rohrer said. Jennifer Friedenbach, director of the Coalition on Homelessness, says that budget cuts in the works will have a "huge and dramatic impact" on people like Corey and will "devastate" mental health treatment services — with as much as a 44 percent reduction in the publicly-funded mental health treatment system and similar reductions for substance abuse treatment.

Ann R.P. Harrison, director of New Leaf, a mental health organization that serves 1,500 LGBT people a year, says they recently reduced staff hours and the amount of services offered, and, like most nonprofits, are looking at up to a 20 percent budget reduction starting July.

Toby Eastman of Larkin Street Youth, which serves youth under 25, says that $100,000 in HIV prevention services cuts from the Department of Public Health mean "significantly reduced the prevention staff." Eastman expects the cuts to increase next year, at a time when she sees other smaller agencies closing their doors.

Diez and Rohrer take away different lessons from their experiences with Corey. Diez says he has "hardened" about homelessness and has stopped talking with Corey. "I was an enabler for him, which I didn’t like doing but I was always hoping that what I was doing was helping him," he said. "But maybe not. Corey made choices, and maybe they weren’t good choices. And you can’t blame that on the city. It’s gotta go both ways." Once the keeper of Corey’s Social Security card, money, and other personal items, he has now handed that responsibility to Rohrer.

Rohrer sees a failure of the social safety net. "There’s a barrier to getting mental health services that seems like it’s set up so that people will fail," she said. "Places that accept MediCal or city patients can take two months before they can get an appointment. The hospital does not even have the capacity to help those police deem a threat to themselves or others."
"There were gay bars here, and there were affluent men, and that’s not here anymore," Diez said. "The bars are gone, those people who went to those bars don’t come anymore, and Corey’s just a remnant. He’s just existing. He’s surviving. He’s just something that’s eventually going to disappear from the scene."
For now, Corey poses both a challenge for the emerging Polk community and an opportunity for a divided neighborhood to find common ground. He still has dreams, Rohrer says, even if they might not be realistic. "We’re not expecting him to be a Wall Street CEO," she said. "But he’s always going to be stuck in the past if he doesn’t achieve some of his future hopes."
Joey Plaster is curator of "Polk Street: Lives in Transition," an exhibit open through May 31 at the GLBT Historical Society. More information at www.glbthistory.org/PolkProject.

“Fridays at the Ballet”

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PREVIEW By now the fact that San Francisco Ballet is one of the hottest ballet companies in the country is no longer news. It’s also common knowledge that ballet is an extremely expensive art form. Ticket prices reflect that unfortunate reality. That’s why SFB’s "Fridays at the Ballet" are such a good deal. For $59 (or even less if you shop around) you get a performance plus drinks afterward in the War Memorial Opera House lobby. The first of this season’s "Fridays" features Helgi Tomasson’s lovely, romantic On a Theme of Paganini (2008) and two glories of the repertoire — Jardin aux Lilas (Lilac Garden) and The Concert. The SFB premiere of Antony Tudor’s 1936 Jardin aux Lilas celebrates Tudor’s 100th birthday with an early work that is perhaps his all-time masterpiece. Its drama, its heat, its agony are underground; nothing is spelled out, everything is implied. Yet this story about love acknowledged and love denied will haunt you. Jerome Robbins’ 1956 hilarious The Concert strikes an altogether different note. Ballet doesn’t take to comedy easily, so Robbins was in for a challenge — but he watched silent movies and studied comedic timing. His mayhem in the concert hall has become a classic, and SFB has the dancers to pull it off. It’s the first of Robbins’ choreographies set to Chopin, a composer he would use very differently in later works, and all you can do is pity the poor pianist who has to contend with the kind of audience Robbins gave him. "Fridays at the Ballet," with a different program, returns April 3.

"FRIDAYS AT THE BALLET," Fri/20, 8 p.m., $59, War Memorial Opera House, 301 Van Ness, SF. www.sfballet.org/fridays

SFIAAFF: “All Around Us” and “The Chaser”

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By Natalie Gregory

Some movies do not need to be so long. Ryosuke Hashiguchi’s All Around Us feels a little like that. One of the installments in this year’s San Francisco International Asian American Film Festival, it’s mainly about a couple in the 1990s who aren’t all that in love, but come to care for one another. A few key things happen that guide the story: they have a baby who dies in infancy, which sparks a depression in Shoko, the wife. Kanao, the husband, gets a job as a courtroom sketch artist, witnessing the real life trials that occurred in the nineties. The crimes are bizarre and fucked up.

As far as representing the progression of a relationship, this film nails it. There’s a moment mid-way through the film where Shoko breaks down and expresses her frustration with Kanao’s inability to communicate. It’s a semi-climactic scene. Before this, they truly don’t communicate very much. At least not very well. Anyway, the argument ends with a better understanding between the two. Kanao says he wants to kiss her, but instead he wipes the snot from her face (she’s been crying). It’s actually pretty romantic. It feels like we are witnessing an intimate moment, something real and connected.

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Ask a Porn Star: Sex with Stephen Boyer

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In Which Super Sexy Porn People Answer Questions — each week — From Bay Area Locals
Mediated by Justin Juul

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Fielding your questions this month is local writer/porn star, Stephen Boyer. Check out some of his movies/pics here and an excerpt from his upcoming novel here. Read our 2008 interview with Boyer here, and the last installment of Ask a Porn Star here.

James N: Do you enjoy the sex you have on camera or do you just sort of block it out and then count the money?

Boyer: I enjoy it for the most part. I got into the industry to pay rent. Then I started branching out more with my sexuality. Then I found Kink.com and a world full of toys I could explore and that is when sex got really fun and interesting. The great thing about porn, for me, was that it allowed me to try sexual positions and feel sensations that required toys that I couldn’t afford because I was poor. Doing it on video both paid my rent and gave me the opportunity to have sexual experiences with attractive contemporaries.

Elan F: What is the one thing you hate the most about sex?

Indie notes

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› a&eletters@sfbg.com

A D.I.Y. movie musical made for all of $15,000, indie popster-turned-scenarist/actor H.P. Mendoza and local cinematographer-turned-feature-director Richard Wong’s Colma: The Musical proved to be the little movie that could after its 2006 San Francisco International Asian American Film Festival debut. It won a limited theatrical release and critical praise, including a flattering New York Times review. After collaborating on last year’s unclassifiable (IMDB lists it as "action/drama/musical/thriller") SFIAAFF premiere Option 3, they’re back with Fruit Fly, which isn’t quite a Colma sequel but feels like one. It brings back that film’s Maribel (L.A. Renigen), this time starring as a straight newcomer wading into SF’s theater and gay-nightlife scenes while dealing with some unresolved identity issues. With 19 numbers (including "Fag Hag"), it is once again not your grandma’s (or even ABBA’s) kind of musical.

This time around Mendoza (who also plays a supporting part) is in the director-editor’s chair. But Wong’s brightly colored widescreen HD photography is once again an outstanding element. He spoke with the Guardian before Fruit Fly‘s bow as this year’s SFIAAFF Centerpiece presentation.

SFBG H.P. Mendoza directed this time, but it seems like the two of you are collaborative in most aspects of the movies you’ve made together.

RICHARD WONG I was certainly very involved in a lot of different ways. This is definitely H.P.’s movie, though. We were originally going to do something called On Sundays. Where Colma was kind of H.P.’s story, I wanted to do a movie about my family dynamic, this big, grand musical. But the economy really screwed that. We decided to use our CAAN (Center for Asian American Media) grant just to jump in and do something, [resulting in] both Option 3 and Fruit Fly.

SFBG You must have been really surprised by the exposure Colma got.

RW So much has happened since then, it’s really changed my life. I can attempt to be an actual, serious filmmaker. When we were making it, it was hard to see that as even a possibility. It was so remote. Of course all the timing was wrong with the writer’s strike and the recession, but nonetheless, I honestly still can’t quite believe it.

FRUIT FLY

Sun/15, 6:15 p.m., Castro

March 20, 6:30 p.m., Pacific Film Archive

March 22, 7 p.m., Camera 12

THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL March 12–22. Main venues are the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Camera 12 Cinemas, 201 S. Second St., San Jose. Tickets (most shows $11) are available at www.asianamericanmedia.org. For this week’s schedule, see film listings.

Naked kiss

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› johnny@sfbg.com

One of the things that I appreciate most about Curt McDowell’s art is its shamelessness. It is shameless in a lively, funny, righteous, even virtuous manner that should embarrass prudish American moralists. "An uneven dozen broken hearts," a show of the late filmmaker’s paintings and drawings, is a revelatory pleasure because of how directly it conveys McDowell’s lust for and love of simple revelry. A scrapbook of photos and drawings attests to McDowell’s appetite for asses and fascination with faces, but ultimately, it’s a testimonial to a sexuality that shirked labels as it stripped off clothing. A collaged wall of comics and portraits brings one in close contact with McDowell’s rich sense of community — one that blurred love and friendship, and mixed family members with figures of imagination.

McDowell’s untamed and uncensored spirit couldn’t be more refreshing today, when pornography (whether commodified or autobiographical) is endlessly subcategorized. But while McDowell’s big heart and healthy libido make for predictable discoveries, his serious talent as a painter comes as a surprise. As a filmmaker, McDowell blazed his own path with short works such as 1971’s self-explanatory yet unexpectedly rich Confessions and 1980’s equally direct Loads. (In 1972’s Ronnie, he merges porn and biographical portraiture with unmatched potency.) His most famous work is the two-and-a-half hour pornographic epic Thundercrack! (1975). It turns out he was just as fierce and skillful with a paintbrush or a set of Magic Markers as he was with a camera.

One of the show’s centerpieces is Untitled (the Beatles in autopsy), a nearly life-size oil-on-canvas naked and dead portrait of the Fab Four from 1968 that deserves a spot in the rich museum of cryptic Beatles iconography and perhaps even within the hall of pop art classics. John has his left arm over Paul’s shoulder while a diminutive Ringo, lying on his side, is nestled into Paul in a manner suggestive of a child seeking comfort. George is isolated — he’d be looking off in the other direction from the other three if his eyes were open, but like theirs, his are closed in eternal drowsiness. The languid full-frontal sexuality of the painting is tonally different from the sexual high jinx in McDowell’s movies. Melancholy emanates from the image, as much due to its dark colors as its subject matter. And there’s an eerily prescient element: the late John’s and George’s names are visible on their corpses’ ID tags, while Paul’s and Ringo’s remain obscured.

"[Curt’s] beefcake was hot off the streets and the cheesecake was equally tart and titilutf8g," McDowell’s closest peer George Kuchar writes with quintessential alliterative brio in a note for the show. "All of this was served in a blue plate special that was generously filled with obsessions immune to none." Anyone who has a heart won’t be immune to "an uneven dozen broken hearts," another inspiring act of queer revivalism by curator Margaret Tedesco.

CURT MCDOWELL: AN UNEVEN DOZEN BROKEN HEARTS

Through March 29

[2nd floor projects]

www.projects2ndfloor.blogspot.com

Ask a Porn Star: Sex with Stephen Boyer

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In which super sexy porn people answer questions – each week – from Bay Area locals. View the last installment here.
Mediated by Justin Juul

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Fielding your questions this month is local writer/porn star, Stephen Boyer. Check out some of his movies/pics here and an excerpt from his upcoming novel here. Read our 2008 interview with Boyer here.

Gerry H: Do you ever get bored in the middle of a sex scene?

Boyer: I tried to do a scene with a trans-woman once and she couldn’t get it up. Then she started to complain that she was sick. After that, she started having all of these negative body issues and eventually broke into tears. A few minutes later, she was saying she wanted to leave the porn world once and for all. I wasn’t bored, but the experience was sad and disheartening. So no, I’ve never been bored but I’ve had negative experiences.
Another experience that comes to mind happened a few years ago on set in Los Angeles. The shoot lasted four days and was a porn version of the popular TV show “Survivor.” Every day a few of the boys would get kicked off. One of the boys had just turned 18 and had recently run away from home because his parents were really conservative. He was struggling to pay rent so he got into porn. The “Survivor” thing was his first shoot and the director wanted him to bottom, but not just for anyone; the director specifically made him bottom for a guy with a 12-inch dick that was also really thick. When the boy’s scene finally came up, everyone was watching because no one believed he could take it. But he did. The kid took the dick for like four minutes and then a huge pool of blood shot out of his ass. He was kicked off the show that weekend. He was paid but he didn’t make as much as the rest of us who had “survived” the whole thing.

Rights way

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Ask any filmmaker: facts and figures may horrify, but images are what leave the most lasting impression. With raw and shocking footage of worldwide atrocities, the movies featured in this year’s Human Rights Watch International Film Festival speak multitudes — even when their narrators are silent. Rather than attempt to encapsulate the entirety of the injustices committed, these films focus on the human side of things. And so we get glimpses: a mother weeping over the daughter taken from her, a student cradling her bloody head as she leads a protest.

Two particularly effective films restrict their focus to the women involved in these struggles—as perpetrators and as victims. Tamar Yarom’s To See If I’m Smiling (2007) avoids such labels and focuses on female Israeli soldiers as individuals. Some might criticize the film for its apolitical tone. While many of the women lament war crimes, they have little to say about the Israeli-Palestinian conflict as a whole. But the story that emerges from these interviews is a unique one, and a valuable addition to the ongoing debates. To See If I’m Smiling doesn’t seek to justify the actions of the Israeli Army, but rather to give its subjects space to reflect — both on their rights and on the rights they served to protect.

The scope of Julie Bridgham’s The Sari Soldiers (2008) is considerably wider. Her female subjects are the civilians of Nepal, the Maoist rebels, the Royal Nepal Army soldiers. Some are loyal to the king, while others march in protest. Bridgham wisely avoids coming down on one side or the other, allowing us to see that these women are united not by ideologies, but by their shared belief in a better Nepal.

One film can’t sum up a human rights quandary — and it surely can’t solve it either. At the very least, though, this festival gives a voice to people in dire need of speaking, whether through pictures or words.

HUMAN RIGHTS WATCH INTERNATIONAL FILM FESTIVAL

Wed/27–Fri/27, $5.50–$9.50

Pacific Film Archive, 2575 Bancroft, Berk.

March 5–26, $6–$8

Yerba Buena Center for the Arts, 701 Mission, SF

www.hrw.org/iff

Tharoor: Slumdog Oscar

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Shashi Tharoor is a contributing writer for the Project Syndicate news series. Tharoor, a novelist and commentator, is a former Under Secretary General of the United Nations.

Slumdog Oscar

By Shashi Tharoor

NEW DELHI – Indians haven’t often had much to root for at the Oscars, Hollywood’s annual celebration of cinematic success. Only two Indian movies have been nominated in the Best Foreign Language Film category in the last 50 years, and neither won.

So Indians take vicarious pleasure in the triumphs of “mainstream” pictures with an Indian connection – the seven Oscars won by Richard Attenborough’s Gandhi in 1983, for instance, or the success of The Sixth Sense, written and directed by a Philadelphian of Indian descent, Manoj Night Shyamalan.

Ask a Porn Star: Prepping for porn

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In which super sexy porn people answer questions — each week — from Bay Area locals. View the last installment here.
Mediated by Justin Juul

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Fielding your questions this month is local celebrity, Lorelei Lee. Lee specializes in fetish porn (water torture, whips-n-chains, electrocution, etc.) and has a blossoming side-career as a writer. Check out some of her movies/pics here.

Jon N: How much prep time do you take before doing a shoot? Any special routines?

Lee: There is a certain amount of physical preparation: body hair removal, skin care, manicures and pedicures, etc. I do warm-water enemas before any kind of anal scene. Then there’s always about two hours of paperwork, make-up, hair, and costuming before every shoot.

When I first started working, I would get much more nervous before shoots, and I think I had a little bit more of a ritual about it –I liked to have a bit of quiet-alone time both before and after work. These days, the most important thing I do before a shoot is get enough sleep. I’m totally a grandma in that way. People think porn performers stay up all night at endless parties doing drugs or something. I’m usually way too exhausted to go out at night, especially when I’ve been working every day with seven or eight a.m. call times. The night before a shoot I always try to be in bed by ten or eleven.

Peepshow: Bitches, dykes, faghags, and whores invade San Francisco!

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Each week Justin Juul highlights a rad upcoming local sexy event.

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Who Penny Arcade is a performance artist/playwright who, as a 13-year-old girl, would climb out of her bedroom window to do LSD with queers, junkies, prostitutes and the crème de le crème of New York’s art world. When that got boring, she began doing theater, which, to her surprise, she found more exciting than drugs and bottom dwelling. Her first big role was in the John Vaccaro directed Kenneth Bernard play, The Moke Eater. After that, she starred in a number of plays and then moved on to acting in movies. Or at least, that was the idea. By the time her first film, Andy Warhol’s Women in Revolt, began to attract mainstream attention, Arcade had become a bona-fide teenage starlet. Not a good thing. Arcade was so freaked out by the sudden stardom that she ran off to Amsterdam for 10 years. When she returned to the states in 1980, she immediately resumed her theater work, starring in plays and eventually turning her attention to writing. She’s been producing, directing, and starring in her own shows (Bad Reputation, Based on a True Story, La Miseria, etc.) around the world ever since. And you thought your grandma was cool because she used to smoke pot! Pssssh.

What Bitch!Dyke!Faghag!Whore! is Penny Arcade’s super ballsy (har har) take on censorship, feminism, and a life less ordinary. A series of semi-autobiographical monologues punctuated by go-go dancing, nude performance art, and audience participation, the piece touches on hot topics like gays in the military, the marketing of “bad girls” in pop-culture, and the politics of rape. Local dancers and freaks are contracted for every performance, so expect to see some familiar faces.

Where Brava Theater Center (2781, 24th. SF). Tickets ($20 – $45) available here.

When February 25th – March 7th.

Why Because you’re “a little bit of everything, all rolled into one.” –M. Brooks, I’m a Bitch.

Another blue world

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"Cinematic" is one the most overused adjectives in the music reviewer’s lexicon, practically guaranteed to appear at the first sign of a Morricone-like expanse of sound. And yet, how else to describe The Blue Depths (Jagjaguwar), the lush new album by Odawas steeped in the stormy synth scores of Vangelis (Blade Runner) and Joe Serra (The Big Blue)?

Meeting the duo for a beer in Berkeley, where they’ve recently relocated from Chicago, the talk was as likely to turn on a scene from Neil Jordan’s film Mona Lisa (1986) as the baroque night flights of Scott Walker. "There was actually a [keyboard] setting I used on the demos called ‘Movie Soundtrack,’" vocalist Michael Tapscott confesses, though his partner Isaac Edwards’ glacial arrangements plunge deeper than any prefab setting. "I’m not an engineer or programmer by any stretch of the imagination," Edwards tells me, "but that’s exactly what I was doing on this album. A lot of it was me doing things you’re not supposed to do with the synthesizer."

The duo’s first two records indulged concept album excess, but for The Blue Depths they made a conscious effort to have each of the songs stand on its own before embedding it into the swirling synth architecture that Edwards repeatedly describes as a "world." It worked: the hooks of "Harmless Lover’s Discourse" and "Swan Song for the Humpback Angler" lodge in your brain for days, but the actual listening experience is submerged in the narrative of the arrangements — the way a Neil Young–ish harmonica rises from the mists of "Moonlight/Twilight," for instance, or how a processed guitar lead punctures the drifting "Secrets of the Fall."

Tapscott and Edwards first met at Indiana University, bonding, appropriately enough, over film reviews: Tapscott was an editor of the school paper and took a shine to Edwards’ taste in movies. Neither had experience in other bands before Odawas, perhaps providing some of the innocence required to skip straight to crafting epic recordings.

The desire to set out over unknown terrain underlies the duo’s name, which has autobiographical resonance for Tapscott. "When I was little, my family would spend summers up in northern Michigan, and off in the distance of the lake there was an island named Beaver Island," he explains. "We’d take our little blow-up raft out, but it was 20 miles away, and we were never going to get there. And that’s where the Odawa [tribe] lives, on Beaver Island…. It’s a nod to the distortion of childhood memory."

When I talked to M83’s Anthony Gonzalez last spring about his John Hughes–inspired album Saturdays=Youth (Mute, 2008), he drew similar parallels between daydream memories and imaginary soundtracks. Who knows what dizzying heights Odawas might reach in their new home by the Bay, where movie love is nothing but a case of Vertigo.

ODAWAS

With Port O’Brien and Dame Satan

Fri/27, 9 p.m., $13

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Ask a Porn Star: Specifics, sex with strangers

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In which super sexy porn people answer questions — each week — from Bay Area locals. View the last installment here.
Mediated by Justin Juul

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Fielding your questions this month is local celebrity, Lorelei Lee. Lee specializes in fetish porn (water torture, whips-n-chains, electrocution, etc.) and has a blossoming side-career as a writer. Check out some of her movies/pics here.

Tony T: What does a porn director tell you to do? How specific does he/she get?

Lee: Sometimes we get very specific direction, exact positions and order of actions. Sometimes the scenes are scripted. But the majority of my work is what’s called “gonzo” porn – which basically means it’s all sex, no plot. In most of these scenes, I get a basic premise for the scene, a set-up, and a few specific actions. For example, if the film is called “Anal Nurse Whores,” we definitely will be expected to wear stethoscopes (just kidding) – and then we are given free-reign. Most of my performances are improv within specific parameters.

Suck my manhole: Porn god Buck Angel talks FTM realness

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Justin Juul takes on singular porn hottie Buck Angel in part one of this exclusive SEX SF interview.

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Buck Angel is a dude who makes a living having sex with other dudes in movies with names like “Buckback Mountain,” “Pig Ass,” and “The Buck Stops Here.” He has huge muscles and tattoos, smokes expensive cigars, and lives in Mexico where people don’t give a shit about anything. But that’s not what makes this dude so cool. Buck Angel is exceptional because he has a pussy instead of a dick.

Buck Angel started his entertainment career way back in ‘80s as a super skinny, super hot, fashion model named Susan. Seriously, he was so hot even Howard Stern wishes he could go back and “do him” (although the feeling isn’t mutual). Modeling was great for a while, but Susan knew she’d never be happy as a woman. So she became a Buck instead.

The Guardian recently sat down with Angel to find out what happens when chicks stop being chicks and start being dudes with vaginas who fuck other dudes for money and fame (or something like that).

Part One: On Being A Man With a Pussy

SFBG: Hey Buck, before we get started, I just want to get one thing straight: you’re a transsexual, right? I admit I’m not too familiar with guys who used to be girls. What do you call yourself?

Buck Angel: Ok, well, I’m obviously not a very politically correct person so this might sound weird, but here’s the deal: a transsexual is someone who changes his or her sex so obviously, I am a transsexual. I’ll always be a transsexual, but I don’t live my life that way. When I think about transsexuals, I think about people who are in the process of going through a sex change. That’s not me. I’m finished with my sex change and I’m a man!

SFBG: So you’re just, like, a dude?
Angel: Exactly.

SFBG: What about your pussy?
Angel: I’m a man with a pussy, dude. It is what it is.

Splitting heirs

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SILENT FILMS Horror movies have never been more plentiful or popular than they are now — which says more about the times we live in than there’s room to discuss here — yet in film’s first decades they barely made an appearance. The early 20th-century rush to modernity, particularly in the U.S., made anything that smacked of superstition seem childish, silly, even distasteful; the simple life of yore, with all its greater hardships, was still too fresh to invite nostalgia. Not until the one-two punch of Universal’s Dracula and Frankenstein (both 1931) did the genre flourish, and for years afterward many quasi-horror films ended with protracted, often ludicrous explanations as to how their supernatural events were faked by ingenious criminals or undercover detectives.

The template for all subsequent "old dark house" chillers — including James Whale’s 1932 The Old Dark House — was provided by Paul Leni’s 1927 hit, The Cat and the Canary, which the Silent Film Festival screens this Saturday at the Castro. Based on a popular stage play by San Francisco–born John Willard, this was the first of at least six versions to date. All were horror comedies, both exploiting and sending up the hoary conceit of greedy heirs gathered in a creepy mansion for the reading of a vengeful late relative’s will.

In Leni’s take, they’re estranged relatives drawn to the "grotesque mansion of an eccentric millionaire" 20 years after his demise. In life, he’d imagined them as giant black cats clawing at him; in death, he designates the youngest and most distant niece (Laura La Plante) as sole recipient of his fortune. There’s a catch, of course: the dough goes elsewhere if she’s proven — or driven — mad during a long night bedeviled by escaped lunatics, fanged fiends, secret passageways, and so forth.

A German art director who’d directed the Expressionist horror classic Waxworks (1924), Leni arrived in Hollywood with a Universal contract and a wealth of visual imagination. Cat remains goofy gothic fun, from ill-named housekeeper Mammy Pleasant to animated intertitles that "shudder" with fright. Beyond Murnau’s own rapturous Sunrise (1927), the day’s other features are slapstick gems: vintage Buster Keaton outing Our Hospitality (1923) and A Kiss from Mary Pickford (1927), a vehicle for equally beloved Russian comic Igor Ilyinsky utilizing footage of the Soviet Union visit that "America’s Sweetheart" and Douglas Fairbanks made in 1926. (Dennis Harvey)

SAN FRANCISCO SILENT FILM FESTIVAL’S WINTER EVENT

Sat/14, noon, $14–$17 (four-movie pass, $52)

Castro Theatre

429 Castro, SF

www.silentfilm.org