Nudity

Gold Club: Anniversary party shiny but not new

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By Molly Freedenberg

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Gold Club’s Website cover girl knows what you want (what you really, really want).

It all started with this:

Are you into booze???

What about food??

How do you feel about boobies, then??

Gold Club’s giving ’em all away next Thursday evening…

That was the email from a friend whose expertise – besides playing Magic, drawing octopi, and arguing with me about why Macs aren’t better than PCs – is finding free shit to do. This time? It was free nudity. And there was no way I was missing out.

Thing is, after several years of going to Burning Man – hell, even just of living in San Francisco – seeing naked people isn’t really a big deal. And after spending six years in sexually-progressive Portland, where going to the strip club was as normal as going to the local pub, the idea of seeing nudity in a bar isn’t a big deal either.

But I’ve never been to a strip club in San Francisco. Would it be weird, seedy, and full of mainstream guys ogling surgically-enhanced women, a la Southern California? Would San Francisco culture have seeped inside its walls, meaning tattooed dancers with plug piercings and pink hair? I had no clue what to expect.

Apparently, I wasn’t alone in my curiosity. When we got to the 5th Anniversary party at Gold Club, the line to get in snaked around the block. As per the invite’s instructions, most people had “dressed to impress,” most men in some version of business casual and most women in dresses and heels. There were more men than women, by far, but the ratio was considerably closer for this event than I suspected it normally would be.

Inside, the club felt like Vegas. Carpeted floors, special areas separated by artificial glass walls, their insides rippling with neon bubbles. An ice sculpture of a naked pole dancer slowly melted in front of a glassed-off smoking room (which, itself, was much like a slightly swanky airport smoking area). The one stage was surrounded by heavy-duted scaffolding, which held arena-worthy lights. And on the stage, from the event’s start at 7pm until its finish at 9pm, was a steady rotation of topless dancers.

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Though heavier on neon and glass than I’d prefer, the decor of Gold Club is still classy enough for me to consider it a “gentleman’s club,” rather than a mere strip joint.

Less sex at Dore? SFPD gets hot over crappy muck-monger

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By Marke B.

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Hurray, we’re back in the 50s again! Hot on the heels of the SF Weekly’s “alternative” take on the BDSM community comes this report from the Bay Area Reporter that the SFPD plans to get hard and tough on public nudity and consensual sex acts at that hallowed gay Bay tradition, July’s Up Your Alley Fair on Dore Alley, operated by the Folsom Street Fair folks.

Due to the complaints, the police are requiring the fair organizers to develop a more stringent security plan to deal with people who break the law at the event. [SFPD Lieutenant Nicole M.] Greely said simply because someone is attending an enclosed street fair does not mean that laws regarding public nudity and lewd behavior do not apply.

“There is no public sex allowed, that is illegal. Nudity laws still apply and laws against urinating in public still apply,” said Greely. “Sometimes things gradually get out of hand and that is what happened here. Last year it got out of control.”

….

It is the first time that the police have demanded the Up Your Alley Fair organizers to address public sex acts and lewd behavior in their security plan for the event, said Greely.

Ho hum, doesn’t this happen every year around the time the police want to ask for more fair fees? But here’s the kicker:

Police also point to the Web site http://www.zombietime.com that documented numerous photos of men performing oral sex, urinating in public, and masturbating from second floor windows overlooking the fair as another reason for their increased vigilance. The site, created by an anonymous local photographer, also questions why the police took no action against the public nudity and sexual behavior at the fair.

Those frankly beautiful pics caused a shit-storm a couple years ago after the Berkeley-based zombietime published the pics and ones of Folsom. They were used to fan anti-gay flames by such organizations as “Americans for Truth About Homosexuality.” (Yeah, here’s a truth — YOU’RE GAY) .

Cruising Craigslist: Smelly fingers, fast food, and straight guys who like to watch other men masturbate

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Each week, Justin Juul combs the SF Craigslist Personals and Missed Connections for true gems that prove there’s enough love for everyone. View his last installment here

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Sex is cool and all, but sometimes it’s just too much work. That’s why so many of us masturbate. It’s easier, safer, cleaner, and –if you can find someone who looks like Picard from Star Trek to watch you do it or lend a hand — 10 times as fun as regular intercourse. You can even win national recognition for your talents! The only problem is, where are you gonna find someone like that? Hmmmm.

Jack-U? (downtown / civic / van ness)
Reply to: [redacted]
Date: 2009-04-15, 6:55PM PDT

Handsome older gentleman, Picard-like, seeks good-natured hwp ns/nd to jerk off. Zero receiving. No senior nudity. I’m compact at 5-3 126. This is jack-u-off only.

Help me understand something – w4m – 21 (Bradford)
Reply to: [redacted]
Date: 2009-03-17, 8:32PM PDT
Hello guys, I’m not looking for sex, so don’t ask. I need help understanding something. My boyfriend says that all men masturbate all the time. I’ve been married and have had several other relationships and have never been with a man that said he has to jack off everyday. Even days when we’ve had sex, he still sometimes does it a couple of times. I don’t mind putting on a show for him while he does it, and that’s led to some great sex, but if I’m busy, he just looks at erotic porn and does it anyway and that kind of bothers me. I’ve never been into it, unless I’ve been without sex for a long time. In my whole life, I’ve probably masturbated to orgasm less than a dozen times. He says that the other men I’ve been with did it regularly too, but just did it in secret. Is this true? Do all of you still masturbate, even when you’re getting regular sex? Do you ever outgrow it? If you do, can you explain why? Do you have to look at images of women too? I’m serious about this. Thanks for your honest input.

Fun under seige

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news@sfbg.com

As San Francisco’s party season gets underway — a time when just about every weekend includes street fairs and festivals, venerable celebrations like Bay to Breakers, quirky cultural events such a flash mobs, promoter-created club nights, and underground parties designed to raise funds for Burning Man camps and other endeavors — police and other party-poopers keep finding new ways to crack down on the fun.

The latest: potentially fatal price gouging of the How Weird Street Faire, a series of bizarre police raids on underground clubs, and state alcohol officials threatening to yank local club licenses.

For years, the Guardian has been warning that NIMBY neighbors, intolerant enforcers, and indifferent city officials were threatening the vibrant social events that make San Francisco such a fun and unique city (see “Death of fun,” 5/23/06, “Death of fun, the sequel,” 4/25/07, and regular recent posts on the SFBG Politics blog).

Lately the situation has gotten so bad that even the conservative San Francisco Examiner has written about the problem (“Squeezing the fun out of festivals,” 4/13/09) and followed it up with an editorial calling for city officials to address the issue and ensure that the cultural events can keep happening.

Overwhelming public opposition to recently proposed restrictions on the May 17 Bay to Breakers and April 12 Bring Your Own Big Wheel events led City Hall to pressure the San Francisco Police Department into reversing promises of a crackdown, although many events are being threatened.

The How Weird Street Faire is scheduled for May 10, although organizers say they can’t come up with the nearly $10,000 the San Francisco Police Department is demanding by May 1. Organizer Brad Olsen sought help from City Hall (Sup. Ross Mirkarimi and senior mayoral aide Mike Farrah — who helped save BYOBW — have both tried to intervene, so far to no avail) and unearthed city codes that seem to cap police fees for events like How Weird at $5,494, but the cops haven’t budged.

“Although we appreciate your position, it would be unwise for the SFPD to risk public money by not collecting the required fees prior to the event. If the event is the only way your group is able to pay for police services, we are all betting that the event will be as successful as you hope,” SFPD Lt. Nicole Greely wrote to How Weird promoters on April 13, suggesting that organizers take out a loan to pay the escautf8g protection money demanded by SFPD.

But Olsen said his grassroots group, which barely breaks even on the event, has never in its 10-year history been required to pay in advance and told us that entrance donations at the event are the only real source of revenue for the popular dance party.

Meanwhile the Guardian has heard multiple reports of undercover cops infiltrating underground parties in SoMa in the early morning hours of April 11 and 12, followed up by groups of more than a dozen uniformed officers storming in and roughly making arrests for resisting arrest, illegal alcohol sales, and drug possession.

“All of a sudden an undercover cop just tackled someone on the dance floor,” 27-year-old San Francisco resident Ryan Parkhurst told us, describing the scene at one party. “Then at that point, more than 10 officers came upstairs … I asked an officer, ‘What’s going on?’ and he said, ‘Arrest this guy.'”

Parkhurst said four cops then jumped on him, roughed him up, and arrested him. “Another guy was beat up worse than I was, with severe bruises and scratches all over his face.”

Parkhurst said he was charged with being drunk in public, resisting arrest, and assaulting an officer, but when he went to court on April 13, he was told all charges had been dropped.

SFPD spokesperson Sgt. Lyn Tomioka spent several days trying to gather information on the raids, but had little to offer by Guardian press time. “I can’t give you the answers you’re looking for based on what the computer is telling me,” she said. The District Attorney’s Office also did not respond by press time.

The attention that the California Department of Alcoholic Beverage Control (ABC) is paying to licensed venues seems to have ratcheted up lately as well. DNA Lounge, a nightlife haunt for freaks of all stripes, was cited by ABC in February for operating “a disorderly house injurious to the public welfare and morals” after undercover agents for the department witnessed brief instances of nudity and simulated intercourse during the DNA’s popular regular queer parties Cream and Escandalo.

These instances occurred during go-go and stage routines, mostly involving flashing buttocks and a wet T-shirt contest. In a statement on the DNA Lounge Web site , www.dnalounge.com, DNA owner Jamie Zawinski contends that ABC is retaliating against his club for appealing the department’s decision not to grant DNA a conversion of its license from a Type 48 (21-and-over bar) to a Type 47 (all-ages venue that serves food). During the appeal process, a settlement was reached, and the DNA successfully converted its license.

“As a direct result of our having filed an appeal, ABC began sending undercover agents into the club during our gay and lesbian promotions looking for dirt,” Zawinski writes, drawing attention to the specific targeting of DNA’s queer nights, a particular that inflamed the gay community when a story about it was published in the Bay Area Reporter.

It is the specific requirement that all-ages venues collect 50 percent or more of their revenue from food sales that has gotten several other San Francisco clubs in trouble with ABC. The state requires that venues possessing a Type 47 (“bona fide eating place”) license, a requirement for most all-ages clubs, earn just as much revenue from food sales as liquor sales. That’s particularly daunting for businesses that have traditionally made most of their money at the bar.

“There is grave concern and fear,” San Francisco Entertainment Commissioner Terrence Alan told the Guardian, “that the recent conflicting and oftentimes underground regulations [of ABC] could undermine the great and ongoing work of the Entertainment Commission and Sup. Ross Mirkarimi’s proposed cultural legislation.”

Alan was referring to the “Promoting and Sustaining Music and Culture in San Francisco” charter amendment sponsored by Mirkarimi that would “produce a master plan and vision that promotes a sustainable environment for music, culture, and entertainment throughout the city.”

It appears the law enforcement types are doing everything possible to make sure Mirkarimi’s vision never becomes reality.

Score one for fun

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› steve@sfbg.com

City officials and race organizers have dropped plans for a crackdown on partying at the annual Bay to Breakers race in the face of a massive grassroots organizing effort that quickly generated more than 20,000 members opposed to the proposed bans on alcohol, floats, and nudity.

"We’re pleased with the outcome. I think it’s a victory," Ed Sharpless of the group Citizens for the Preservation of Bay2Breakers told the Guardian. "When you have over 20,000 people join your group in two weeks, it means something."

It means that people are tired of the string of crackdowns by Mayor Gavin Newsom (and his special events coordinator, Martha Cohen) that the Guardian has labeled the "Death of fun" (see "Death of fun, the sequel," 4/25/07), which have included canceling Halloween in the Castro District and placing restrictions on the Haight Ashbury Street Fair, How Weird Street Faire, North Beach Festival, North Beach Jazz Festival, and other events.

And the public outcry demonstrates that big events like Bay to Breakers don’t belong to the organizers and sponsors; they’ve become the property of the entire city.

Sharpless was part of a Feb. 27 meeting convened by the Mayor’s Office that included opponents of the crackdown, race organizers, neighborhood groups, and Sup. Ross Mirkarimi, who has been trying to balance complaints about public urination, drunkenness, and trash with his concerns about killing yet another party.

Afterward, the Mayor’s Office issued a statement indicating that floats would be allowed as long as they aren’t used to transport alcohol, urging Bay to Breakers participants to register for the race, and stating that alcohol consumption "will be subject to the laws of California. Race organizers will coordinate with the San Francisco Police Department to proactively remove kegs and glass bottles of alcohol from the race course."

While that alcohol policy was left deliberately vague, those involved with the negotiations and the May 17 event say drinking will be allowed as long as attendees don’t get out of control. As with alcohol, nudity isn’t specifically allowed, but it’s no longer explicitly banned.

"The issue was it had gotten out of hand last year," Sam Singer, a crisis communications specialist brought in by race organizers, told the Guardian. He said the race organizers wanted to put a stop to the mayhem and proposed the restrictions, but eventually agreed to work with the partyers this year.

"There was a request by the pro-float, pro-alcohol group to continue what had been a San Francisco tradition. Now it’s incumbent on them to register for the race so organizers can pay for it," he said. "This debate has created a positive social pressure to be a cool person and to be respectful of one’s self and one’s neighbors."

Opponents of the crackdown agree and say they will work to keep things under control. Or as Citizens for the Preservation of Bay2Breakers wrote in a public statement, "The problems with public drunkenness … we get it and agree. People, you need to act more responsibly. Pace yourself. It’s a long day. Don’t get out of hand and don’t ruin it for the majority of folks who are acting responsibly. Most importantly, take care of your friends and each other."

But there are still outstanding questions about whether race organizers (including for-profit corporations AEG and ING) are providing enough portable toilets and trash receptacles to avoid last year’s problems, concerns that were raised but not resolved on Feb. 26 during a permitting hearing before the city’s Interdepartmental Staff Committee on Traffic and Transportation.

Organizers told ISCOTT they would provide 650 portable toilet this year, compared to 550 last year, and that they would be more concentrated around problem areas such as Alamo Square and the Panhandle. But Sharpless told the committee that still wasn’t adequate, describing last year’s problems as "mostly a logistical issue" and saying the proposed crackdown and hiring of Singer, who often charges $400 per hour, were counterproductive.

"Why is it they bring in such a heavyweight to deal with this when they could have applied their resources to these logistical issues?" Sharpless told ISCOTT. "They want to take away the fun in San Francisco to make a buck."

Longtime runner Tony Rossman, who supports the crackdown, didn’t agree and told ISCOTT, "There is a one-word problem here and that is alcohol. And that requires public enforcement."

But Conor Johnstone, a runner who opposes the crackdown, told ISCOTT that banning alcohol was an attack on the character of the 97-year-old event, rather than dealing with the main stated problems. "I think an increase of 100 Porta-Potties is anemic at best," he said.

Jeremy Pollock, who was representing Sup. Mirkarimi, offered ISCOTT and race organizers a long list of suggestions to mitigate the problems, including using large capacity urinals, creating an end point with entertainment and Dumpsters for those with floats, and setting a cheaper registration tier for those who aren’t serious runners. "Nobody wants to see this race end," he said.

Opponents of the crackdown say they will continue working to resolve the outstanding issues.

"We’re not done, folks. There is still work to be done. Issues to be resolved. Details to be hammered out," Citizens for the Preservation of Bay2 Breakers wrote in a public statement. "What wasn’t discussed at the meeting and tabled for later discussion are the logistical deficiencies we still believe exist with race organizers’ plan for the event. Recent research by our group revealed that the New York Marathon sources 2,250 toilets for 39,000 participants in their race, while AEG race organizers source only 500 toilets for 65,000 participants in Bay to Breakers. Could it be that there are such massive issues with public urination because there simply aren’t enough toilets?"

Mirkarimi was happy with the agreement, but said it didn’t address the logistical concerns he’s been raising. "It’s a good step in the right direction. However, this is predicated on the trust that may not be felt until the day of the race. We were looking for specifics to improve this race."

Partiers save Bay to Breakers

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By Steven T. Jones

Two weeks after city officials and event organizers proposed a crackdown on partying at the annual Bay to Breakers race – announcing a ban on nudity, alcohol and floats – a large and well-coordinated opposition campaign has effectively scuttled the restrictions.

Event spokesperson Sam Singer disavowed the nudity ban almost immediately, then over the course of this week indicated floats would probably be allowed as long as they register and that a zero tolerance policy on alcohol was unenforceable, with the focus now on keeping out kegs of beer and glass bottles.

Although Mayor Gavin Newsom’s announcement today tried to cast the outcome as a negotiated compromise, Ed Sharpless of the group Citizens for the Preservation of Bay2Breakers said they got everything they wanted. “We’re pleased with the outcome. I think it’s a victory,” he told the Guardian. “When you have over 20,000 people join your group in two weeks, it’s means something.”

Yet Sharpless and other opponents of the crackdown – who testified yesterday at a city permitting hearing — say the race organizers are still underestimating how many portable toilets and trash cans will be needed to avoid last year’s problems with litter and public urination, something they will continue working with the city and race organizers to address in the coming weeks.

P.S. For more on this rare victory for preserving fun in San Francisco, read next week’s Guardian.

Altporn 101 with Cutter Smith

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Juliette Tang continues her journey into the altporn world.

Recently, I chatted with Annaliese of the famous altporn site God’s Girls about nudity, tattoos, and DIY photography. In this installment of altporn interviews, I got the chance to talk to Cutter Smith of Altporn.net, the blog to read if you’re a fan of altporn. We literally talked about everything — Cutter is a veritable encyclopedia of altporn knowledge, and his site reflects his thoughtful, intelligent, and knowledgeable obsession with observation of his favorite genre of porn.

SFBG: First, what is the story behind Altporn.net?
Altporn.net: AltPorn.net was launched five years ago with a mission to be the centralized source for fans of the altporn scene. The scene had been around for a while, but was starting to gain more mainstream attention, and we wanted to keep a focus on what we feel are the good attributes of the genre. Here is a quote from our original first post and explains our origins well: “Probably the coolest aspect of this is the DIY-vibe of many of these sites. They aren’t necessarily run by guys like the Colonel from Boogie Nights — many of them are run by men and women who want to express something less degrading and cynical than what the mainstream adult industry is producing. So my interest here is to highlight some of the cool stuff coming out of this movement.” And we’ve been doing it ever since.

God’s Girls bare their souls (and more)

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Juliette Tang continues her journey into the altporn world. Read her interview with Vivid-Alt’s Eon McKaye here .

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God’s Girls is an altporn site that is like SuicideGirls except for the fact that it’s not SuicideGirls – and nor does God’s Girls mention “Suicide” anywhere in the title, which makes me like them more on default. Plus, they have Stoya, and they don’t lock their models into impossible contracts. Based in California, God’s Girls offers user-submitted DIY erotic photos and videos, plus a social networking community with user blogs, discussion boards, original writing, interviews and more. In our current installment of altporn interviews, the SFBG sat down with Annaliese Nielson, founder of God’s Girls, to learn more about the altporn, DIY erotica, and the GG way of things.

SFBG: First, what is the story behind your site?
AN: God’s Girls was an idea that i developed over the course of the summer of 2005. I knew a lot of hot girls who seemed to have no problem with nudity and I knew some amazing photographers, most notably Matthew Cooke, who I met during my own foray into modeling. And I had a generous friend who was willing to loan me the money to get everything going. It was just a very natural thing for me to get involved in. I saw myself surrounded by all of this fun and sexual openness and creativity and I knew it needed to be documented. I felt that I could do a better job than some of the people who have alt-erotica sites. I felt that I could be more fair to models, create better content and put together something that girls are proud to be a part of. It all came together relatively easily and after shooting content for a year (God’s Girls has always been about amazing content and lots of it– even when it was just a concept without a website yet) and the site launched in June of 06. This has truly been one of the most fulfilling experiences of my life. I have met so many amazing girls and amazing members of my site.

SFBG: Can you describe how you get the content for God’s Girls? It’s all DIY, right?

Our kind of guy in the A.G.’s office

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By Tim Redmond

The United States Justice Department has a long history of trying to turn porn into a crime. I still have my personal copy of the Meese Commission report, which includes perhaps my favorite line in the history of governmental bureaucratise:

“We will now address the problem of mere nudity.” (A lot of that going around.)

So I have to say, I was pleased to see that the Obama administration is close to giving the Number Two job at Justice to a guy Goodvibes describes as “pro-porn, pro-choice.”

David Ogden would probably use other words to describe himself; he’s a widely respected lawyer who served in a number of jobs in the Clinton Administration. But, oh, he has the right-wing up in arms.

Imagine: He actually represented the American Library Association. And he represented the National Association of Social Workers in arguing that gay people still face discrimination in America.

Oh, and yes: He has represented Playboy. He once argued that it was okay for the Library of Congress to use federal money to print Playboy articles in Braille. (Interesting concept, there; I wonder what they did with the pictures.)

So he’s hardly a crazy radical, but he’s our kind of guy. And that would be a very nice change in Washington.

Cue the clowns

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› steve@sfbg.com

The circus doesn’t come to San Francisco, but its performers do, sexy and talented dreamers who bring a creative energy that has transformed the city’s nightlife and counterculture. Spinning aerialists and dancing clowns now proliferate at clubs and parties, and their number has more than doubled in recent years.

They come from towns across the country — often via Burning Man, where they discover their inner performers, dying to burst out, and other kindred spirits — to a city with a rich circus tradition, which they tweak and twist into something new, a hybrid of the arts and punk sideshow weirdness. It’s the ever-evolving world of Indie Circus.

One of the biggest banners these performers now dance and play under is Bohemian Carnival, which draws together some of the city’s best indie circus acts, including Vau de Vire Society, the clown band Gooferman, and Fou Fou Ha, acts that fluidly mix with one another and the audience.

Last Saturday, as families across the country shopped and shared Thanksgiving leftovers, this extended family of performers rehearsed for that night’s Bohemian Carnival. Fou Fou Ha was in the Garage, a SoMa performance space, working on a new number celebrating beer with founder/choreographer Maya Culbertson, a.k.a. MamaFou, pushing for eight-count precision.

"Do it again," she tells her eight high-energy charges, who look alternatively sexy and zany even without the colorful and slightly grotesque clown costumes they don for shows. I watch from the wings as they drill through the number again and again, struck by how the improvised comedy at the song’s end changes every time, someone’s new shtick catching my eye and making me smile.

"That’s what we love the most, the improv element to it," Culbertson tells me. "We see how far you can take it and not break character."

As Fou Fou Ha wrapped up and headed home to get ready for the show, Gooferman and Vau de Vire were just starting to rehearse and set up over at the party venue, DNA Lounge. Reggie Ballard was up a tall ladder setting the rigging, the dancers stretched, Vau de Vire co-founder Mike Gaines attended to a multitude of details, and Gooferman frontmen Vegas and Boenobo the Klown played the fools.

"I feel like I’m on acid," Vegas said evenly, his long Mohawk standing tall.

"Are you?" Boenobo said, perhaps a little jealous.

"No, I wish," Vegas replied. "But that’s why it’s weird."

"Huh," Boenobo deadpanned. "Weird."

Fucking clowns. I decide to chat up a dancer, Rachel Strickland, the newest member of Vau de Vire, who stretched and unabashedly changed into her rehearsal clothes as she told me about why she moved here from North Carolina in July 2007.

"I waited a long time for this. I always knew I wanted to come to San Francisco and work on the stage, doing something in the line of Moulin Rouge, with the costumes and that kind of decadence and debauchery," Strickland said, oozing passion for her craft and the life she’s chosen, one she said has met her expectations. "I danced as much as I could my whole life and I have an overactive imagination, so it’s hard to shock me."

Not that Vau de Vire hasn’t tried. Shocking people out of their workaday selves is what the performers try to do, whether through vaudeville acts, dance routines, feats of skill, or just sheer sensual outlandishness. Vau de Vire choreographer Shannon Gaines (Mike’s wife of 19 years) also teaches at the local indie circus school Acrosports and, with beatboxer and performance artist Tim Barsky, directs its City Circus youth program, which combines hip hop and other urban art forms with circus.

Gaines has been a gymnast and dancer all her life, skills that she’s honed into circus performances she does through five different agencies, often doing corporate events "that involve wearing a few more clothes" and other more conventional performances.

"The other seems like work to me. But this," she said, a wry smile coming to her lips, "is like dessert. This is what excites me."

She’s not the only one. With their growing popularity, San Francisco’s indie circus freaks are juggling an increasingly busy schedule and developing even bigger plans for the new year, including a national tour and an extravaganza called Metropolus that would reinforce San Francisco’s reputation as the best Big Top in the country.

As Boenobo told me, "It’s a moment in time when there’s something big developing in San Francisco."

MIMES AND PICKLES


The circus arts are ancient, but San Francisco’s unique role in morphing and perpetuating them trace back to the 1970s when Make-a-Circus arrived here from Europe — where circus traditions are strong — and the local, organic Pickle Family Circus was born.

Wendy Parkman, now a board member at San Francisco Circus Center, the circus school she helped develop in conjunction with the Pickles and legendary performer Judy Finelli, worked for both circuses and described how they derived from San Francisco’s vibrant arts scene and its history of grassroots activism.

"It was just a wonderful, spontaneous bubble, a renaissance of circus activity," Parkman told the Guardian. "It was an outgrowth of the fabulous ’60s and the involvement of people with community and politics and art."

Parkman and many others trace the local lineage of a renaissance that came to be known as New Circus back to the San Francisco Mime Troupe, which in 1959 started doing political theater that incorporated comedy (or more specifically, Commedia dell’Arte), music, farce, melodrama, and other aspects of clowning.

"It really started with the San Francisco Mime Troupe, and it flourishes here because of the rich arts culture that we’ve always had here," Jeff Raz, a longtime performer with both original SF troupes who started the San Francisco Clown Conservatory and recently had the title role in Cirque du Soleil’s Corteo, told the Guardian.

"San Francisco felt like a place where things could happen that were socially and politically relevant," Parkman said. "Circus has always been a people’s art form. It’s a great way of getting a lot of people involved because it takes a lot of people to put on a show."

Perhaps even more relevant to the current indie circus resurgence, both Make-a-Circus and the Pickle Family Circus reached out to working class neighborhoods in San Francisco, where they would do parades and other events to entertain the people and generate interest in the circus.

"It was happy, healthy, and accessible to people of all ages, classes, and backgrounds," said Parkman said, who noted that things began to change in the 1980s as funding for the arts dried up and Pickle hit hard times.

"The Pickle Family Circus was a grassroots circus that was part of a real renaissance. Unfortunately, it didn’t go very far," Dominique Jando, a noted circus historian who has written five books on the circus and whose wife teaches trapeze at the Circus Center, told the Guardian.

Still, the Pickle legacy lives on in the Circus Center and Acrosports, making San Francisco and Montreal (birthplace of Cirque du Soleil, whose influence has also propelled the indie circus movement) the two major hubs of circus in North America. Unlike Europe, Russia, and China, where circus training is deeply rooted and often a family affair passed from generation to generation, Jando said, Americans don’t have a strong circus tradition.

"We are really the poor children of the circus world. There is not the same tradition of circus here that there is in Europe," said Jando, a native to France who now lives in San Francisco. "Learning circus is like ballet, and it’s not really in the American psyche to work and train for seven years for a job that offers modest pay."

Homegrown spectacles like Ringling Brothers and Barnum & Bailey Circus commercialized the circus and transformed it into the three-ring form that sacrificed intimacy and the emphasis on artistry and narrative flow. Traditionally in Europe, the clowns and music structured a circus performance, with the punctuation and interludes provided by the acrobats and other performers of the circus arts.

"It’s the superhuman and the supremely human, who are the clowns," is how Raz defines circus. "Clowns are becoming more central to the circus, the supremely human part, and that has a lot to do with our times."

Raz, Jando, and Parkman all pointed to the sterile excesses of the televised, digitized, Twittering, 24/7 world we live in as feeding the resurgence of circus. "It points to a demand by the audience to see something more down to earth and real," Jando said. "There is a need to go back to basics."

"It’s a response to the overly technological world we’re living in. People want to go back to what the human body can do and be in the same place as the performers," Parkman said. "One of the concepts of the Pickles was that it was drawing on the European model. I’d say what’s going on now in San Francisco is an offshoot of what the Pickles did."

Raz said the rise of Indie Circus and its influence on the local arts scene is consistent with his own experiences as an actor and clown. He used to keep two resumes, but performers today are often expected to be steeped in both disciplines, letting one inform the other and opening up new forms of creative expression.

"That melding that you’re looking at, from the club scene to Burning Man, is seeping into a lot of the world," Raz said. "Circus is very much a living art form."

Somehow," Jando said, "it has become a sort of counterculture on the West Coast."

INDIE, THE NEW NEW CIRCUS


Boenobo and Vegas haven’t done any real training to become clowns. They’re performers who use the clown shtick to build a fun and fantastical world off their solid musical base.

"There has to be whimsy. People take themselves so seriously," Boenobo said, noting that it was in response to the serious-minded Winter Music Conference in 2001 where he had the idea of having the members of his new band, Gooferman, dress as clowns. It was a lark, but it was fun and it stuck, and they’ve been clowns ever since.

"The clown thing floats my boat. It is a persona I really dig. And the band kicks ass. We’re all just super tight. The Bohemian Carnival is just a bunch of friends, like a family ejected out of different wombs," he said.

The band does kick ass. Setting aside the clown thing, their tunes are original and fun, evoking Oingo Boingo at its early best, particularly since the summer, when Boenobo and Vegas brought in a strong new rhythm section. But it’s the collaboration with Vau de Vire and the other groups that round out Bohemian Carnival and really bring it to life.

"People say it just blew my mind, and that is the immortality of it," Boenobo said. "It’s super-fucking gratifying, really. It’s just stupid."

They performed last month at the Hillbilly Hoedown inside a giant maze made of hay bales in Half Moon Bay, with the clowns and circus performers creating a fantastical new world for the partygoers. As Gooferman played, Shannon broke the rules and danced atop a hay bale wall behind the band, conveying pure danger and backwoods sex appeal.

"The Gooferman character is called Bruiser or Shenanigans," Shannon said of her performer alter egos. "She does the things that you’d get kicked out of a party for, but I can get away with it."

She considers herself more of a "fluffer" than a dancer, and while Gooferman plays, she gets the band and crowd charged up by pushing the limits of silliness and composure herself and seeing if they’ll follow. "So they’re thinking, wow, if she can do that, I can do all kinds of things."

Their world not only includes practitioners of circus arts (contortionists, aerialists, trapeze artists, clowns, and the like), but also the fashion scene (including outlandish local designers such as Anastasia), painters, sculptors, dancers, actors, fire artists, and DJs like Smoove who bring a certain zany flair to the dance parties.

"It’s hybridized. So it’s not just circus arts with some musical backing," Boenobo said. Instead, it creates a fun and whimsical scene that makes attendees feel like they’re part of something unusual, fun, and liberating. "Immersion is very important."

That’s why the Bohemian Carnival and its many offshoots try to break down the wall between the performers and the audience, who often show up in circus or Burning Man styles, further blurring the borders.

"When you break down that big third wall, there’s no pretense," Mike Gaines said. "It’s really about the party and the community."

Clowns circulate in the crowd, interacting with the audience while aerialists suddenly start performing on ropes or rings suspended over the dance floor. It draws the audience in, opens them up, makes them feel like they’re part of something.

"All of the sudden, people get to realize the dream of running away with the circus, but they get to leave it at the end of the night," Boenobo said with a wink, "which they generally like."

"The line of where circus starts and ends has been blurred," said kSea Flux (a.k.a. Kasey Porter), an indie circus performer who earlier this year started Big Top Magazine (www.bigtopmagazine.com) to chronicle the growing culture. "I love the old-school circus, but as with everything, it needs to be able to evolve to continue to grow."

When he joined the indie circus movement five years ago, performing with the Dresden Dolls, Flux said it transformed his life. He quit his corporate job and started developing his art and trying to make a living in the circus arts, including promoting the culture through the magazine.

"I found the circus and was completely filled with a new life," Flux said, noting that it was through his long involvement with Burning Man that he was exposed to the circus scene. "I think Burning Man gives a platform for it. People get stuck in their jobs and there’s this great week when you can let go and be what you want to be."

That’s also how the talented aerialist and hooper who calls herself Shredder got into this world, which she’s now explored in both the traditional circus and the indie variety, preferring the latter.

"I didn’t even know it was possible, but I just love it," said Shredder, who worked as a firefighter, EMT, and environmental educator before getting into performing through Burning Man, where Boenobo set up the Red Nose District in 2006 for all the many offshoots of the indie circus world that attend the event.

Shredder developed hula hoop and aerial routines, training hard to improve her skills and eventually was hired by the Cole Brothers Circus in 2006 to do aerial acrobatics and hooping. Founded in 1882, Cole is a full-blown circus in the Ringling Bros. tradition, with a ringleader, animals, and trained acrobats. Shredder toured 92 cities in 10 months until she felt the creativity and joy being snuffed out by the rote repetition of the performances.

"We did the exact same show everyday. It was like Groundhog Day but worse; same show, different parking lot," said Shredder, who later that Saturday night did a performance with more than a dozen hula hoops at once. "Then I heard about Vau de Vire through some fellow performers and I just heard they were doing really well and I wanted to be with a group like that … I was just so happy that they were willing to help me design my vision as an artist."

COMING TOGETHER


The Bohemian Carnival name and concept was actually an import from Fort Collins, Colo., where Mike and Shannon Gaines created the Vau de Vire Society as part of the performance and party space they operated there in a 100-year-old church that they purchased.

Mike’s background was in film; Shannon was a dancer; and the world they created for themselves was decidedly counterculture. So was their space, the Rose Window Experimental Theater and Art House, which they operated from 1997 to 2001 and lived in with 20 of their bohemian friends.

"It allowed us to really get to know ourselves. We had all day to just rig up any kind of performance we could imagine," she said. "If you had a crazy idea, you could just come on over at 3 a.m. and do it."

Their signature events were themed parties that would open with performances of about 30 minutes, usually combining music, dance, and performance art, followed by a dance party that was essentially an all-night rave. Initially the performances just drew off of the creativity of their friends, including those Shannon danced with. The themes were often risqué and sometimes included nudity.

The performances evolved over time, bringing in talent such as Angelo Moore of the band Fishbone, who is still a regular part of their crew. They were all attracted to the freaky side of performance art, which drew them toward sideshow, vaudeville, and circus themes and expanding what was technically possible. "We ended up getting a rigger in and just flying around the theater," Mike said.

In 2000, they did their first Bohemian Carnival event. "That’s when we started dabbling in the circus," Mike said.

While the events gained regional acclaim in newspapers and were supported by notables figures, including the town’s mayor, there was a backlash among local conservatives, including some who objected to how a traditional church was being used for raves by these bohemian freaks.

In 2001 they decided to search for a new home. "We looked around for the place that would be most accepting of what we were doing," Mike said.

San Francisco was known to be accepting of their kind, and there were groups here that were edging toward similar kinds of parties, including Infinite Kaos and Xeno (and its predecessor, Awd), as well as the band Idiot Flesh, not to mention the more serious circus being done at the Circus Center and Teatro Zinzanni.

"San Francisco, in this country, is a real hotbed for circus. So we were like, ‘Now we can bring in legitimate circus performers," Mike said. Shannon got a job teaching at Acrosports, allowing her to be immersed full-time in her art and to help grow her community.

Serendipitously, in August 2001, indie rocker Boenobo of the band Chub — a funky ska outfit whose members would wear different costumes to each of their performances — formed Gooferman, which wasn’t originally the clown band it is today: "The idea was you had to be in a costume and you had to be stoned." They morphed into a full-blown clown band, and began collaborating with circus performers.

"But it never coalesced until recently," Boenobo says.

That process probably began around Halloween 2004 at the Vegoose Festival in Las Vegas, when Vau de Vire Society was asked to fill eight hours’ worth of programming and turned to their San Francisco brethren for help, Mike said. They drove or flew about 100 people to the event.

It was also the year Boenobo staged the GoofBall in San Francisco, drawing together a variety of entertainment that helped change the nature of the traditional dance party. Perhaps not coincidentally, it was also the year that reviled President George W. Bush won a second term and when longtime Burning Man artists staged their ill-fated revolt against the event (see "State of the art," 12/10/04).

"When people get too serious, they need this shit even more," Boenobo said of the increasingly irreverent, naughty, and participatory parties he was throwing.

Meanwhile Fou Fou Ha was developing its act. Culbertson and Raymond Meyer were waiting tables at Rose Pistola in 2000 and decided to put their big personalities to work for them, bringing in other performers such as Slim Avocado and setting up routines to perform at CellSpace and other venues.

"We’re sort of like the children of Cirque du Soleil in a way, but we wanted to give it an edge," Culbertson said. "It’s sort of like the second wave vaudeville … now with more of a rock edge."

Fou Fou Ha’s shows play off the dark and surreal kind of performance that is more European than American, a style Culbertson was exposed to while studying choreography during her Fulbright scholarship in Holland in the late 1990s. When she returned to the United States in 2000, "I wanted to form a [dance] company." But she wanted it to be fun. "People really like the idea of serious dance combined with comedy, where you can fall out of your pirouette," she said.

"We’re kind of like guerilla circus," Slim, a trained ballerina, said. "It’s a whole new movement. It’s like ’30s cabaret, but edgier."

Boenobo started the Red Nose District on the playa at Burning Man in 2006, drawing together his Bohemian Carnival friends, a local group of stilt- walkers known as Enhightned Beings of Leisure, installation artist Michael Christian’s crew from the East Bay, the Cirque Berserk folks from Los Angeles, and others from the growing circus world.

"It’s a safe environment to be and do what you want," Gaines said of Burning Man, noting how those breakthroughs on the playa then come back home to the city. And that ethos carries into Vau de Vire, which is truly a collective of like-minded friends, one that eschews hiring outside performers for their shows. "They’re all just part of it," he said.

What they’re all part of — Vau de Vire, Gooferman, Fou Fou Ha, and the rest of the Indie Circus folk — has begun to make a strong imprint on San Francisco nightlife and counterculture. From a performer’s perspective, Boenobo said, it feels good. "Our local family is super comfortable with one another," he said, something he’s never felt before after 25 years as a indie rocker. "It’s rare to not have a lot of ego to deal with, and it’s super rare with this kind of high-quality performance."

But they want more. As Flux said, "We want to take over the world."

WHAT’S NEXT


Slowly, the circus collective members are moving toward becoming full-time freaks. Already, Mike Gaines said most of the 12 to 15 regular Vau de Vire performers practice their art full-time, subsidizing their performances by being instructors in dance or the circus arts.

That’s not to say the parties, with their large number of performers, are lucrative. "With circus, you get a million more people on your guest list, so circus is complicated from a promoter’s perspective," Joegh Bullock of Anon Salon, which incorporates circus acts into its parties, including the upcoming Sea of Dream party New Year’s Eve. "But we love it and wouldn’t do a show without it."

To pay the bills, "we also do a lot of corporate gigs," Gaines says, not proudly. Fou Fou Ha does as well, including performing at the Westfield San Francisco Centre this holiday season. They’re all dying to take their show on the road, but that, too, takes money. "Sponsorship is the key if we’re going to tour with 60 people," said Mike, who’s been working hard on a deal and said he feels close.

Boenobo’s latest plan is Metropolus, a circus-style extravaganza he’s planning (along with Bullogh and Gaines) for next Halloween, hoping to ferry guests (using buses or perhaps even art cars from Burning Man) among several venues in town (such as Mighty, 1015, Temple, and DNA Lounge) and a huge circus tent he wants to erect in Golden Gate Park.

In addition to circus-style entertainment drawn from across the country, he wants to precede the Saturday night finale with three days and nights of workshops and smaller-scale performances. His goal is for Metropolus to because a signature event for San Francisco and the indie circus scene, the equivalent of the South by Southwest Festival in Austin, Texas; the Winter Music Festival in Miami; or the Sundance Film Festival in Park City, Utah.

The time seems right, with the current financial meltdown creating opportunities even as it makes funding their world domination plans difficult. "Each time you have a crisis like we’re having now, it’s a ripe time for circus," Jando said, noting that circus boomed during the Great Depression and after each of the two World Wars.

And after going through years of pure absurdity in Washington, DC, and on Wall Street, Raz said the clowns of the world — from Stephen Colbert’s conservative television character (who Raz says employs clown techniques in his comedy) to a singer named Boenobo — now have a special resonance with people. As he said, "One of the things clowns do is they live the folly large."

———–

CLOWN’S EYE VIEW

I’ve been following Indie Circus for years, intending to add it to the profiles of various Burning Man subcultures (see www.steventjones.com/burningman.html) that I’ve written for the Guardian, but my reporting on this story began in May. And at the suggestion of Gooferman frontman Boenobo the Klown, I decided to start from the inside and let him turn me into a clown.

As makeup artist Sharon Rose transformed me into a happy clown backstage at DNA Lounge, I asked Boenobo what I should do (besides interview people). We just needed to clown around, keep the drunks from crowding the performers, help clear the stage between acts — whatever needed doing. "We’re the scrubs," he told me, clown-to-clown.

As we spoke, the acrobats stretched, a corpse bride goofed off as she prepared for her aria, members of the Extra Action Marching Band started to slink in, clowns applied their makeup, and female performers occasionally came back from the stage and whipped off their tops.

When Gooferman went on, I still didn’t know what I was supposed to be doing, so I stood next to the stage, watched, and awkwardly tried to be a little goofy in my dancing. A tall, beautiful blond woman stood next to me, catching my eye. She was apparently alone, so after a couple songs, during a lull, I asked her, "So, do you like clowns?"

"I am a clown," she said with a grin.

"Really?" I said. "You don’t look like a clown."

"But I am," she said. "I even do clown porn."

She turned out to be 27-year-old porn star Hollie Stevens, who told me she "grew up as a clown" in the Midwest before moving to California and getting into porn seven years ago. She even starred in the film Clown Porn and still sometimes dons the red nose and face paint for her public appearances, usually just for her own amusement. Stevens once appeared on the Jerry Springer Show as a clown, even getting into the requisite fight on stage with a friend.

"Clowns, you either love them or you hate them," she said, and she loves them.

I asked why she was there and she said that she’d come to see Boenobo. They had talked but never met, and shared a sort of mutual admiration. It was a clown thing. Clowns … they get all the hot chicks.

While we talked, an acrobat worked the pole on the stage, followed by an aerialist performing above the dance floor, one scene woven seamlessly into the other. The clowns of Gooferman puttered around the stage, removing equipment to get ready for the next act, flirting with the girls, trying to scam more drink tickets, or simply entertaining others and themselves.

The life of a clown is rarely dull.

————

UPCOMING INDIE CIRCUS EVENTS

DEC. 5–6


Acrosports Winter Cabaret

639 Frederick, SF

8 p.m., $5–$15

www.citycircus.org

DEC. 12


Auditions for Acrosports’ City Circus

Call (415) 665-2276, ext. 103 for appointment

DEC. 12-14


Frolic: CircusDragBurlesque Festival

Featuring Fou Fou Ha, Anna Conda, and more

CounterPULSE

1310 Mission, SF

8 p.m., $100

www.counterpulse.org

1-800-838-3006

DEC. 20


Open House and Holiday Carnival

San Francisco Circus Center

755 Frederick, SF

10 a.m.–4 p.m., free

Pratfalls and Rising Stars

7 p.m., $12 adults, $8 children

San Francisco Circus Center

Tickets and info at www.circuscenter.org

DEC. 20


Storytime Festival, featuring Vau de Vire Society

4–7 p.m., "Tales of Enchantment," (G-rated show) 8–11 p.m., "Storytime for the Inner Child," (R-rated show)

$30–$50

Palace of Fine Arts

3301 Lyon, SF

www.storytimefestival.org

————

>>More: Read Marke B.’s club review of Bohemian Carnival

Project Censored

0

› amanda@sfbg.com

The daily dispatches and nightly newscasts of the mainstream media regularly cover terrorism, but rarely discuss how the fear of attacks is used to manipulate the public and set policy. That’s the common thread of many unreported stories last year, according to an analysis by Project Censored.

Since 1976, Sonoma State University has released an annual survey of the top 25 stories the mainstream media failed to report or reported poorly. Culled from worldwide alternative news sources, vetted by students and faculty, and ranked by judges, the stories were not necessarily overtly censored. But their controversial subjects, challenges to the status quo, or general under-the-radar subject matter might have kept them from the front pages. Project Censored recounts them, accompanied by media analysis, in a book of the same name published annually by Seven Stories Press.

"This year, war and civil liberties stood out," Peter Phillips, project director since 1996, said of the top stories. "They’re closely related and part of the War on Terror that has been the dominant theme of Project Censored for seven years, since 9/11."

Whether it’s preventing what one piece of legislation calls "homegrown terrorism" by federally funding the study of radicalism, using vague concerns about security to quietly expand NAFTA, or refusing to count the number of Iraqi civilians killed in the war, the threat of terrorism is being used to silence people and expand power.

"The war on terror is a sort of mind terror," said Nancy Snow, one of the project’s 24 judges and an associate professor of public diplomacy at the Newhouse School of Public Communications at Syracuse University. Snow — who has taught classes on war, media, and propaganda — elaborated: "You can’t declare war on terror. It’s a tactic used by groups to gain publicity and it will remain with us. But it’s unlikely that [the number of terrorist acts] will spike. It spikes in the minds of people."

She pointed out that the number of terrorist attacks has dropped worldwide since 2003. Some use the absence of fresh attacks as evidence that the so-called war on terror is working. But a RAND Corporation study for the Department of Defense released in August said the war on terror hasn’t effectively undermined Al Qaeda. It suggested the phrase be replaced with the less loaded term "counterterrorism."

Both Phillips and Snow agree that comprehensive, contextual reporting is missing from most of the coverage. "That’s one of my criticisms of the media," Snow said. "They spotlight issues and don’t look at the entire landscape."

This year the landscape of Project Censored itself is expanding. After talking with educators who bemoan the ongoing decline of news quality and want to help, Phillips launched the Truth Emergency Project, in which Sonoma State partners with 23 other universities. All will host classes for students to search out untold stories, vet them for accuracy, and submit them for consideration to Project Censored.

"There’s a renaissance of independent media," Phillips said. He thinks bloggers and citizen journalists are filling crucial roles left vacant by staff cutbacks throughout the mainstream media. And, he said, it’s time for universities, educators, and media experts to step in and help. "It’s not just reforming the media, but supporting them in as many ways as they need, like validating stories by fact-checking."

The Truth Emergency Project will also host a news service that aggregates the top 12 independent media sources and posts them on one page. "So you can get an RSS feed from all the major independent news sources we trust," he said. Discerning newshounds can find reporting from the BBC, Democracy Now!, and Inter Press Service (IPS) in one spot. "The whole criteria," he said, "is no corporate media."

Carl Jensen, who started Project Censored in 1976, said the expansion is a new and necessary phase. "It answers the question I was always challenged with: how do you know this is the truth? Having 24 campuses reviewing all the stories and raising questions really provides a good answer. These stories will be vetted more than Sarah Palin."

Phillips said he hopes to expand to 100 schools within the year, and would like the project to bring more attention to the dire need for public support for high quality news reporting. "I think it’s going to require government subsidies and nonprofit organizations doing community media projects," he said. "It’s more than just reforming at the FCC level. It’s building independent media from the ground up."

Phillips likens it to the boom in microbrewed beer and the spread of independently-owned pubs: "If we can have a renaissance in beer-making, following established purity standards, then we can do it with our media, too." But for now, we have Project Censored, whose top 10 underreported stories for 2008 are:

1. HOW MANY IRAQIS HAVE DIED?


Nobody knows exactly how many lives the Iraq War has claimed. But even more astounding is that so few journalists have mentioned the issue or cited the top estimate: 1.2 million.

During August and September 2007, Opinion Research Business, a British polling group, surveyed 2,414 adults in 15 of 18 Iraqi provinces and found that more than 20 percent had experienced at least one war-related death since March 2003. Using common statistical study methods, it determined that as many as 1.2 million people had been killed since the war began.

The US military, claiming it keeps no count, still employs civilian death data as a marker of progress. For example, in a Sept. 10, 2007, report to Congress, Gen. David Petraeus said, "Civilian deaths of all categories, less natural causes, have also declined considerably, by over 45 percent Iraq-wide since the height of the sectarian violence in December."

But whose number was he using? Estimates range wildly and are based on a variety of sources, including hospital, morgue, and media reports, as well as in-person surveys.

In October 2006, the British medical journal Lancet published a Johns Hopkins University study vetted by four independent sources that counted 655,000 dead, based on interviews with 1,849 households. It updated a similar study from 2004 that counted 100,000 dead. The Associated Press called it "controversial."

The AP began its own count in 2005 and by 2006 said that at least 37,547 Iraqis had lost their lives due to war-related violence, but called it a minimum estimate at best and didn’t include insurgent deaths.

Iraq Body Count, a group of US and UK citizens who aggregate numbers from media reports on civilian deaths, puts the figure between 87,000 and 95,000. In January 2008, the World Health Organization and the Iraqi government did door-to-door surveys of nearly 10,000 households and put the number of dead at 151,000.

The 1.2 million figure is out there, too, which is higher than the Rwandan genocide death toll and closing in on the 1.7 million who perished in Cambodia’s killing fields. It raises questions about the real number of deaths from US aerial bombings and house raids, and challenges the common assumption that this is a war in which Iraqis are killing Iraqis.

Justifying the higher number, Michael Schwartz, writing on the blog AfterDowningStreet.org, pointed to a fact reported by the Brookings Institute that US troops have, over the past four years, conducted about 100 house raids a day — a number that has recently increased with assistance from Iraqi soldiers.

Brutality during these house searches has been documented by returning soldiers, Iraqi civilians, and independent journalists (See #9 below). Schwartz suggests the aggressive "element of surprise" tactics employed by soldiers is likely resulting in several thousands of deaths a day that either go unreported or are categorized as insurgent casualties.

The spin is having its intended effect: a February 2007 AP poll showed Americans gave a median estimate of 9,890 Iraqi deaths as a result of the war, a number far below that cited in any credible study.

Sources: "Is the United States killing 10,000 Iraqis every month? Or is it more?" Michael Schwartz, After Downing Street.org, July 6, 2007; "Iraq death toll rivals Rwanda Genocide, Cambodian killing fields," Joshua Holland, AlterNet, Sept. 17, 2007; "Iraq conflict has killed a million: survey," Luke Baker, Reuters, Jan. 30, 2008; "Iraq: Not our country to return to," Maki al-Nazzal and Dahr Jamail, Inter Press Service, March 3, 2008.

2. NAFTA ON STEROIDS


Coupling the perennial issue of security with Wall Street’s measures of prosperity, the leaders of the three North American nations convened the Security and Prosperity Partnership. The White House–led initiative — launched at a March 23, 2005, meeting of President Bush, Mexico’s then-president Vicente Fox, and Canadian Prime Minister Paul Martin — joins beefed-up commerce with coordinated military operations to promote what it calls "borderless unity."

Critics call it "NAFTA on steroids." However, unlike NAFTA, the SPP was formed in secret, without public input.

"The SPP is not a law, or a treaty, or even a signed agreement," Laura Carlsen wrote in a report for the Center for International Policy. "All these would require public debate and participation of Congress, both of which the SPP has scrupulously avoided."

Instead the SPP has a special workgroup: the North American Competitiveness Council. It’s a coalition of private companies that are, according to the SPP Web site, "adding high-level business input [that] will assist governments in enhancing North America’s competitive position and engage the private sector as partners in finding solutions."

The NACC includes the Chevron Corporation, Ford Motor Company, General Electric, Lockheed Martin Corporation, Merck & Co. Inc., New York Life Insurance Co., Procter & Gamble Co., and Wal-Mart Stores, Inc.

"Where are the environmental council, the labor council, and the citizen’s council in this process?" Carlsen asked.

A look at NAFTA’s unpopularity among citizens in all three nations is evidence of why its expansion would need to be disguised. "It’s a scheme to create a borderless North American Union under US control without barriers to trade and capital flows for corporate giants, mainly US ones," wrote Steven Lendman in Global Research. "It’s also to insure America gets free and unlimited access to Canadian and Mexican resources, mainly oil, and in the case of Canada, water as well."

Sources: "Deep Integration," Laura Carlsen, Center for International Policy, May 30, 2007; "The Militarization and Annexation of North America," Stephen Lendman, Global Research, July 19, 2007; "The North American Union," Constance Fogal, Global Research, Aug. 2, 2007.

3. INFRAGARD GUARDS ITSELF


The FBI and Department of Homeland Security have effectively deputized 23,000 members of the business community, asking them to tip off the feds in exchange for preferential treatment in the event of a crisis. "The members of this rapidly growing group, called InfraGard, receive secret warnings of terrorist threats before the public does — and, at least on one occasion, before elected officials," Matthew Rothschild wrote in the March 2008 issue of The Progressive.

InfraGard was created in 1996 in Cleveland as part of an FBI probe into cyberthreats. Yet after 9/11, membership jumped from 1,700 to more than 23,000, and now includes 350 of the nation’s Fortune 500 companies. Members typically have a stake in one of several crucial infrastructure industries, including agriculture, banking, defense, energy, food, telecommunications, law enforcement, and transportation. The group’s 86 chapters coordinate with 56 FBI field offices nationwide.

While FBI Director Robert Mueller has said he considers this segment of the private sector "the first line of defense," the American Civil Liberties Union issued a grave warning about the potential for abuse. "There is evidence that InfraGard may be closer to a corporate TIPS program, turning private-sector corporations — some of which may be in a position to observe the activities of millions of individual customers — into surrogate eyes and ears for the FBI," it cautioned in an August 2004 report.

"The FBI should not be creating a privileged class of Americans who get special treatment," Jay Stanley, public education director of the ACLU’s technology and liberty program, told Rothschild.

And they are privileged: a DHS spokesperson told Rothschild that InfraGard members receive special training and readiness exercises. They’re also privy to protected information that is usually shielded from disclosure under the trade secrets provision of the Freedom of Information Act.

The information they have may be of critical importance to the general public, but first it goes to the privileged membership — sometimes before it’s released to elected officials. As Rothschild related in his story, on Nov. 1, 2001, the FBI sent an alert to InfraGard members about a potential threat to bridges in California. Barry Davis, who worked for Morgan Stanley, received the information and relayed it to his brother Gray, then governor of California, who released it to the public.

Steve Maviglio, Davis’s press secretary at the time, told Rothschild, "The governor got a lot of grief for releasing the information. In his defense, he said, ‘I was on the phone with my brother, who is an investment banker. And if he knows, why shouldn’t the public know?’<0x2009>"

Source: "The FBI deputizes business," Matthew Rothschild, The Progressive, Feb. 7, 2008.

4. ILEA: TRAINING GROUND FOR ILLEGAL WARS?


The School of the Americas earned an unsavory reputation in Latin America after many graduates of the Fort Benning, Ga., facility turned into counterinsurgency death squad leaders. So the International Law Enforcement Academy recently installed by the Unites States in El Salvador — which looks, acts, and smells like the SOA — is also drawing scorn.

The school, which opened in June 2005 before the Salvadoran National Assembly approved it, has a satellite operation in Peru and is funded with $3.6 million from the US Treasury and staffed with instructors from the DEA, ICE, and FBI. It’s tasked with training 1,500 police officers, judges, prosecutors, and other law enforcement agents in counterterrorism techniques per year. It’s stated purpose is to make Latin America "safe for foreign investment" by "providing regional security and economic stability and combating crime."

ILEAs aren’t new, but past schools located in Hungary, Thailand, Botswana, and Roswell, N.M., haven’t been terribly controversial. Yet Salvadoran human rights organizers take issue with the fact that, in true SOA fashion, the ILEA releases neither information about its curriculum nor a list of students and graduates. Additionally, the way the school slipped into existence without public oversight has raised ire.

As Wes Enzinna noted in a North American Congress on Latin America report, when the US decided it wanted a training ground in Latin America, El Salvador was not the first choice. In 2002 US officials selected Costa Rica as host — a country that doesn’t even have an army. The local government signed on and the plan made headlines. But when citizens learned about it, they revolted and demanded the government change the agreement. The US bailed for a more discreet second attempt in El Salvador.

"Members of the US Congress were not briefed about the academy, nor was the main opposition party in El Salvador, the Farabundo Martí-National Liberation Front (FMLN)," Enzinna wrote. "But once the news media reported that the two countries had signed an official agreement in September, activists in El Salvador demanded to see the text of the document." Though they tried to garner enough opposition to kill the agreement, the National Assembly narrowly ratified it.

Now, after more than three years in operation, critics point out that Salvadoran police, who account for 25 percent of the graduates, have become more violent. A May 2007 report by Tutela Legal implicated Salvadoran National Police (PNC) officers in eight death squad–style assassinations in 2006.

El Salvador’s ILEA recently received another $2 million in US funding through the congressionally approved Mérida Initiative — but still refuses to adopt a more transparent curriculum and administration, despite partnering with a well-known human rights leader. Enzinna’s FOIA requests for course materials were rejected by the government, so no one knows exactly what the school is teaching, or to whom.

Sources: "Exporting US ‘Criminal Justice’ to Latin America," "Community in Solidarity with the people of El Salvador," Upside Down World, June 14, 2007; "Another SOA?" Wes Enzinna, NACLA Report on the Americas, March/April 2008; "ILEA funding approved by Salvadoran right wing legislators," CISPES, March 15, 2007; "Is George Bush restarting Latin America’s ‘dirty wars?’<0x2009>" Benjamin Dangl, AlterNet, Aug. 31, 2007.

5. SEIZING PROTEST


Protesting war could get you into big trouble, according to a critical read of two executive orders recently signed by President Bush. The first, issued July 17, 2007, and titled, "Blocking property of certain persons who threaten stabilization efforts in Iraq," allows the feds to seize assets from anyone who "directly or indirectly" poses a risk to the US war in Iraq. And, citing the modern technological ease of transferring funds and assets, the order states that no prior notice is necessary before the raid.

On Aug. 1, Bush signed another order, similar but directed toward anyone undermining the "sovereignty of Lebanon or its democratic processes and institutions." In this case, the Secretary of the Treasury can seize the assets of anyone perceived as posing a risk of violence, as well as the assets of their spouses and dependents, and bans them from receiving any humanitarian aid.

Critics say the orders bypass the right to due process and the vague language makes manipulation and abuse possible. Protesting the war could be perceived as undermining or threatening US efforts in Iraq. "This is so sweeping, it’s staggering," said Bruce Fein, a former Reagan administration official in the Justice Department who editorialized against it in the Washington Times. "It expands beyond terrorism, beyond seeking to use violence or the threat of violence to cower or intimidate a population."

Sources: "Bush executive order: Criminalizing the antiwar movement," Michel Chossudovsky, Global Research, July 2007; "Bush’s executive order even worse than the one on Iraq," Matthew Rothschild, The Progressive, Aug. 2007.

6. RADICALS = TERRORISTS


On Oct. 23, 2007, the House of Representatives overwhelmingly passed — by a vote of 404-6 — the "Violent Radicalization and Homegrown Terrorism Prevention Act," designed to root out the causes of radicalization in Americans.

With an estimated four-year cost of $22 million, the act establishes a 10-member National Commission on the Prevention of Violent Radicalization and Homegrown Terrorism, as well as a university-based Center of Excellence "to examine the social, criminal, political, psychological, and economic roots of domestic terrorism," according to a press release from the bill’s author, Rep. Jane Harman (D-Los Angeles).

During debate on the bill, Harman said, "Free speech, espousing even very radical beliefs, is protected by our Constitution. But violent behavior is not."

Jessica Lee, writing in the Indypendent, a newspaper put out by the New York Independent Media Center, pointed out that in a later press release Harman stated: "the National Commission [will] propose to both Congress and [Department of Homeland Security Secretary Michael] Chertoff initiatives to intercede before radicalized individuals turn violent."

Which could be when they’re speaking, writing, and organizing in ways that are protected by the First Amendment. This redefines civil disobedience as terrorism, say civil rights experts, and the wording is too vague. For example, the definition of "violent radicalization" is "the process of adopting or promoting an extremist belief system for the purpose of facilitating ideologically based violence to advance political, religious, or social change."

"What is an extremist belief system? Who defines this? These are broad definitions that encompass so much…. It is criminalizing thought and ideology," said Alejandro Queral, executive director of the Northwest Constitutional Rights Center in Portland, Ore.

Though the ACLU recommended some changes that were adopted, it continued to criticize the bill. Harman, in a response letter, said free speech is still free and stood by the need to curb ideologically-based violence.

The story didn’t make it onto the CNN ticker, but enough independent sources reported on it that the equivalent Senate Bill 1959 has since stalled. After introducing the bill, Sen. Susan Collins (R-Me.), later joined forces with Sen. Joe Lieberman (I-Conn.) on a report criticizing the Internet as a tool for violent Islamic extremism.

Despite an outcry from civil liberties groups, days after the report was released Lieberman demanded that YouTube remove a number of Islamist propaganda videos. YouTube canned some that broke their rules regarding violence and hate speech, but resisted censoring others. The ensuing battle caught the attention of the New York Times, and on May 25 it editorialized against Lieberman and S 1959.

Sources: "Bringing the war on terrorism home," Jessica Lee, Indypendent, Nov. 16, 2007; "Examining the Homegrown Terrorism Prevention Act," Lindsay Beyerstein, In These Times, Nov. 2007; "The Violent Radicalization Homegrown Terrorism Prevention Act of 2007," Matt Renner, Truthout, Nov. 20, 2007

7. SLAVERY’S RUNNER-UP


Every year, about 121,000 people legally enter the United States to work with H-2 visas, a program legislators are touting as part of future immigration reform. But Rep. Charles Rangel (D-N.Y.) called this guest worker program "the closest thing I’ve ever seen to slavery."

The Southern Poverty Law Center likened it to "modern day indentured servitude." They interviewed thousands of guest workers and reviewed legal cases for a report released in March 2007, in which authors Mary Bauer and Sarah Reynolds wrote, "Unlike US citizens, guest workers do not enjoy the most fundamental protection of a competitive labor market — the ability to change jobs if they are mistreated. Instead, they are bound to the employers who ‘import’ them. If guest workers complain about abuses, they face deportation, blacklisting, or other retaliation."

When visas expire, workers must leave the country, hardly making this the path to permanent citizenship legislators are looking for. The H-2 program mimics the controversial bracero program, established through a joint agreement between Mexico and the United States in 1942 that brought 4.5 million workers over the border during the 22 years it was in effect.

Many legal protections were written into the program, but in most cases they existed only on paper in a language unreadable to employees. In 1964 the program was shuttered amid scores of human rights abuses and complaints that it undermined petitions for higher wages from US workers. Soon after, United Farm Workers organized, which César Chávez said would have been impossible if the bracero program still existed.

Years later, it essentially still does. The H-2A program, which accounted for 32,000 agricultural workers in 2005, has many of the same protections — and many of the same abuses. Even worse is the H-2B program, used by 89,000 non-agricultural workers annually. Created by the Immigration Reform and Control Act of 1986, none of the safeguards of the H-2A visa are legally required for H-2B workers.

Still, Mexicans are literally lining up for H-2B status, the stark details of which were reported by Felicia Mello in The Nation. Furthermore, thousands of illegal immigrants are employed throughout the country, providing cheap, unprotected labor and further undermining the scant provisions of the laws. Labor contractors who connect immigrants with employers are stuffing their pockets with cash, while the workers return home with very little money.

The Southern Poverty Law Center outlined a list of comprehensive changes needed in the program, concluding, "For too long, our country has benefited from the labor provided by guest workers but has failed to provide a fair system that respects their human rights and upholds the most basic values of our democracy. The time has come for Congress to overhaul our shamefully abusive guest worker system."

Sources: "Close to Slavery," Mary Bauer and Sarah Reynolds, Southern Poverty Law Center, March 2007; "Coming to America," Felicia Mello, The Nation, June 25, 2007; "Trafficking racket," Chidanand Rajghatta, Times of India, March 10, 2008.

8. BUSH CHANGES THE RULES


The Bush administration’s Office of Legal Counsel in the Department of Justice has been issuing classified legal opinions about surveillance for years. As a member of the Senate Intelligence Committee, Sen. Sheldon Whitehouse (D-R.I.) had access to the DOJ opinions on presidential power and had three declassified to show how the judicial branch has, in a bizarre and chilling way, assisted President Bush in circumventing its own power.

According to the three memos:

"There is no constitutional requirement for a President to issue a new executive order whenever he wishes to depart from the terms of a previous executive order. Rather than violate an executive order, the President has instead modified or waived it";

"The President, exercising his constitutional authority under Article II, can determine whether an action is a lawful exercise of the President’s authority under Article II," and

"The Department of Justice is bound by the President’s legal determinations."

Or, as Whitehouse rephrased in a Dec. 7, 2007, Senate speech: "I don’t have to follow my own rules, and I don’t have to tell you when I’m breaking them. I get to determine what my own powers are. The Department of Justice doesn’t tell me what the law is. I tell the Department of Justice what the law is."

The issue arose within the context of the Protect America Act, which expands government surveillance powers and gives telecom companies legal immunity for helping. Whitehouse called it "a second-rate piece of legislation passed in a stampede in August at the behest of the Bush administration."

He pointed out that the act does not prohibit spying on Americans overseas — with the exception of an executive order that permits surveillance only of Americans whom the Attorney General determines to be "agents of a foreign power."

"In other words, the only thing standing between Americans traveling overseas and government wiretap is an executive order," Whitehouse said in an April 12 speech. "An order this president, under the first legal theory I cited, claims he has no legal obligation to obey."

Whitehouse, a former US Attorney, legal counsel to Rhode Island’s governor, and Rhode Island Attorney General who took office in 2006, went on to point out that Marbury vs. Madison, written by Chief Justice John Marshall in 1803, established that it is "emphatically the province and duty of the judicial department to say what the law is."

Sources: "In FISA Speech, Whitehouse sharply criticizes Bush Administration’s assertion of executive power," Sheldon Whitehouse, Dec. 7, 2007; "Down the Rabbit Hole," Marcy Wheeler, The Guardian (UK), Dec. 26, 2007.

9. SOLDIERS SPEAK OUT


Hearing soldiers recount their war experiences is the closest many people come to understanding the real horror, pain, and confusion of combat. One would think that might make compelling copy or powerful footage for a news outlet. But in March, when more than 300 veterans from the wars in Iraq and Afghanistan convened for four days of public testimony on the war, they were largely ignored by the media.

Winter Soldier was designed to give soldiers a public forum to air some of the atrocities they witnessed. Originally convened by Vietnam Vets Against the War in January 1971, more than 100 Vietnam veterans and 16 civilians described their war experiences, including rapes, torture, brutalities, and killing of non-combatants. The testimony was entered into the Congressional Record, filmed, and shown at the Cannes Film Festival.

Iraq Veterans Against the War hosted the 2008 reprise of the 1971 hearings. Aaron Glantz, writing in One World, recalled testimony from former Marine Cpl. Jason Washburn, who said, "his commanders encouraged lawless behavior. ‘We were encouraged to bring ‘drop weapons,’ or shovels. In case we accidentally shot a civilian, we could drop the weapon on the body and pretend they were an insurgent.’<0x2009>"

An investigation by Chris Hedges and Laila Al-Arian in The Nation that included interviews with 50 Iraq war veterans also revealed an overwhelming lack of training and resources, and a general disregard for the traditional rules of war.

Though most major news outlets sent staff to cover New York’s Fashion Week, few made it to Silver Spring, Md. for the Winter Soldier hearings. Fortunately, KPFA and Pacifica Radio broadcast the testimonies live and, in an update to the story, said they were "deluged with phone calls, e-mails, and blog posts from service members, veterans, and military families thanking us for breaking a cultural norm of silence about the reality of war." Testimonies can still be heard at www.ivaw.org.

Sources: "Winter Soldier: Iraq & Afghanistan eyewitness accounts of the occupation," Iraq Veterans Against the War, March 13-16, 2008; "War comes home," Aaron Glantz, Aimee Allison, and Esther Manilla, Pacifica Radio, March 14-16, 2008; "US Soldiers testify about war crimes," Aaron Glantz, One World, March 19, 2008; "The Other War," Chris Hedges and Laila Al-Arian, The Nation, July 30, 2007.

10. APA HELPS CIA TORTURE


Psychologists have been assisting the CIA and US military with interrogation and torture of Guantánamo detainees — which the American Psychological Association has said is fine, despite objections from many of its 148,000 members.

A 10-member APA task force convened on the divisive issue in July 2005 and found that assistance from psychologists was making the interrogations safe and the group deferred to US standards on torture over international human-rights organizations’ definitions.

The task force was criticized by APA members for deliberating in secret, and later it was revealed that six of the 10 participants had ties to the armed services. Not only that, but as Katherine Eban reported in Vanity Fair, "Psychologists, working in secrecy, had actually designed the tactics and trained interrogators in them while on contract to the CIA."

In particular, psychologists James Mitchell and Bruce Jessen, neither of whom are APA members, honed a classified military training program known as SERE [Survival, Evasion, Resistance, Escape] that teaches soldiers how to tough out torture if captured by enemies. "Mitchell and Jessen reverse-engineered the tactics inflicted on SERE trainees for use on detainees in the global war on terror," Eban wrote.

And, as Mark Benjamin noted in a Salon article, employing SERE training — which is designed to replicate torture tactics that don’t abide by Geneva Convention standards — refutes past administration assertions that current CIA torture techniques are safe and legal. "Soldiers undergoing SERE training are subject to forced nudity, stress positions, lengthy isolation, sleep deprivation, sexual humiliation, exhaustion from exercise, and the use of water to create a sensation of suffocation," Benjamin wrote.

Eban’s story outlined how SERE tactics were spun as "science" despite a lack of data and the critique that building rapport works better than blows to the head. Specifically, he said, it’s been misreported that CIA torture techniques got Al Qaeda operative Abu Zubaydah to talk, when it was actually FBI rapport-building. In spite of this, SERE techniques became standards in interrogation manuals that eventually made their way to US officers guarding Abu Ghraib.

Ongoing uproar within the APA resulted in a petition to make an official policy limiting psychologists’ involvement in interrogations. On Sept. 17, a majority of 15,000 voting members approved a resolution stating that psychologists may not work in settings where "persons are held outside of, or in violation of, either International Law (e.g., the UN Convention Against Torture and the Geneva Conventions) or the US Constitution (where appropriate), unless they are working directly for the persons being detained or for an independent third party working to protect human rights."

Sources: "The CIA’s torture teachers," Mark Benjamin, Salon, June 21, 2007; "Rorschach and awe," Katherine Eban, Vanity Fair, July 17, 2007.

OTHER STORIES IN THE TOP 25


11. El Salvador’s Water Privatization and the Global War on Terror

12. Bush Profiteers Collect Billions from No Child Left Behind

13. Tracking Billions of Dollars Lost in Iraq

14. Mainstreaming Nuclear Waste

15. Worldwide Slavery

16. Annual Survey on Trade Union Rights

17. UN’s Empty Declaration of Indigenous Rights

18. Cruelty and Death in Juvenile Detention Centers

19. Indigenous Herders and Small Farmers Fight Livestock Extinction

20. Marijuana Arrests Set New Record

21. NATO Considers "First Strike" Nuclear Option

22. CARE Rejects US Food Aid

23. FDA Complicit in Pushing Pharmaceutical Drugs

24. Japan Questions 9/11 and the Global War on Terror

25. Bush’s Real Problem with Eliot Spitzer

Read them all at projectcensored.org

———————————————————–

CENSORED IN SAN FRANCISCO

Good stories are going untold everywhere, but Project Censored can’t cover it all. The project focuses on national an international news, but in a place politically, environmentally, and socially charged as the Bay Area, there’s plenty going on that major media sources ignore, underplay, black out, or misreport.

We called local activists, politicians, freelance journalists, and media experts to come up with a list of a few Bay Area censored stories. Post a comment and add your own!

>> The truth about Prop. H: Pacific Gas and Electric Company has been spending millions to tell lies about the Clean Energy Act, Proposition H. But the mainstream press has done nothing to counter that misinformation.

>> The dirty secret of the secrecy law: Vioutf8g San Francisco’s local public records law, the Sunshine Ordinance, carries no penalty, so city agencies do it at will. The failure of the district attorney and Ethics Commission to enforce the law has undermined open-government efforts.

>> The military red herring: The real politics of the JROTC ballot measure have little to do with this particular program. Downtown and the Republican party are using the measure as a wedge issue against progressives

>> The mayor’s war on affordable housing: Mayor Gavin Newsom, who touts his record on homelessness, has actually opposed every major affordable-housing measure proposed by the Board of Supervisors in the last five years. And since Newsom became mayor the city homeless population has increased — but shelter closings have cost the city 400 beds.

>> The hidden cost of attacking immigrants: The San Francisco Chronicle and Mayor Gavin Newsom have been demanding a crackdown on undocumented immigrants in the name of law enforcement – but the move has made immigrants less likely to cooperate with the police and thus is hindering criminal-justice

Burning woman

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› andrea@altsexcolumn.com

Dear Readers:

It’s late summer again, when the hipper urban enclaves empty out and suddenly there’s parking because all the cool people have gone to Burning Man or some other anarcho-artsy fire-dancing/fairy-wings festival. Burning Man in particular, plunked down as it is on a lake bed as hot as Venus and as barren as the moon, can take a toll on participants’ health and well-being. According to my friends at the Women’s Community Clinic (www.womenscommunityclinic.org) nothing takes more of a beating out there than the private parts (less private than usual due to rampant nudity and a fair amount of random partnering) of female festival-goers.

So what do women need to know to avoid having to rush their rashes straight to the clinic as soon as they’ve unloaded the truck and showered off the playa dust? Staffers there asked me to write a list of common sense self-protection maneuvers for a situation in which sense is less valued than sensation and spontaneity.

(1) This goes for everyone: drink an insane amount of water. I actually recommend bringing double the usual ration of a gallon a day — it’s not like you can easily run out for more in a commerce-free zone like Black Rock City. You want to "piss clear" (an infelicitous phrase that I have nevertheless often found useful since first encountering it at Burning Man). Your health depends on it. Your urinary tract, in particular, will thank you.

(2) Keep clean. This is, of course, one of the many uses to which any extra water can be put, but you’ll also need unscented baby wipes with no greasy or sticky additives. You don’t want to attract every mote of dust (and oh my, is there a lot of dust) and convince it to cling to your damp spots. Out in the desert, I wash my face with witch hazel pads and my other parts with massive numbers of store-brand unscented "natural" baby wipes. Don’t get these mixed up.

(3) Bring a safer sex kit. Consider all casual pickup sex unsafe unless somehow proven otherwise — you don’t want to be having long, intense negotiations with strangers while you’re out of your head on whatever you’re doing out there to get out of your head. Use condoms and, while you’re doubling your recommended water ration, do the same with the lube. The fierce desert wind wicks moisture like you would not believe, and even nice known-quantity sex with your steady partner can chafe. Lube up. You might want to consider using gloves for anything really intimate, too, and just generally being more careful than usual about introducing anybody’s (blank) into your (blank). After a few days on the playa, you’re likely to be abraded, chapped, windburned, sunburned, scraped, scratched, and undefended in a way that’s unfamiliar to the city dweller. It’s much easier to pick up somebody else’s creepy-crawlies when your skin isn’t in top shape, and trust me, it won’t be. Use the condoms and other barriers when reasonable. Piss clear when you’re done and don’t forget the wipes. Bring alcohol gel and clean your hands regularly, even if you haven’t been up to anything. Don’t get crazy and clean things that oughtn’t to be cleaned with alcohol, though.

Most of all, don’t be an idiot. I can’t stress this enough, and the Community Clinic, while staffed by women too nice to call you an idiot, doesn’t want you to be one either. If you’re going to take substances specifically designed to bring out the idiot in you, do so under the safest circumstances you can manage. Party with your friends, make a meeting place, follow a buddy system, and make some rules for yourself. If you’re going to take E or anything else likely to act as an empathogen (or "entactogen") — that is, a drug that makes you think you like people who may not, in truth, be worthy of your affection — try to do it in the presence of people who’ve got your back, and not because they want to climb up on it and hump you like a dog.

There are organizations dedicated to disseminating information on safer drug-taking. I do the sex part, and I habitually worry about young people having sex with people they don’t like, or, especially, with people who don’t like them. If you’re going to do it anyway, use a condom. Not only do you not have these people’s e-mail addresses, you may not even like them, remember? You’re not going to want to track them down later to ask about that funny-looking pimple.

And finally, if you’re female and have sex with men or might have sex with men after enough empathogens, bring Plan B emergency contraception with you. This may seem extreme, but it’s not like you have to use it. Condoms can break or be forgotten. Midnight’s "oh, what the hell" can easily turn to "What the hell did I do?" in the harsh (in Burning Man’s case, extremely harsh) light of day.

Love,

Andrea

Got a salacious subject you want Andrea to discuss? Ask her a question!

A different light

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› johnny@sfbg.com

THE QUEER ISSUE It’s best to begin at the edge. Gay urban photography has a fleeting yet reliably revelatory home at those places where water laps up against land. On the East Coast, from 1975 through 1986, Alvin Baltrop explored the Hudson River side of Manhattan, capturing black-and-white visions of sex, murder, and architecture by cruising the piers as a peer rather than as an exploitative outsider. On the West Coast, during the ’50s and ’60s, Denny Denfield used Baker Beach and its nearby wooded areas to invent an Adam-only Eden best glimpsed solo through 3-D. And around the same time in Montreal, Alan B. Stone was hiding in a shed, looking through a shutter at the dock-working men and sunbathing boys who populated the city’s port. In the zone known as the city’s historical heart, his camera cautiously hinted at desires that could lead to prison time.

Curated by David Deitcher, the SF Camerawork exhibition "Alan B. Stone and the Senses of Place" proves Stone’s photographic versatility ranged from a low-key form of William Klein–like typographic artistry to extremely subversive pastoral romanticism — in commissioned Boy Scout photos — to the candid portraiture of the beefcake genre. Such a showcase isn’t Deitcher’s intent, though — he’s structured the show (and written about it, in an autobiographical essay) to foreground a specifically gay vision and experience of Montreal from a time when men were arrested and publicly vilified in newsprint for being homosexual. Stone provides the nuanced vision; Deitcher identifies its facets and identifies with it. His analysis of Montreal through Stone’s camera takes on special resonance when placed next to Douglas Crimp’s look at post-Stonewall New York through Baltrop’s camera in a February 2008 Artforum piece.

The difference between the liberated time of Baltrop and the closeted era of Stone is evident in their views of waterfront lazy sunbathers. Perhaps the brightest — in tone and in quality of light — of the Baltrop photos showcased in Artforum (also on view at www.baltrop.org) gazes from a few hundred feet away at a half-dozen naked men as they soak up the sun, converse, and dangle their feet off the edge of a pier. The gay-lib visibility inherent to the men’s affectionate nudity is doubly emphasized by Baltrop’s distanced yet full-frontal perspective. In contrast, Stone’s 1954 photo Untitled (Lachine Canal) glimpses the back of a boy in a swimsuit seated at the Port of Montreal’s shoreline — the identity of his solitary subject remains poignantly invisible to the photographer, who, as Deitcher notes, was stricken with arthritis at an early age.

There’s a similar echo to a pair of photos — one by Stone, one by Baltrop — that depict men standing at the sunlit thresholds of waterfront warehouses. Stone’s 1954 Untitled (Dock Workers, Port of Montreal) is a furtive from-behind vision of a shirtless, assumedly heterosexual dockworker. One image from Baltrop’s "Pier Photographs, 1975-1986" glances at a shirtless man, also from behind, but from a much nearer vantage point. Attired in tight jeans and black boots, he’s the painter Alva, at work on a large piece of sexually explicit graffiti. The picture’s dominant darkness and the roughness of its lit threshold — a window-size hole in a warehouse wall — suggest an edge of menace that Baltrop’s photos of body bags make plain. An unauthorized space for gay sexuality in a bombed-out urban zone, the piers were rife with dangers unknown.

Stone’s and Baltrop’s photographs could form chapters within an imagined monograph about the changing relationship between gay sex and the city. Such a book could venture into the garishly colorful Times Square seen in Gary Lee Boas’ 2003 book New York Sex, 1979-85 (Gallerie Kamel Mennour) — the title alone prompts comparisons to Baltrop’s equally unsentimental vision of a different space within pre-Giuliani, pre-Disney Manhattan. It could draw from David L. Chapman’s and Thomas Waugh’s recent San Francisco–set monograph Comin’ At Ya!: The Homoerotic 3-D Photographs of Denny Denfield (Arsenal Pulp), to show the California-dreaming answer to New York grime, and to further reveal — through the inherent solitude of the 3-D stereoview process — the inner recesses of a pre-gay lib experience far from Baltrop’s and Boas’ sights and sites of group sexuality.

Such a book could open into film as well, since movies such as João Pedro Rodrigues’ O Fantasma (2000), Jacques Nolot’s Porn Theatre (2002), Tsai Ming-liang’s The River (1997) and Goodbye Dragon Inn (2003), and William E. Jones’ V.O. (2007) foreground age-old connections between the edges of urban society and sexuality. The portrait of Montreal that emerges from "Alan B. Stone and the Senses of Place" hints at the possibilities of such a project — and leaves one wondering about the worlds of desire that can exist outside computer screens today.

ALAN B. STONE AND THE SENSES OF PLACE

Through Aug. 23

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org, www.baltrop.org

Mr. Miserabilism

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Some of Michael Haneke’s early made-for-TV movies are showcased in the aptly titled mini-retrospective "Bitter Pills" at the Yerba Buena Center for the Arts. In them, Haneke’s now-characteristic austerity — long static takes, cryptic narrative omissions — is yet undeveloped. But his nihilistic take on society is already present.

The four-hour 1979 Austrian miniseries Lemmings maps out disillusions among the embittered, hypocritical generation of Austrians who "lost" World War II and their suffocated teen offspring. Parent-child relations are toxic. Bonds between peers are no less fucked. Encompassing suicide, infidelity, auto-abortion, vandalism, and joyless full-frontal nudity, Lemmings‘ tragic first part, set in the 1950s, is self-contained. The second part, which takes place years later, finds new ways to rain consequence on its cheerless protagonists and their children.

Black-and-white and Fassbinderesque, 1984’s Fraulein coughs up another fine mess. A German soldier returned from a lengthy Russian POW camp internment finds his family members have long since embarked on brave new paths which range from sell-out capitalism to Elvis-imitative juvenile delinquency. The overall picture is surprisingly quasi-lurid. Today’s Haneke would never allow his miserablism to be diluted by such relative zest.

Adapted from a novel by Joseph Roth, 1993’s The Rebellion is quite different. Mixing archival footage with new material in color and faux-distressed sepia, it chronicles the downward spiral of a one-legged WWI veteran (Branko Samarovski). The whole thing is a classic Teutonic tale of a naive hero efficiently destroyed by the system. Then, as now, Haneke had a gift for making even the bitterest life-lesson pills curiously, even compulsively edible.

BITTER PILLS: MICHAEL HANEKE MADE-FOR-TELEVISION

Thurs/12 through June 19, $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Starry-eyed and stripped

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› a&eletters@sfbg.com

REVIEW More than one witness has reported that Mayor Gavin Newsom, fiancée in tow, dropped by the jam-packed opening reception for photographer Ryan McGinley’s show at Ratio 3. The civic-minded pair joined the fray of cool kids and art world cognoscenti — I heard John Waters and Todd Oldham were there — and in some ways the appearance was apropos: the artist and politician share a lineage of tall, charismatic Irish Catholics who inspire others to action. Noting celebrity, political, and religious connections is admittedly a little suspect in a review of a contemporary art show; still, the youthful but stately mayor’s presence at a gallery on a somewhat gritty Mission side street has meaning as an expression of the widespread appeal of McGinley’s pictures. Who could resist lush images of nubile white boys and girls cavorting naked amid what seem like national parks and roadside America?

McGinley is a particularly American artist. One of the photographs on view is even a dead ringer for an Andrew Wyeth painting. Rather than Christina crouched in the wheat field, McGinley’s Running Field (2007-08) offers a lithe young woman dashing through golden rolling hills wearing only white sneakers. His choreographed vision is a brand of hipster organic purity, a dream of back-to-the-land naturalism and free love.

McGinley also manages to straddle a number of positions and demographics. Among the 16 pictures in this satisfying exhibition, there’s full frontal male nudity, and a wonderful image of a shirtless blond guy embracing a black bear, both of which unabashedly read as queer. A centrally placed picture of a group of hikers in a rocky canyon plays like a still from an update of Antonioni’s Zabriskie Point (1970). McGinley’s photograph exudes cineaste hippie-spiritual vibes, as does the acid trippy image titled Blue Falling (2007-08), in which the silhouette of a male figure — the hair on his legs crisply visible in profile — is seemingly suspended in an intensely hued sky. Dakota’s Crack Up (2007-08), visualizing an ebullient male/female couple caught in an active moment of undressed while roller-skating, brims with both clothing-optional resort appeal and fashion photo bravado.

The youth and nakedness of this universe seems to be related to Larry Clark’s kid obsessions, except McGinley is still young himself — he had a solo show at the Whitney five years ago, when he was 24 — and his surprisingly wholesome pictures are more hooked on fresh air and community than the more troubled eroticism of the wizened though still dreamy-eyed elder artist. A cinematic influence also binds these two figures. Most of the photos in McGinley’s show blur the line between naturalism and studio artifice: the hikers on the rocks are positioned in light in such a way that they appear to have been inserted digitally, the woman in Fireworks Hysteric (2007-8) seems to be floating in a glittering, celestial space, as do other subjects who have been catapulted into thin air. And is that a naked dude embracing a stuffed animal or a real live bear?

According to the artist, the animal is a living thing, albeit a trained one. He also admits the colors in his works are achieved through an intense darkroom practice. That gray area between the real and the imagined works in the artist’s favor, lending his images a sense of the uncanny: the activities captured in his photos did happen, though they come across as otherworldly.

There’s also a performance art backbone to McGinley’s process. His photos depict a team of models, cast for their looks as well as their athletic abilities, who travel together for extended periods. The constant contact promotes intimacy and physical fearlessness, and while they are very believable as an actual pack of marauding, hopeful young people, they are in fact a constructed entity — a family of paid actors directed by an artist with a clear vision of a kind of communal lifestyle. McGinley assuredly realizes these images, but they don’t come off without some suspicion. Where can these photographs go from here? The likeability of the pictures — and models — is tinged with envy and perhaps a resentment of the cool high school kids who seem impervious to social or sexual obstacles. That McGinley’s models reportedly sustain their share of photo-shoot injuries only attests to his winning feats of fiction. It all appears so smooth and dreamy. I don’t know what the mayor thought, but in the end, McGinley’s work won me over, and I want the feeling to last. *

RYAN MCGINLEY: SPRING AND BY SUMMER FALL

Through June 21

Wed.–Sat., 11 a.m.–6 p.m.

Ratio 3

1447 Stevenson, SF

(415) 821-3371

www.ratio3.org

Who’s afraid of public nudity?

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George Davis, the naked former mayoral candidate , was arrested again — on May Day, no less — and has reached a scientific conclusion:

“From my field experience with public nudity, I can state that the only people who have emotional problems with public nudity are angry people, excessively authoritarian personalities, and fundamentalist religious nut cases.”

Oh, and he thinks Pope John Paul II was a big fan of nudity.

You can read his entire letter after the jump.

SFIFF, weekend one: Dario, Black Francis, and Roy Andersson

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By Jeffrey M. Anderson

I found it vaguely irresponsible, and perhaps even cruel, that the festival programmed its two most high-profile horror pictures on the same night at around the same time. Dario Argento’s Mother of Tears and Paul Wegener’s 1920 film The Golem both played Friday night between 9 and 11 p.m. I managed to see the Argento film in advance: Mother of Tears is the third in a trilogy that Argento began with Suspiria (1977) and Inferno (1980), but unlike those two this one is laughably awful. Written and performed in stilted English, it’s filled with continuity gaps, logic holes and otherwise unmotivated behavior. But its use of gratuitous nudity, gratuitous gore (much of it actually done with latex rather than CGI!) and gratuitous random acts of cruelty make it a hilarious, MST3K-style cult classic keeper. Not to mention that Asia Argento, though not exactly deserving of an Oscar, manages to inject enough sheer animal presence into the movie to make it worth sticking around.

Mother of Tears is supposed to get a theatrical release in June, while SFIFF’s particular version of The Golem was a one-time deal. The screening boasted a live score by none other than Black Francis (once again going by his Pixies-era moniker, rather than Frank Black or Charles Thompson). The good news is that it was a great Black Francis show, but the bad news is that I’m not sure the songs actually synced up with or enhanced the movie in any way. For the most part they actually rubbed up against the movie, competed with it for our attention. In 2005, American Music Club’s score for Frank Borzage’s Street Angel (1927), was pure genius, absolutely mesmerizing. Francis’ The Golem played a bit more like syncing up Pink Floyd to The Wizard of Oz (1939); sometimes something magical happened, melding music and film, but other times, you were trapped in some netherworld between the two forms.

SFIAAFF: Multiculti cock-meat sandwich

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When we last left crazy-ass Kumar (Kal Penn) and his more straitlaced college pal Harold (John Cho), at the end of the 2005 stoner epic Harold and Kumar Go to White Castle, they’d just victoriously satiated their munchies with enough sliders to block a rhino’s colon. That movie was a classic bong-wielding buddy road-trip flick — Question: How long does it take two potheads to get to a drive-through? Answer: Neil Patrick Harris on ecstasy — that was improbably hailed by serious critics as a multicultural breakthrough. Kumar is Indian American and Harold Asian American, a combination of lead ethnicities that was new to the American mainstream. And even though lineage figures little in the characters’ daily realities, Harold’s and Kumar’s difference from the cartoonish honky inbreds and skinheads (and candid others of color) that exist beyond their postmillennial collegiate bubble — and who often mistake them for Arabs — fuels the plot. Dude, where’s my kufi?

White Castle screenwriters Jon Hurwitz and Hayden Schlossberg giddily foreground the first movie’s subtext in their follow-up (which they also directed), Harold and Kumar Escape from Guantánamo Bay, a special presentation at this year’s San Francisco Asian American Film Festival. Mistaken for terrorists when they’re caught with a "smokeless bong" on a flight to Amsterdam, weed capital of the world, our hapless heroes ("North Korea and al-Qaeda working together," gloats their bumbling FBI nemesis) are imprisoned in Gitmo. After being presented with a jailer’s massive "cock-meat sandwich" — "I’ve never sucked dick before," quips Kumar. "I bet it sucks dick!" — and submitted to various tortures, they eventually escape, crashing a "bottomless" hot tub party, impersonating Crockett and Tubbs from Miami Vice, and lighting up with George W. Bush himself. No shit.

I caught up with Hurwitz, Schlossberg, and actor Cho — a surprisingly intellectual type who studied English at UC Berkeley — as they prepared to promote the new movie at wacky comics convention WonderCon.

SFBG For Arab Americans like me, this movie is like a nightmare come true. People gasp whenever I stand up on an airplane, and 9 times out of 10 I’m the one who’s pulled over for "random" searches. I know that Indian Americans often experience similar treatment. But Harold and Kumar Escape from Guantánamo Bay seems revolutionary in that it expands that situation to include the feelings of Asian Americans, and it’s playing at the [SF International] Asian American Film Fest. Do you think Asian Americans relate?

JOHN CHO I would assume that every immigrant group has their own bag of individual problems. I don’t know if Asian Americans get hassled at the airport — maybe they do. Traveling with Kal on the publicity tour for the first film, I got to see firsthand how he was treated — and that’s real; he was patted down all the time. We were traveling together, and he’s the one that got pulled aside. I’m really happy that the film’s playing at the festival. I feared that Asian Americans wouldn’t accept this movie — the subject matter isn’t discussed much in the community — but it seems that the programmers feel they will.

SFBG Not to state the obvious here, but Jon and Hayden, you’re a couple of white guys. I’m wondering if these scripts come from your own experiences, or if you do a lot of research?

JON HURWITZ We’re white guys, but we’re Jews. So we’re already a minority subset, but I don’t really know if that plays into it. We’ve always had a large group of multicultural friends and been able to observe and have conversations with people with different points of view. As a writer and director you’re just hoping to put something out there that’s new. Something with Asian American and Indian American leads was something that hadn’t been done in the way that we were doing it. We felt that we had enough perspective as huge fans of comedy to pull it off.

HAYDEN SCHLOSSBERG We didn’t set out to make this big statement, although I have to say when we looked at the first one when it was done, we said, "Wow, this is so much better than we thought." It went way beyond the fart jokes, weed humor, and nudity that we love to put up on-screen. But it’s really just a classic comedy trope. Two guys, a baggie, a voyage. . . . It was the right time to have someone finally throw ethnicity into the mix. The script took off from there. The only question now is, where else can we take this? Harold and Kumar Fly the Space Shuttle?

JC And the focus is always on being funny first. The characters’ races are almost secondary. I find that so refreshing because a lot of Asian American cinema is just about being Asian American, how hard it is. Not to denigrate anyone’s work, but those movies get really repetitive, and fewer people want to see them.

SFBG Speaking of space — John, you’re about to be mobbed at WonderCon because you’ve accepted the role of Mr. Sulu in the upcoming Star Trek film. Following in actor George Takei’s footsteps must feel huge.

JC I’m delighted. As a kid it meant so much to me to see an Asian American on television and say, "Whoa! He’s not wearing a cone-shaped hat or teaching kung fu!" It was very important, a legacy that I desperately wanted to be a part of, and something I feel my work on the Harold and Kumar movies pays tribute to. Now Asian Americans can be stoners too.

HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY

Sat/15, 9:15 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120

>> Complete Asian American Film Fest coverage

Speed reading

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

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

G-Spot: Getting girls

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Within minutes of meeting Nicole Halpern, an instructor at the One Taste Urban Retreat Center in SoMa, I was naked and bent over with my ass in her face. In fact, in her naked yoga class there was nothing but penises and vaginas, dangling breasts and balls as far as the eye could see.

I’d come to the center to do research on what I’d heard was a sex cult, and by the looks of things the rumors weren’t far off. In fact, as I’d entered the center on my way to class, I got the feeling my story was writing itself. I would talk about how the receptionists at the front desk had to stop groping one another in order to greet me, how the women looked younger than the men, and how all the signs of new age spirituality — earth tones, organic food, Birkenstocks — seemed a cover for what I sensed was actually a coven of perverts.

One Taste helps people attain deeper connection through sexual experimentation. The most hardcore members have given up their normal lives to frolic in nonmonogamous bliss at the retreat center, which, along with yoga studios, also houses a café, a lounge, and a system of co-ed dorms where members work long nights testing taboos. The idea is that if you free your sex, the rest will follow. To this end, the center also offers public classes in touching, genital stroking, and even prostate massage. Weird shit, right?

So as I relaxed into my second downward dog, I smiled, assuming I’d found the perfect subjects for my anti–Valentine’s Day story, a tongue-in-cheek commentary on all of the weirdos in this city who believe sex is something more than a basic human need. It would be investigative journalism at its finest: "I Joined a Sex Cult," by Justin Juul.

But it didn’t work out that way. It was the last thing I expected, but this naked yoga stuff was making me happy. The shock of public nudity was forcing me to let down my guard and experience the moment for what it was: exciting and naughty. I wanted more.

I decided making fun of these people would be too easy — and dishonest. It seemed that a little sexploration really might benefit the soul. So instead of rushing home afterward to write a sarcastic piece about sex freaks, I swallowed my cynicism and asked Halpern if I could come back sometime.

"If you really want to see what we’re all about, you’ll take the Man Course," she said. And with that, my fate was sealed.

My research later that night revealed that the Man Course would involve 10 "extremely orgasmic" women who’d spend an entire day fielding questions and revealing their secrets to a small group of men. It was boot camp for jilted lovers, designed to help downtrodden men build confidence and score more chicks.

It all sounded great for 40-year-old virgins, but what could I, a young journalist with a girlfriend at home, expect to gain? I wasn’t sure, and neither was my girlfriend. "Sounds like some Venus versus Mars bullshit," she said. "Men and women are more similar than different. It sounds like a way for sleazy men to hang out with young girls to me."

I was afraid she might be right, but I decided to go for it anyway. After all, I hadn’t expected the yoga class to be anything but funny. Maybe I could learn something in the Man Course. After all, although our relationship is great, I can’t say I understand my girlfriend any better now than I did when I tricked her into liking me three years ago.

So two weeks later I was back at the center.

The dudes in the lobby on the morning of class were visibly nervous. They weren’t as ugly as I had imagined, but they all reeked of desperation, their trembling hands running through their hair, their eyes darting. I felt a surge of superiority wash through me as I watched these poor souls drink coffee and wait for instructions. One Taste might be able to teach them something, but I was sure I was way too cool to learn anything here.

Orientation began with an introduction exercise. A man asked each of us to say our name and tell the group a problem we have with women. The first person wondered why he could never please women even though he spent so much time doing things they claimed to want, like buying dinner and opening doors. The next wondered why women seem to want to be taken care of but often become ornery when you treat them like children.

As I listened, my confidence began to evaporate. I didn’t know the answers to any of these questions either, and new ones were popping up. Why does my girlfriend give me that weird look when I talk about articles I read in Vice magazine? Why does she always say she feels like she doesn’t know me? This group confessional was making me worry about my relationship. It also bonded me to these other men, all utterly confused and ready to figure shit out.

And then the women arrived.

The energy in the room grew tense as the women, ranging from 22 to 55 years old, filed in with Halpern at their helm. One by one the girls took off their jackets, adjusted their skirts, and joined our circle, engaging as many men as possible in suggestive eye contact. The room was dead silent until Halpern clapped her hands and said, "Welcome to the Man Course!"

The next hour involved more introductions. The women stated their names and gave a brief description of their personal games — coyness, deliberately confusing eye play, and false flirtatiousness were among the most popular — and the men were asked to explore their own shortcomings. "Hi," a student named John said. "I feel like I’m trapped in a nice-guy shell and that women think I’m boring."

"Well," Halpern said. "Today we’re gonna get dirty. We’re gonna get you out of that box and get really messy. Can you handle that? Are you ready to get messy?"

John said he was ready. "Then let’s see you do something messy right now," Halpern said. John grinned and got up, pumped his pelvis in the air, and said, "Yeah, baby, let’s get mess-say!" The girls giggled.

The other men and I went through a similar deal. We confessed to a particular problem and were then asked to directly address it. The shy guys were asked to speak more, the mean guys were asked to be nice, and I was asked to drop my cool-guy act. In exchange the women promised to stop playing their games. No bitchy auras, pouty mouths, or condescending giggling from the women, and no false bravado, competitiveness, or calculated detachment from the guys. We were just a bunch of humans now, willing participants in a sexually charged science lab. It was both scary and liberating.

We spent the rest of the afternoon doing one-on-one vulnerability exercises, such as making judgments based on appearance, pointing out flaws, and even asking a girl on a date, risking rejection. The most intense exercise, though, was one in which the women shared their fantasies.

The girl I was paired with, a blue-eyed fresh-out-of-college type, had a mouth like a sailor and the mind of a teenage boy. "I want to go out with a stranger and then leave early to lick his balls," the girl said. "I want to suck his cock and stick my tongue in his asshole." Like all of the other exercises, this one suggested that although women may seem very different from men, they’re really just as horny and perverted — and as confused, embarrassed, and shy about it — as we are.

The rest of the day was similarly enlightening. There were touch exercises that included dancing and massage, more talking exercises, and even a mock date. All of the exercises worked to dissolve our ingrained ways of being, so the men in the class could see the women for what they actually are: people.

I left feeling happy and horny, ready to tell my girlfriend about all of the cool stuff I’d learned — namely, that she and the girls at the center weren’t all that different. It seemed the girls of One Taste actually shared my girlfriend’s outlook. Although it was billed as a man-centric healing session, the Man Course felt more like therapy for humans, its primary message being that we are all fundamentally the same. And it did surprise me, just as the yoga experience had. It forced me out of my comfort zone and into the unknown. It was an entire day of emotional nakedness, which, I learned, can be as just as exciting and therapeutic as physical nakedness.

The women of One Taste taught me a few important lessons. One was that my girlfriend is pretty damn smart. Men and women really do have a lot more in common than it seems. Second was that I could probably stand to open up a little more, to focus less on being cool and more on being myself. And finally, even though they may seem a little New Agey, the people at One Taste are very brave and extremely well-intentioned.

The next time I set out to ridicule an unsuspecting group of swingers, I’ll make sure they deserve it first.

Talk talk

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› a&eletters@sfbg.com

"I don’t like things that are about what they are."

The title character of Hannah Takes the Stairs says this to a coworker. The quip, though, constitutes something of a wink from the film’s director, Joe Swanberg, a leading light of a group of loose-knit DIY filmmakers regrettably known by the mumblecore moniker. That label is regrettable because it’s the kind of arch categorization that begets overbroad criticisms, chief among them the charge of navel-gazing, though in this film’s case the protagonist beats the critics to the punch.

Such flashes of self-awareness are essential for Hannah Takes the Stairs, a film that, it must be said, spends an awful lot of time attending characters who don’t have much to say. Chicago’s Swanberg is one of the most productive (with three features to his credit at age 26) and formally restless of the mumblecore set, and while Hannah isn’t quite so wracking as his other movies (LOL, Kissing on the Mouth), it seems more encompassing than its ilk. Fellow mumblecore directors Andrew Bujalski (Funny Ha-Ha, Mutual Appreciation) and Mark Duplass (The Puffy Chair) costar, and the screenplay is credited to all of the involved parties, with improvisation and riffing being de rigueur for Swanberg’s sticky dialogue.

The participants confirm what is abundantly obvious from the substance of the film. Hannah incorporates all of the trademarks of this pseudomovement, including characterization (diffident postcollegiate bumblers), theme (shrugging through love and work), style (what critic J. Hoberman aptly — if harshly — described as the intersection of The Real World, Seinfeld, and The Blair Witch Project), pacing (constant streams of smoke-screen talk), and tone (not funny ha-ha). And yet the film reminds me in some ways of those Woody Allen made in the late ’70s (Manhattan especially), the ones that walk and talk like the New York nebbish comedies you expect but that in later viewings are heavier and more downbeat than you remember.

So perhaps when Hannah refers to her "chronic dissatisfaction," she betrays something about the roiling sensibilities at work here. The character, played by the sharp-eyed Greta Gerwig, moves through three hopelessly underrealized relationships during the course of the film: the first with Mike (Duplass), an unemployed scruffster, the next with Paul (Bujalski), an unnerving coworker, and the last with Matt (Kent Osborne), her other coworker. She floats through these relationships errantly, unreliable in love and crumpled without it. The narrative’s tumble makes the breakups indistinguishable from the romances — surely part of the point of Swanberg’s compressed (85 minutes) triptych.

The film does not offer a detailed interior portrait of its heroine, but it draws a clear enough map of her face and her fate to make for some well-pitched situational comedy. The humor is in the ingenious physical framings of the various love triangles (Jules and Jim is a frequent reference point for these films), the way characters interact with certain basic props for counterpoint (Hannah crunches on ice cubes through the first breakup), and the steady stitch of repeated scenes, deployed to underscore something like exhaustion.

The episodic narration will rankle some, as will certain schoolboy poses. Swanberg has already received flak for certain smug touches in Hannah, such as a childlike papier-mâché credits sequence. I’m as allergic to indie earnestness as the next, but I think Swanberg, while of that school, is too critical to give it a free pass. During their courtship, Hannah and Paul have a heartfelt conversation through a Slinky: typical cutesiness, except that in context it signals the characters’ real inability to communicate.

And then there are the bodies. It’s hard to accuse Swanberg of sentimentality when he casts his actors’ forms in such harsh light. Coming of age is more often conveyed with exuberance than pale flesh, yet in this the director is resolute (and the nudity is refreshingly egalitarian). I was taken with Bujalski’s soulful rendering of threadbare living quarters in Mutual Appreciation, but Swanberg’s unsparing lens cuts closer to the bone.

Needless to say, then, that Hannah Takes the Stairs isn’t eager to indulge its characters, and it certainly doesn’t present them with convenient outs. Swanberg’s warts-and-all approach may not be for everyone, but it’s an important redress of Knocked Up‘s mismatched fantasy. These kids are all right, even when they’re not. *

HANNAH TAKES THE STAIRS

Thurs/29–Mon/3

See Rep Clock for showtimes

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

You go, I go, we all go for Viggo

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A painter, poet, jazz musician, and political activist, Viggo Mortensen is a mass of complicated, sometimes conflicting energies and interests. He’s as macho and swarthy as they come, but with a contemplative thirst for truth. He’s shy, but a bit of a motormouth (and can run on in at least six different languages). Mortensen is a matinee idol with a philosopher’s soul — Jean-Jacques Rousseau trapped in the body of Rudolph Valentino.

When I interviewed him last month during his stop in San Francisco to promote the David Cronenberg–directed thriller Eastern Promises, it became clear that the strong-yet-delicate thing isn’t just a clever shtick. Looking tan and lean and sporting an impressive ‘stache, he was soft-spoken and friendly. It didn’t hurt that he came bearing gifts — before I even sat down, he placed a shrink-wrapped copy of Exene Cervenka’s book of collage, 666, on the table in front of me. (Mortensen’s boutique company, Perceval Press, publishes the book by the artist and X frontwoman, who is not so coincidentally his ex-wife and the mother of his teenage son, Henry.)

What sometimes gets lost in the Viggo-induced swoon is that the man is a fine actor. Mortensen is often the best thing in his movies, though in the past that sometimes wasn’t saying much. After delivering what should have been a star-making performance in Sean Penn’s 1991 directorial debut, The Indian Runner, he languished in B-movie hell (American Yakuza) and dud big-budget productions (Boiling Point, Daylight). Peter Jackson might have given him the exposure he was due in the Lord of the Rings trilogy, but it took a weirdo genre director eager to flex more commercial muscles to give him the roles he was born to play: sensitive, soul-searching, primordial beasts.

In Eastern Promises, his latest collaboration with said weirdo director, Mortensen plays Nikolai Luzhin, a driver and all-around henchman for the notorious Russian organized crime syndicate Vory v Zakone. During its making, Mortensen helped literally and figuratively to flesh out the idea for what became a major thematic refrain — the detailed prison tattoo work found all over Nikolai’s body. "[Tattoos were] mentioned in the original script in passing," he noted. "But like everything else, I wanted to know what that meant. A friend of mine, Alix Lambert, made a great documentary called The Mark of Cain, where she went into maximum-security prisons in Russia and learned about Russians and Ukrainians and Georgians — men and women — who have identified themselves with these symbols. I learned, among other things, that symbols and text — religious or other — that seem to mean one thing on the surface actually mean something quite different. It’s a CV, a résumé, that they have on their bodies."

Mortensen studied Russian for the role and traveled to the country for research. "I checked with people who had backgrounds not dissimilar to the character I was playing. Once they realized I wasn’t trying to mock them or wasn’t going to do yet another clichéd Russian or be critical of them — I was just trying to get it right — then they were very helpful. So the tattoos were correct."

Mortensen acknowledges that his comfort level with Cronenberg has freed him to do things he might normally be hesitant to do — for instance, fend off an attack from two mobsters in a bathhouse while wearing nothing but the aforementioned tattoos. He has done full-frontal nudity before, in The Indian Runner, but never in such a physically demanding, exposed fashion. In an intricately choreographed scene destined to be one of the most talked about of the year, Mortensen brutally yet balletically propels his body through the frame in mostly long shots. Like the climactic (ahem) sex scene in A History of Violence, this is Eastern Promises‘ defining physical act, a turning point that irrevocably alters the emotional predicament of its central character. And it’s a doozy.

"We talked about it long before shooting and as we were working out the choreography," Mortensen said. "And I said, you should just shoot it like you do the rest of the movie — for real. It shouldn’t be limited. You shouldn’t have to try to make the body look glamorous or avoid seeing the whole body as much as possible. Forget about the fact that people are going to do screen grabs. It’s just the way it is." (Michelle Devereaux)

Nudity Merited

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By Sarah Phelan

Photo courtesy of Jack Gescheidt’s Tree Spirit Project.

A City of Oakland plan to cut down 224 trees along Lake Merritt has stalled, thanks to a Friends of the Lake lawsuit. Then this Saturday, traffic stalled as demonstrators stripped, some climbing into the tall eucalyptus trees, while others prefered to keep their feet on the ground. But was their nudity merited? Eucalyptus trees tend to arouse the passions of both types of Tree People. Those who love all trees, and those who love all other trees except eualyptuses. So, why are some people hating on eucalyptuses? Does the City of Oakland share their grounds for hate? and what were the nudies thinking?