Police

Gangsters, death, and spaghetti westerns: must be another week of movies!

Sue Vaughan
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Gangsters, death, and spaghetti westerns: must be another week of movies!

Well, they announced the Oscar nominations yesterday, and much-lauded import Amour is opening today (review below the jump), so if you’re curious about the hype and don’t mind having a downer of a Friday night … you’re set. Other films opening this week include the Robert Carlyle drama California Solo (Dennis Harvey’s review here), Marlon Wayans horror spoof A Haunted House, Ryan Gosling-in-a-fedora cop flick Gangster Squad, and (at the Roxie), teen-skater doc Only the Young.

Also! The Pacific Film Archive’s “The Hills Run Red: Italian Westerns, Leone, and Beyond” series starts this week. Plenty of good spaghetti western action to be had; check out my round-up here. Read on for more short takes on this week’s releases.

Amour Arriving in local theaters atop a tidal wave of critical hosannas, Amour now seeks to tempt popular acclaim — though actually liking this perfectly crafted, intensely depressing film (from Austrian director Michael Haneke) may be nigh impossible for most audience members. Eightysomething former music teachers Georges and Anne (the flawless Jean-Louis Trintignant and Emmanuelle Riva) are living out their days in their spacious Paris apartment, going to classical concerts and enjoying the comfort of their relationship. Early in the film, someone tries to break into their flat — and the rest of Amour unfolds with a series of invasions, with Anne’s declining health the most distressing, though there are also unwanted visits from the couple’s only daughter (an appropriately self-involved Isabelle Huppert), an inept nurse who disrespects Anne and curses out Georges, and even a rogue pigeon that wanders in more than once. As Anne fades into a hollow, twisted, babbling version of her former self, Georges also becomes hollow and twisted, taking care of her while grimly awaiting the inevitable. Of course, the movie’s called Amour, so there’s some tenderness involved. But if you seek heartwarming hope and last-act uplift, look anywhere but here. (2:07) (Cheryl Eddy)

Gangster Squad It’s 1949, and somewhere in the Hollywood hills, a man has been tied hand and foot to a pair of automobiles with the engines running. Coyotes pace in the background like patrons queuing up for a table at Flour + Water, and when dinner is served, the presentation isn’t very pretty. We’re barely five minutes into Ruben Fleischer’s Gangster Squad, and fair warning has been given of the bloodletting to come. None of it’s quite as visceral as the opening scene, but Fleischer (2009’s Zombieland) packs his tale of urban warfare with plenty of stylized slaughter to go along with the glamour shots of mob-run nightclubs, leggy pin-curled dames, and Ryan Gosling lounging at the bar cracking wise. At the center of all the gunplay and firebombing is what’s framed as a battle for the soul of Los Angeles, waged between transplanted Chicago mobster Mickey Cohen (Sean Penn) — who wields terms like “progress” and “manifest destiny” as a rationale for a continental turf war — and a police sergeant named John O’Mara (Josh Brolin), tasked with bringing down Cohen’s empire. The assignment requires working under cover so deep that only the police chief (Nick Nolte) and the handpicked members of O’Mara’s “gangster squad” — ncluding Gosling, a half-jaded charmer who poaches Cohen’s arm candy (Emma Stone) — know of its existence. This leaves plenty of room for improvisation, and the film pauses now and again to wonder about what happens when you pit brutal amorality against brutal morality, but it’s a rhetorical question, and no one shows much interest in it. Dragged down by talking points that someone clearly wanted wedged in (as well as by O’Mara’s ponderous voice-overs), the film does better when it abandons gravitas and refocuses on spinning its mythic tale of wilder times in the Golden State. (1:53) (Lynn Rapoport)

http://www.youtube.com/watch?v=AKooIgzaQMg

Only the Young First seen locally at the 2012 San Francisco International Film Festival, this documentary from Elizabeth Mims and Jason Tippet is styled like a narrative and often shot like a fine art photograph (or at least a particularly bitchin’ Instagram), with an unexpectedly groovy soundtrack. It follows a pair of high schoolers with ever-changing hairstyles in dried-up Santa Clarita, Calif. — a burg of abandoned mini-golf courses and squatter’s houses, and a place where the owner of the local skate shop seems equally obsessed with tacos and Jesus. It’s never clear where Garrison and Kevin fall on the religious spectrum — though “the church” has a looming importance, influencing relationships if not wardrobe choices — but one gets the feeling all they really care about is skateboarding, with their own friendship a close second. Less certain are Garrison’s feelings about punky, tough-yet-sweet gal pal Skye — especially when they begin spending time with new flames. Only the Young‘s seemingly random choice of subjects works to its advantage, capturing the kids’ unaffected, surprisingly honest point of view on subjects as varied as cars, dating, college, the economy, and Gandalf Halloween costumes. (1:10) Roxie. (Cheryl Eddy)

A tale of police priorities

Zelda Bronstein
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A tale of police priorities

By Anh Lê

On Friday afternoon, November 9th, as I was walking on Howard St. near 3rd, I was physically assaulted twice by a Caucasian man walking with an accomplice, an African American woman. I was punched in the jaw the first time while I was still on the sidewalk; the assailant followed me into the street traffic to punch me in the jaw again. Many people passed by, yet none stopped to help. 

I called 911 from the a nearby restaurant. The first oSan Francisco police officer to arrive ordered me to sit down, and then quickly left. Then two other officers arrived, one of whom told me that he was already on assignment at the Moscone Convention Center. Even though I had an eyewitness, and we both provided the officers with a description of the assailant and his accomplice, and I told the officers that the two were still in the vicinity on Howard St., the police did nothing. One of the cops told me, “I think the guy looks like someone from the Tenderloin.”

Compare that to another incident and you get a sense of the city’s police priorities.

On Thursday afternoon, December 13, at the Muni island bus stop on Market St. at 5th, I saw two young African American men in handcuffs. They were detained by an SFPD officer, and two Muni fare inspectors. Both African American men were calm, poised, and respectful in their behavior.

One of the handcuffed men had a cell phone in his mouth while the police officer was questioning him. I thought that it was an odd situation, since the officer could have assisted him by removing the cell phone from his mouth.  I also thought that the dynamics of the situation seemed degrading and demeaning to this young man.

Within five minutes, several additional SFPD officers arrived on the scene, and then several more arrived in an unmarked large black SUV. Nearly all of the police officers were Caucasian. None was African American. 

One of the officers unzipped the second detainee’s backpack.  He calmly said to the officer, “I don’t have any weapon in there.” I could see that the situation involved a simple Muni fare situation. Yet I saw more than ten SFPD officers responding.

I spoke with two of the passengers waiting at the bus stop to ask them what they had seen. Semetra Hampton and Laversa Frasier told me that they saw the two young males handcuffed, and that these young men never acted in any aggressive manner.

I spoke with the two young men, Wayne Price and Jamal Jones. Each received citations, one for paying a youth fare as an adult, the other for misuse of a Clipper card. Hardly serious crimes.

I contacted Officer Michael Andraychak in the Media Relations Unit at SFPD and Paul Rose, spokesperson for San Francisco Municipal Transit Authority to ask why so many officers were involved in such a minor incident.

Rose emailed to tell me that transit fare inspectors saw that the men were using youth passes and asked for identification. When they refused, the fare inspectors contacted police. Andraychack said a Muni fare inspector tried to detain the suspects, but they refused to comply and ran onto the Muni bus island. The inspectors flagged down a nearby police officer, who radioed his location and told dispatch that he was being summoned by Muni personnel for an undetermined problem. Additional officers heard this radio transmission and responded to the scene.

He noted that “Fifth Street / Market is on the border of Tenderloin and Southern Districts. Officers from both districts patrol this area and the MTA K9 officers routinely patrol the Market Street Muni Metro Stations and surface transit stops.”

I appreciate the efforts by Rose and Andraychack to provide me with the information requested.  However, their statements only tell part of the story. Some of their information does not match what I observed, nor what the eyewitnesses told me at the Muni bus stop.

I was there; I counted more than ten SFPD officers who descended on these two young men. Neither of them had done anything violent to anyone, yet their fare evasion elicited massive response.

On the other hand, there was no diligent effort by SFPD to locate, apprehend, and arrest the assailant who assaulted me, on November 9th when he and his accomplice were still in the vicinity of the attack.

Mayor Ed Lee recently proposed a policy permitting police officers to detain and search certain individuals on the street if police deemed it necessary. After vigorous protests from San Franciscans and the Board of Supervisors on the grounds that such a policy would encourage racial profiling, the mayor withdrew the plan.

Still, I have to wonder: Is sending that many officers to handle a simple Muni fare situation involving two young African American males necessary — or is it racial profiling at its extreme? Is this how we as San Franciscans want to see our tax dollars spent — and wasted?

White men behaving (very) badly

Andrew Lam
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White men behaving (very) badly

Could it be — the worst year ever?

I keep asking. And every time the Offies come around, I find myself boggled yet again. Our awards for the very worst — the dumbest, the most tasteless, the most truly offensive acts of the year past — keep sinking lower and lower.

But what can we do? There are still Republicans, and this year a lot of them ran for high office, and every single one made a fool of himself. There are still politicians who think you can run for San Francisco supervisor even if you live in Walnut Creek, and elected leaders who find the courage deep in themselves to prevent a bunch of old men from walking around with their sagging asses and limp dicks out.

There are still entertainers who punch psychics, and gun nuts who blame mass murder on TV sex, and … well, a whole lot of people who have made this a banner year for the Offies.

 

SUPPORT OUR BRAVE, HEROIC TROOPS! (EXCEPT THE MEN WHO FUCK MEN)

The audience at a Republican presidential primary debate booed a gay solider who called in from Iraq with a question about don’t ask, don’t tell.

 

FROM A GUY WHO HAD TO BUY OXYCONTINS AND VIAGRA ON THE STREET, THIS SORT OF THING IS AN OBVIOUS CONCERN

Rush Limbaugh attacked law student Sandra Fluke, calling her a “slut” and a “prostitute” because she testified that health-care plans should cover contraceptives.

 

THERE ARE MEN SO BRILLIANT THAT WE STAND IN AWE OF THEIR INTELLECT

Mitt Romney said he really liked Michigan because the trees were all the right height.

 

GIVING NEW MEANING TO THE 1 PERCENT

Herman Cain proclaimed that for every woman who claimed he sexually harassed her, there were a thousand others who didn’t.

 

IF WE WANTED A DRESS CODE ON AIRLINES, WE’D START WITH THOSE DREARY PILOT UNIFORMS

An American Airlines pilot kicked a woman off a flight for wearing a shirt that said “if I wanted the government in my womb I’d fuck a senator.”

 

PROBLEM IS, BUSH MADE THAT ONE A CABINET-LEVEL POSITION

Rick Perry proclaimed in a debate that he was going to do away with three agencies of the federal government, but after listing Commerce and Education, he couldn’t remember what the third one was, identifying it only as “oops.”

 

FOR SOMEONE WHOSE NAME MEANS ASS-CUM JUICE, THAT’S A REALLY PRETTY PICTURE

Rick Santorum said that he’d listened to John F. Kennedy’s speech on the separation of church and state and it made him want to throw up.

 

LOOK! UP AT THE RAMPARTS! THE MAN WITH THE HAIR!

Donald Trump, mistakenly believing Romney won the popular vote but lost the election, called the election “a sham and travesty” and called for “revolution.”

 

BUT HE COULD HELP THEM OUT WITH A FEW BINDERS FULL OF WOMEN

Romney insulted the British by saying the nation didn’t appear ready to host the Olympics.

 

FINE, JUST TAKE RICK PERRY WITH YOU

More than 50 thousand people signed a White House petition asking for permission for Texas to secede.

 

GUNS DON’T KILL PEOPLE, ATHEISM AND OVERSTIMULATED GLANDS DO. HAPPY FRIDAY, SHOOTERS!

On the same day that a gunman opened fire at a showing of the Dark Knight movie in Colorado, the National Rifle Association’s magazine sent out a tweet that read: “Good morning, shooters! Happy Friday.”

A Congressman from Texas, Louie Gohmert, argued that the Dark Knight shootings happened because of “ongoing attacks on Judeo-Christian beliefs.”

Mike Huckabee blamed the massacre in Newtown, CT on atheism. “We ask why there is violence in our schools, but we have systematically removed God from our schools,” Huckabee said on Fox News. “Should we be so surprised that schools would become a place of carnage?”

Timothy Bordnow at Tea Party nation said the shooting was caused by too much sexual stimulation in the media . “There is a reason why young people commit these sorts of crimes, and sex plays no small part. Their passions are eternally inflamed, and they wander the Earth with no outlet for their overstimulated glands.”

Megan McArdle, the Daily Beast writer, urged the victims of mass shootings to gang-rush the shooter so he wouldn’t kill as many people.

The head of the National Rifle Association said the only way to stop mass murders of school children is to post armed guards in every school.

 

WOW — THE DISTRICT 8 SUPERVISOR HAS BEEN OVERWHELMED BY A COUPLE OF OLD MEN’S FLACCID DICKS

Sup. Scott Wiener promoted a ban on public nudity in San Francisco.

 

WHEN YOU’RE A MAJOR LOSER, EVEN MONEY CAN’T BUY YOU LOVE

Michael Breyer, who has never been elected to anything, spent roughly $1 million trying to win a state Assembly seat as the candidate of “traditional San Francisco values,” and lost badly.

 

AND THESE PEOPLE ARE COOPERATING WITH HOMELAND SECURITY?

Confetti thrown in the Giants parade turned out to be lightly shredded internal police documents that included home addresses and social security numbers of officers.

 

GUESS IT’S OKAY TO PERJURE YOURSELF IF YOU’RE THE MAYOR

Mayor Ed Lee testified under oath that he’d never discussed the Ross Mirkarimi case with members of the board of Supervisors, although friends of Sup. Christina Olague said she’d been open about her talks with the mayor on the topic.

 

NOW, WHICH ONES ARE THE IRON MONSTERS OF DEATH?

A San Francisco bicyclist who was allegedly trying to beat a speed record crashed into and killed a 71-year-old man in the Castro.

 

UNFORTUNATELY, THERE’S NO MALPRACTICE STATUTE GOVERNING THAT AUGUST PROFESSION

Political consultant Enrique Pearce oversaw perhaps the worst district election campaign in history, helping Olague become the first incumbent ever to lose in ranked-choice voting in SF.

 

SOMEHOW, REPRESENTING WALNUT CREEK AT CITY HALL DIDN’T SEEM LIKE SUCH A GOOD IDEA

Union official Leon Chow dropped his challenge to Sup. John Avalos when the SF Appeal revealed that he didn’t live in District 11, or even in San Francisco.

 

 

WHEN MEN ARE JUST TOTAL DICKS: THE GOP REDEFINES RAPE

1. Divine providence rape (Rick Santorum): “The right approach is to accept this horribly created .. gift of life, accept what God is giving to you.”

2. Honest Rape (Ron Paul): “If it was an honest rape, that individual should go immediately to the emergency room.”

3. Forcible Rape (Paul Ryan): Federal law should prevent abortion except in the case of “forcible rape.”

4. Emergency Rape (Linda McMahon): “It was really an issue about a Catholic Church being forced to issue those pills if a person came in with an emergency rape.”

5. Legitimate Rape: (Todd Akin): “If it was a legitimate rape, the female body has ways to try to shut that whole thing down.”

 

CALL IT BIEBER RAGE; IT’S DANGEROUS SHIT

After a Justin Bieber concert, Lindsay Lohan punched a psychic in the face at a New York nightclub, then threw her personal assistant out of the car.

 

YEP, AND IT DOESN’T LOOK ANY BETTER THE SECOND TIME

Romney’s campaign manager said that his candidate would change his right-wing positions for the fall campaign: “It’s almost like an Etch-A-Sketch. You can kind of shake it up and we start all over again.”

 

AND IF HE GOES WITH THEM, IT WILL ALL BE WORTH WHILE

Newt Gingrich proposed sending 13,000 Americans to the Moon and creating a new state there.

 

AND WE ALL WONDER WHY THE MEDIA IS DOING SO SMASHINGLY WELL THESE DAYS

After Gabby Douglas became the first black woman to win the Olympic gold medal in all-around gymnastics, the news media reported on problems with her hair.

 

AND YOUR VIEW OF THE WORLD IS OVER, OVER, OVER, OVER

Justice Antonin Scalia, in defending his argument that sodomy is legally equivalent to murder, told law students at Princeton that the Constitution is not a living document, it’s “dead, dead, dead, dead.”

 

MAKES YOU WONDER ABOUT THE POOR SOUL WHO CAME IN AT 99

Kim Kardashian fell 90 places, to 98, on AskMen Magazine’s list of the worlds 100 most desirable women.

 

SADLY, “GOTTA CATCH ‘EM ALL” DOESN’T MAKE SUCH A GREAT CAMPAIGN SLOGAN

Herman Cain said his life’s philosophy came from a Pokemon song.

 

WE’RE GLAD THAT HIS FAITH HAS GIVEN HIM SUCH AN UPLIFTING ATTITUDE

Romney said he’s “not concerned about the very poor.”

 

HE WAS PROBABLY SHITFACED, TOO, BUT SINCE HE DOESN’T DRINK HE CAN’T REMEMBER THAT EITHER

Romney said he didn’t remember beating up a gay student at his prep school and cutting off his long hair.

 

IT’S A GOOD THING MONDAY NIGHT FOOTBALL ISN’T LOOKING FOR ANOTHER JOHN MADDEN

A full 78 percent of Americans thought Ryan Seacrest was doing a good job broadcasting from the Olympics, although most of them couldn’t figure out what he was actually doing.

 

HE ALSO TOLD US THAT TAX CUTS AND DEREGULATION WOULD IMPROVE THE ECONOMY, SO HE’S GOT A WINNING RECORD HERE

Karl Rove on election night kept insisting the Romney still had a chance to win.

 

TALK ABOUT A BLOWN COVER

David Petraus resigned as CIA director after an affair with a woman who was threatening another woman who might have had a thing for him.

 

TOO BAD — HE MIGHT HAVE HAD TO SEEK ASYLUM IN THE NEW REPUBLIC OF TEXAS

A petition to allow every American to punch Grover Norquist in the dick was removed from the White House website.

 

WE’RE WITH THE GOVERNMENT OF BELIZE; THIS MAN IS “BONKERS”

One-time software mogul John McAfee fled Belize claiming the cops would persecute him after he was sought for questioning in the shooting death of his neighbor — using a body double, faking a heart attack, pretending he was crazy, and winding up in Miami.

 

IT SUCKS TO BE STINKING RICH AND OWN FOUR HOUSES AND HAVE TO LIVE WITH REJECTION

Ann Romney was deeply depressed that her husband didn’t win the election, telling friends she though it was their fate to move into the White House.

 

AND WHEN ASKED IF SOMEONE THAT MORONIC COULD ACTUALLY RUN FOR PRESIDENT, HE SAID “I’M A REPUBLICAN, MAN”

Marco Rubio, when asked about the age of the Earth, said “I’m not a scientist, man.”

 

EASY — THE ONES WHO ARE GETTING PAID ARE THE ONES PRETENDING TO BE INTERESTED IN NASTY OLD FRENCHMEN

After Dominique Strauss-Kahn was held overnight in Lille to be questioned about possible connections between a prostitution ring and orgies he attended in Paris and Washington, his lawyer said: “I challenge you to distinguish a naked prostitute from any other woman.”

 

DUDE — THAT’S THE TERRITORY OF SERIOUS LOSERS

Vice-presidential candidate Paul Ryan lied about his time in the marathon.

 

GO AHEAD, CLINT — MAKE OUR DAY

Surprise guest speaker Clint Eastwood addressed GOP convention delegates for 12 minutes, during which he carried on an imagined dialogue with an empty chair he identified as President Obama.

 

AND YES, HE DID GET A FAIR AMOUNT OF THE STUPIDITY VOTE

Santorum told a gathering of conservatives in Washington, “We will never have the elite, smart people on our side.”

The next board president

Andrew Lam
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EDITORIAL The president of the Board of Supervisors does more than bang the gavel at meetings, tell people to put their clothes back on, and run for higher office. It’s a powerful position largely because the president makes appointments — to the Planning Commission, the Police Commission — and unilaterally decides who serves on which board committees.

Two years ago, Sup. David Chiu, who won the top post in 2009 with progressive support, wanted re-election, and the left wasn’t siding with him anymore. So he cut a deal with the conservative members, appointing the right-wing of the board to plum committee posts — and making life harder for progressives who wanted to pass Legislation or prevent bad developments from happening.

He clearly likes the job and would love to hold it for a third term. But that won’t be easy — Sup. Scott Wiener, who is to the right of Chiu on many issues, is also interested, as is Sup. Jane Kim, who has always been close to Chiu, and Sup. David Campos, who is one of the leading progressives. None of the candidates can count to six right now, so somebody’s going to have to back down or make a deal.

And before that happens, the candidates ought to tell us something about what they plan to do.

Chiu’s 2011 committee appointments were a bit of a shocker, although, in retrospect, the horse trading shouldn’t have surprised anyone. In fact, after he made his decisions, and put Carmen Chu, one of the most conservative supervisors, in charge of the Budget and Finance Committee and put the conservative Scott Wiener and the moderate Malia Cohen on Land Use and Economic Development, and put conservative Sean Elsbernd in charge of two committees, he told us that he felt he had no choice. If the progressives had voted for him, he wouldn’t have had to reward the conservatives.

This time around, with two new supervisors taking office (a more centrist Norman Yee replacing Elsbernd and a more moderate London Breed replacing Christina Olague) everything is up in the air. The progressives still have a solid three votes, and can sometimes count on Jane Kim and Chiu. That’s not enough to elect a president, but it’s coming pretty close.

Based on experience, skills, and temperament, our first choice for board president is Campos, who would be fair to everyone, approachable, and a voice for open government and community participation. But if Campos can’t get six votes, he and his progressive colleagues should ask anyone who want their support to be open about what he or she plans to do.

Who will be on the budget committee? Rules? Land Use? Where will he or she look for candidates for commissions? We know it would look unsightly if, say, Chiu named in advance his preferences for key committees — and then those people voted for him. But the reality is, those discussions are happening anyway, those deals being cut — and it’s happening behind closed doors, where the public (and the other supervisors) can’t watch.

Let’s bring all of the discussions into the sunshine, and have an open debate about the next board president.

 

Gentle mosh

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Gentle mosh

TOFU AND WHISKEY Vetiver and Howlin Rain have both been haunting around the Bay for the better part of a decade. Sonically split, playing tender Americana folk and 1970s-tinged psychedelic rock, respectively, the bands share a common thread of superior musicanship and drive — each releasing a landmark album in the past year or so (Howlin Rain’s The Russian Wilds and Vetiver’s The Errant Charm). The other link? Mutual admiration.

The two bands will play a series of three concerts together this weekend (Fri/28, Sat/ 29, Mon/31, 9pm, $20–$35, Cafe Du Nord, 2170 Market, SF. www.cafedunord.com). In anticipation of those, we did a sort of round-robin of interviews. I asked the musicians — Vetiver band leader and chief songwriter Andy Cabic and Howlin Rain’s Ethan Miller — a few general questions, then they took their conversation adrift, discussing literary influences, favorite Bay Area bands, and “the softest mosh pit in history.” Here are some hearty pieces of the conversation. There’ll be more up on SFBG.com/Noise.

SFBG What compelled you to create music in San Francisco, initially? What keeps you here?

AC I was playing music before I moved here and just gradually found folks to play with here in SF. Bands like Thinking Fellers Union and Caroliner were an initial inspiration. I’ve been here a while and have an apartment with reasonable rent, so that along with the weather, food, community and landscape of the city keeps me here.

EM Initially I moved up from that haunted little paradise that is Santa Cruz to be with my band at the time, Comets On Fire. The rest of the guys had all started migrating to the city and I was finishing up school there, I knew I needed to be with the band and San Francisco had a real buzz of excitement and electricity in the air for us at that time, we were moving toward a dark magic both in the atmosphere of San Francisco and the creative work that was ahead of us.

I actually live in Oakland. I love it here. I stay for my bands, the culture, access to the art museums, the food, the music, the airports, the architecture, the weather, the outlying and incorporated nature, the people, my friends, the work opportunities — I could go on and on, I really don’t have any incentive to leave. After 10 years of living in the metropolitan Bay Area I think my romance with these cities and all they have to offer is stronger than ever and my engagement with their mythologies is increasing daily.

AC [Ethan,]I know you are a voracious reader, and someone who is a fan of epic and oftentimes challenging works of fiction, like Valis, Gravity’s Rainbow, and War and Peace. What is the attraction to committing to a lengthy or monumental work, and how does this impact your songwriting?

EM I started to get into some pretty dark head places when we were making the last record The Russian Wilds. As it dragged into year three, I realized I really needed some highly focused activities outside of music in my life to dismantle stress/anger/exasperation/despair etc. I began jogging religiously to beat these emotions out of my body on the pavement and I took on some heavy books to beat them out of my mind. Moby Dick and War and Peace were the two big ones that began to clear the mental air for me.

Even though we’d finished the album and life moved on to a different kind of pace and substance, I loved the challenge and grandiosity of those works and continued on with the epics. I read Gravity’s Rainbow this year while on the road near the end of our tour cycle and loved it. It is a work that has taunted, haunted, and eluded me for years and now I can say it’s one of my all time favorites; it just took some relatively hard work and time to begin to engage properly with it. It is a true and singular masterpiece but it plays by a different set of rules than most of us are used to dealing with in literature.

AC Can you talk a little bit about your relationship with Tim Green and his role in the recording process of ‘The Russian Wilds’?

EM Tim worked for months and months, perhaps dedicated half his year to The Russian Wilds. I can’t say enough about his focus and enthusiasm for the making of that album. Tim and I have been working together on records for 13 years now and we have a pretty telepathic level of communication at this point. I always learn from him, a true professional and an incredible mix of artist and scientist and a great friend. The songs that you hear on that album were chosen and shaped by Rick in their basic forms but the sounds and the “album” that you hear is Tim Green. That’s his blood, sweat, and tears along with ours.

EM Stylistically, perhaps the thing Vetiver is most famous for is your “hushed”/”understated” delivery. Your singing, phrasing, and various levels of serene projection really are the mechanism that delivers Vetiver’s artistic manifesto. When you first began to sing, was what we now know as your style already there by intention or default? Was there a conscious decision to build that style?

AC I think I’ve always sung in a soft way. I had a band in college where I tried yelling and shouting and in that context it worked alright, but never quite clicked for me. I was usually hoarse by the end of those songs. I have a predilection for jangly, poppy sounds and melodic singing, and having never been trained or really taught how to sing correctly, I don’t sing with a very strong voice.

Getting an acoustic guitar and learning to fingerpick allowed me to bring the volume of the performance in line with my voice, and helped me develop a songwriting style that felt easier and more natural.

EM I’m keen to know what kind of literary influences move your musical mind…favorite books or authors that you go back to for musical inspiration year after year? Do you often cross-pollinate influences for songwriting inspiration? Cinema, poetry, visual art?

AC I worked for some years as a buyer for a used bookstore (Aardvark Books on Church at Market…the best!), and though it was one of my favorite jobs, it kind of ruined my ability to stick to one book at a time, hence my reading taste is a bit divided. I read a lot of non-fiction, history, and biographies.

As far as fiction goes, I’m a fan of authors who imbue their writing with their own personal voice. Charles Portis, Robert Walser, Eric Ambler, Paul (and Jane) Bowles, Donald Barthelme and Gertrude Stein are a few of my favorite authors. I’m inspired by economy of language and simplicity, when a lot is communicated with just a few well-chosen words. Conviction of conception is important to me. Bold ideas executed with modesty. The artwork and lived life of Wallace Berman and Marcel Duchamp is a big inspiration for me as well.

EM When we were backstage at a show a while back you told me about a mosh pit that broke out at a Vetiver gig last year. You or someone in the conversation described it as one of the softest mosh pits in history…

AC This was earlier this year, at Pitzer College, during their Kohoutek Festival. It was a blow-out for the students at the end of their term, and we were asked to play last, which is unusual as Vetiver’s sound isn’t exactly of a climactic nature, let’s say. Kids were definitely tripping balls and the prior electronic pop acts had raised the bar to where everyone was ready to go.

A significant portion of the people up front were mesmerized by the dancer twirling her LED hula hoop. That kind of thing. And basically when we began, some folks started pushing around and trying to make it more than it probably was. Some loose student with large pupils got on stage and strained inanities into the microphone between songs, and we were told after a few tunes that the police had arrived and asked to turn ourselves down. We’re probably the only band that has no problem turning down.

EM There are great rolling layers of ambience beneath the more attention grabbing pop and rock elements of ‘The Errant Charm.’ It’s almost as if another dimension has slipped into the world we know and casts a dream state on the listener. A subtle overthrow of pop consciousness. What is that ambient world? Is it of a Machiavellian nature? And why or how is it there flowing effortlessly and breeze-like in and out of a more familiar pop world?

AC This ambient world is a reflective space for me. The Errant Charm may have more of this as the album began with myself and Thom Monahan building layers of keyboards and effects as a substrate for the tunes. I love catchy melodies as well as slow moving ambiences and tried to create opportunities for both to coexist.

AC What’s your favorite underrated Bay Area band of all time and why?

EM Man, this is a tough one between Icky Boyfriends and Monoshock. Probably Icky Boyfriends. Their reunion gig at the Hemlock this year was really something else. I’ve been super into the Public Nuisance record that just got reissued, but they are a lost group from Sacramento and that may be a little too far out from the Bay. Still worth checking out!

 

Ficks’ picks

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1. Cosmopolis (David Cronenberg, Canada/France/Portugal/Italy) During the five times I watched this brilliantly slow-burning, transcendental flick, I saw dozens of audience members fall asleep, walk out early, and complain all the way down the corridor of the Embarcadero Center Cinema hallways. I had to watch it that many times (plus read the book and have countless late-night discussions) just to try and wrap my brain around this era-defining exploration of what it means to be a (hu)man in the Y2Ks. Robert Pattinson proved he’s a truly spectacular actor, Paul Giamatti has never been better, and David Cronenberg is only getting better as he gets older.

2. In the Family  (Patrick Wang, US, 2011) Self-distributed due to its length (169 minutes), this is a stunningly haunting and devastating work. Viewers with the patience to stick with it are rewarded with a genuinely achieved emotional volcano that I can only relate to John Cassavetes’ greatest films. A truly landmark film, in both style and content.

3. The Master  (Paul Thomas Anderson, US) Of all the films that Anderson has boldly attempted, audaciously experimented with, and (perhaps most importantly) been critically embraced for, The Master is a balanced period piece that combines both poetic and historical elements with a couple of truly profound performances by Joaquin Phoenix and Philip Seymour Hoffman. This is not a film only about Scientology, or about just one master. This is a film that asks many questions, but supplies few answers.

4. The Comedy (Rick Alverson, US) Perhaps containing the most mean-spirited characters of the decade, this harrowingly insightful satire of the hipster generation’s compulsion to heap irony upon irony inspired many an audience member to exit mid-film. But the many who dared to remain (including fans of the film’s lead actor, Tim Heidecker, from Tim and Eric Awesome Show, Great Job!) may have found themselves forced to question their own heartless (and even sociopath) tendencies.

Director Rick Alverson’s perceptive use of a contemporary antihero is quite comparable to the counterculture characters of the 1970s: Robert De Niro in Taxi Driver (1976), Peter Falk in Husbands (1970), and Jack Nicholson in Five Easy Pieces (1970). And since The Comedy was not necessarily made to be enjoyed, it will probably, sadly, take 20 years for people to recognize that there is no finer film to define this generation.

5. Florentina Hubaldo CTE (Lav Diaz, Philippines) With this six-hour film, Lav Diaz has created yet another minimalist masterpiece that few will even attempt to watch — 20 people started out in the Yerba Buena Center for the Arts’ screening, and only 10 finished it. Diaz has a monumental goal in mind for his character, and his film’s length is a major part of achieving it. I am not sure if there will ever be a time when six-hour character studies will be all the rage, but until then, Diaz is paving an uncharted road for others to follow.

6. Shanghai (Dibakar Banerjee, India) This Hindi remake of Costa-Gavras’ monumental political thriller Z (1969) may not have French New Wave cinematographer Raoul Coutard behind the camera, but Shanghai‘s director of photography Nikos Andritsakis adds his own brand of raw intensity. For his part, writer-director Banerjee creates an even more complicated look at the state of politics in the age of the modern terrorist. Seemingly inspired by fellow director Ram Gopal Varma’s career of gritty political dramas, Banerjee is an international director to watch.

7. Holy Motors (Leos Carax, France) The perfect companion to David Cronenberg’s Cosmopolis, this film contains a tour de force performance by the almighty Denis Lavant (of Claire Denis’ 1999 Beau Travail), with Michel Piccoli, Eva Mendes, Édith Scob, and Kylie Minogue in supporting roles. Unique, surreal, and completely inspired, this day-in-the-life journey will make you want to watch it again as soon as it ends.

8. The Grey  (Joe Carnahan, US) The best existential “animal attacking human” flick since David Mamet’s 1997 cult classic The Edge. It’s a film that showcases Liam Neeson as he tapes glass to his fists to battle a pack of giant wolves — and manages to be emotionally stirring at the same time. Make sure to keep watching all the way through the credits.

9a. Your Sister’s Sister (Lynn Shelton, US, 2011) Lynn Shelton’s follow-up to her genre-defining bromance Humpday (2009) is a pitch-perfect indie that attempts to dig deep within its dark and confused characters. Depressed and confused thirtysomething Jack (played by Mark Duplass, master of casual awkwardness) heads off to a remote island to figure out his life. The only trouble: his best friend (a mesmerizing Emily Blunt) also has a lesbian sister (Rosemarie DeWitt) who is already there doing her own soul searching. With this contemplative, honest, and hilarious film, Shelton is turning out to be quite a splendid voice for our current generation of progressive pitfallers.

9b. Jeff, Who Lives At Home (Jay Duplass and Mark Dupass, US) They’ve done it again! With Jeff, the mumblecore masters (2005’s The Puffy Chair; 2010’s Cyrus) construct a stoner comedy-existential trip for the man-child generation. While inspiring outstanding performances from Jason Segal and Ed Helms (both the best they’ve ever been), playing brothers, a poignantly performance by Susan Sarandon as their mother raises this wonderfully earned sentimental indie flick to the ranks of family dramas like Jodie Foster’s Home for the Holidays (1995) and her most recent overlooked gem, The Beaver (2011).

10. Lotus Community Workshop (Harmony Korine, US) His next film, Spring Breakers (due out next year), is poised to become Harmony Korine’s most accessible film to date; it’s a T&A-filled exploitation film, led by James Franco as a grimy, gold-grilled-grinning, dreadlocked drug dealer who lives to prey on bikini-clad young girls. But 30-minute meta-masterpiece Lotus Community Workshop, which played the San Francisco International Film Festival earlier this year (as part of omnibus film The Fourth Dimension), is maybe Korine’s greatest film to date. The almighty Val Kilmer plays a dirt bike-riding, fanny-pack wearing, roller-rink guru named Val Kilmer — and yep, it’s as mind-blowing as it sounds.

11. ParaNorman  (Chris Butler and Sam Fell, US) This stop-motion animated film surprised parents who felt its PG rating should have been PG-13 — and it inspired gasps and even yells (from adults!) in every screening I attended. Daringly shot on a Canon 5D Mark II DSLR Camera and released in a fully utilized 3D, this ode to midnight movies is a kids’ film that will stand the test of time and should rank right alongside Shaun of the Dead (2004) and Army of Darkness (1992): horror parodies that transcended their own self-awareness and become classics themselves.

12-14 [tie]. A Simple Life (Ann Hui, Hong Kong, 2011), Amour (Michael Haneke, Austria/France/Germany), The Turin Horse (Béla Tarr and Ágnes Hranitzky, Hungary/France/Germany/Switzerland/US, 2011) Ann Hui’s simple, straightforward tale of a woman’s choice to check herself into a retirement home after suffering a stroke will probably get overshadowed by Michael Haneke’s wonderfully minimalist approach to an elderly couple’s decline after one of them experiences the same ailment. Meanwhile, Béla Tarr’s final film is for acquired tastes only; it’s a cyclical journey with a rural couple, who eat potatoes, are isolated in a stormy darkness, and care for their horse. All three films lay out a terrifyingly realistic blueprint of old age.

15. Compliance  (Craig Zobel, US) No film at the 2012 Sundance Film Festival encountered as much controversy as Compliance. At the first public screening, an all-out shouting match erupted, with one audience member yelling “Sundance can do better!” You can’t buy that kind of publicity. Every screening that followed was jam-packed with people hoping to experience the most shocking film at the fest. And it doesn’t disappoint: Zobel unleashes an uncomfortable psychological mindfuck on the viewer all the way through to the stunning final 15 minutes, which are even more shocking than all the twists and turns that came before.

16. The Kid With a Bike (Jean-Pierre Dardenne and Luc Dardenne, Belgium/France/Italy, 2011) Can these Belgian brothers make a bad film? Seriously? Like their Palme D’Or winners Rosetta (1999), The Son (2002), and L’enfant (2005), Kid is yet another hypnotic, neo-realist portrait of modern-day youth. Every character makes unexpected yet inevitable decisions. No moment is false. The Dardennes create movies that make life feel more real.

17. Beasts of the Southern Wild ( Benh Zeitlin, US) Fantastical special effects created by 31 students at San Francisco’s own Academy of Art University (yes, I am biased), plus star Quvenzhané Wallis as Hushpuppy, a precocious six-year-old searching to understand a world post-Katrina, post-race, and more importantly post-childhood. Combining David Gordon Green’s George Washington (2001), Spike Jonze’s Where the Wild Things Are (2008) and perhaps even Julie Dash’s Daughters of the Dust (1991), Zeitlin has created a haunting enigma for modern audiences that deserves multiple viewings. But even though it won multiple prizes at the 2012 Sundance Film Festival, will it get the Oscar attention it deserves?

18. Universal Soldier: Day of Reckoning (John Hyams, US) When Jean-Claude Van Damme started this franchise back in 1992, it was a nice little combo of First Blood (1982), The Terminator (1984) and Robocop (1987). Twenty years later, the series’ fourth entry is co-written, co-edited, and directed by John Hyams, the son of Peter Hyams, who directed JCVD classics Timecop (1994) and Sudden Death (1995) — and man oh man does he deliver a tough and gritty little action sci-fi film. Van Damme takes on an even darker role than his scene-stealing turn in Expendables 2; with a cleverly subversive script, eloquently choreographed fight scenes (one of which gives Dolph Lundgren some pretty priceless moments), and a denouement that has to be seen to be believed, you may be rooting for this VOD released genre film as much as I am — not to mention Indiewire, which called it “One of the Best Action Movies of the Year!”

19. John Carter (Andrew Stanton, US) With a budget of $250 million, this epic based on Edgar Rice Burroughs stories brought the Walt Disney company to its knees by only making $73 million back. If you saw the film in 3D, you might be confused as to why no one bothered to see it. In my opinion (having watched it twice), John Carter achieves everything James Cameron’s Avatar (2009) did, as far as sci-fi extravaganzas go, but it also has an inspired story and a charming cast: Taylor Kitsch, Lynn Collins, Samantha Morton, and Willem Dafoe. This is possibly this generation’s Ishtar (1987), and like Elaine May’s infamous still-unavailable bomb, John Carter is actually enjoyable; it’ll need a decade or two for audiences to find it as one of the most enjoyable CGI spectacles in recent years.

20. The Dark Knight Rises (Christopher Nolan, US) [SPOILER ALERT!] I found The Dark Knight Rises hard to dismiss as just another money-making super-hero adaptation. After multiple viewings, I’ve come to think of the conclusion to the trilogy as the finest of the three. I’ve also had time to puzzle over the film’s intricate plot.

While many fellow critics seemed to find the film’s political handlings of Bane’s Occupy/French Revolution movement to be flimsy and even irresponsible, I would argue that the film works in a more complicated way toward politics. If Bane’s misguided revolution fell flat, then it would be important to look at Catwoman’s anarchist ways. And about that — did she put her selfishness aside to start over with a broke Bruce Wayne, or is the closing sequence just Alfred’s fantasy? (And if the latter is true, did Batman actually blow himself up in the end?)

And then there’s Blake, who bests the pathetic Deputy Commissioner, then turns his back on the well-meaning yet lying-to-the-people Commissioner Gordon. Though Blake knows he has to quit the police force amid such corruption, he can’t dismiss his urge to help the helpless and downtrodden — after all, he’s an orphan from the streets — and Robin is born. He’s alone (no butlers down in that cave anymore …), and will need to figure out what to do in Gotham City — a town that’s always wild at heart and weird on top.

(Note: list compiled prior to viewing Zero Dark Thirty or Les Misérables.)

Best Actor of 2012
Matthew McConaughey for Bernie (Richard Linklater, US, 2011), Killer Joe (William Friedkin, US, 2011), Magic Mike (Steven Soderbergh, US, 2011), and The Paperboy (Lee Daniels, US)

Best Unreleased Films of 2012

The Act of Killing (Joshua Oppenheimer, Christine Cynn, and Anonymous, Denmark/Norway/UK)

Black Rock (Katie Aselton, USA)

Berberian Sound Studio (Peter Strickland, UK)

Pilgrim Song (Martha Stephens, US)

The Lords of Salem (Rob Zombie, US)

Jesse Hawthorne Ficks programs the Midnites for Maniacs series, which emphasizes dismissed, underrated, and overlooked films. He is the Film History Coordinator at Academy of Art University.

Synthesis 2012 Festival marks Mayan date with a creative contribution

Sasha Cuttler
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Synthesis 2012 Festival marks Mayan date with a creative contribution

The Synthesis 2012 Festival near Chichen Itza, Mexico got off to a rocky start, but by the time the Mayan Long Count calendar ended on Dec. 21, it had transformed into an inspiring example of working through adversity to build community and connect with another culture.
According to a variety of volunteers and performers associated with the festival, Executive Producer Michael DiMartino over-promised and under-delivered just about everything: hotel rooms, shuttles to and from Cancun and other cities, food for volunteers, and local permission for a stage at Pyramid Kukulkan and the camping area where thousands of festival-goers stayed. On top of that, the bus carrying the sound system and other supplies got turned around by authorities at the border, causing the crew to scramble locally for sound and building equipment and supplies.
“Not everything came together the way we planned, because it’s Mexico, but everyone came together and created community,” Debra Giusti, the Harmony Festival founder who helped DiMartino with Synthesis (and who calmly and creatively resolved many of its problems, say several sources) told me on Dec. 23, the festival’s final day. “There was so much love and unity and can-do spirit.”
At one point before the festival officially began on Dec. 20, federal police and local officials shut down work on the Ascendance stage, blocked access to the adjacent camping area, and gathered everyone there into a group, dressing down DiMartino and taking him away in a police car to resolve their differences.
The crew of mostly Northern California residents that showed up more than a week before the festival began to build the Ascendance Stage that would host the DJs and other musicians worked through their frustrations with event organizers to forge strong connections with the mayor and other locals, throw a great party, and leave a lasting gift for the Mayan people.
“We fed everyone, spent almost $16,000, dealt with the authorities, made friends with all the locals, and stayed with our intention to build this temple for the galactic alignment,” Ken Currington, aka Shombala — one of the project leaders working beside Tulku, the main guy — told me. He said he felt proud and humbled by the experience.
The impressive and ornate pyramid-style temple was built with locally sourced wood, bamboo, and steel in the parking lot of a Mayan stone-carving business in Xcalacoop — just over 9km from the main festival hub in Piste Pueblo, past the Pyramid Kukulkan in Chichen Itza — after the locals embraced their offer to leave it as a permanent display structure for the Mayan artwork.
“One local Mayan who came by was in tears and he said this was the one of the best offerings to the Mayan people,” Currington said.
The visitors helped prepare and participate in a locally produced festival marking the end of the Mayan calendar on Dec. 21, a gesture of goodwill that helped overcome initial missteps. Some local Mayan elders also took part in a Synthesis ceremony at the pyramid in Chichen Itza at sunrise that day.
At the all-night dance party that began on Dec. 22, which featured a long list of Bay Area DJs and other performers, local families came to see the spectacle, which also  included live creation of paintings, mandalas, and other artworks and aerial yoga swings. All the locals I talked to seemed to enjoy and appreciate the event, except for one stern-faced police officer who simply said, “No se (I don’t know),” when I asked what he thought.
“This was amazing because it drew people from all over who felt called to be here,” Giusti said. “They went into the jungle and made art.”
One area where DiMartino (who hasn’t yet responded to my questions about problems with the festival) did seem to deliver was in booking and delivering keynote speakers, who spoke from the stage at the Hacienda restaurant and hotel complex in Piste Pueblo, where meals were also provided to VIPs and those who bought the most expensive tickets.
Keynote speaker Don Miguel Ruiz, a Toltec author and thinker, told the Synthesis 2012 Festival crowd that changing the world starts with an internal change, a change in consciousness. “If we can change our own story, if we can find that peace and that joy,” he said, then we can project that out into the world. “The change we want to see in the entire society starts with us. We can’t give what we don’t have.”
At this point, it’s our collective responsibility to seize the moment and help bring about the transformation that the world is waiting for. “We can be part of the solution for humanity or we can be a part of the problem,” he said.
Manifesting the solutions begins by tapping our creative energies. “Whatever we create first begins in our imagination,” Ruiz said. “Then we make it real.”
“In my imagination, humanity has already changed. We are going in the right direction. We can make it happen. Day one is today,” Ruiz said on Dec. 22, drawing a raucous reaction from the large crowd. “Everything we did in life is completely irrelevant. Right now is the moment.”
Another keynote speaker, Caroline Casey of KPFA’s “The Visionary Activist” show, also talked about the importance of healing the world by transforming ourselves, and an ancient Hawaiian concept called ho’oponopono, a practice of reconciliation and forgiveness.
As she said, “To love disharmony back into harmony makes the harmony so much more.”

The screams of dead children — everywhere

Zelda Bronstein
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The screams of dead children — everywhere

The screams of a thousand dead children wail through my mind. Children in Afghanistan, Iraq, Palestine and Libya killed by empires’ drones; thousands of young men of color America killed by white supremacist occupying armies called police, security guards and neighborhood watch agents; teenage workers from Bangladesh and China killed by corporations for profits; countless babies and young people killed by drive-by shootings and gun violence in communities of color intentionally ghettoized, destroyed and preyed upon by devil-opers, bank gangsters, gentriFUKators; and hundreds of white, middle-class children, youth, and adults killed by more gun violence perpetration, mental illness and the mental vacancy of wite culture.

Thousands of children die for corporate profits, war profits, and prison industrial profits every year in this country. Dead because gun violence is glorified and the sale of guns make some people rich, because parents are tired and don’t have the energy to fight with their kids to turn off the video games, because video games, un-conscious rap, Hollywood movies and corporate news with people killing each other make death look like entertainment — and with each sale make more profits for tech corporations in Silicon Valley run by the new technological colonizers. Because guns are exciting, especially when you have little else to be excited about.

So shouldn’t the grief for all of our children be the same? Shouldn’t our actions to stop the rise in death by gun violence everywhere be equally urgent and comprehensive?

The president shed tears in a prime-time speech for the 20 white middle-class children from Connecticut. But what about crying for babies killed by drive-by shooters, youth killed by police, and hundreds of teenage workers from China who react to mercury poison and throw themselves out the window while US tech companies make billions in profit? Why aren’t thousands of people shedding tears and sorrow and sympathy for the children in Gaza who die everyday?

In the bizarre naming of poverty positions there is a terrifying concept called the deserving vs undeserving poor rooted in the US crums (welfare) policies that were originally set up for white widows of World War II veterans in the 1930s and 1940s. Due to overt and systemic white supremacist institutional values that undergird everything in the US from its stolen beginnings to now, these white, hetero-normative women were viewed as the deserving poor, or “legitimate” poor people, who had come upon bad times from no “fault” of their own and therefore were deserving of our aid and our sympathy. In contrast, indigenous sisters, sisters of color in diaspora, or divorced, poor or unmarried women were viewed as aberrant, pathological or “lazy,” who had inherently done something to “deserve” their poverty and therefore deserved none of the US crums, only criminalization, incarceration or disgust.

I think we have come to a time, with the meteoric rise in death by gun violence of so many of us of all ages, colors, cultures and regions of the country, where we now have the deserving vs undeserving dead. How about little baby Hiram, 1 year old, who died because he happened to be in the line of fire from a passing car in Oakland? Or Ayana Jones, a 7-year-young innocent baby shot when Detroit police stormed their home with assault rifles to “find a suspect.” Or Derrik Gaines, a young disabled man who was killed by Daly City police? Or the countless children killed in Afghanistan, Palestine, Iraq or Libya by colonizing empire armies attempting to steal more indigenous resources for the ever-hungry jaws of capitalism? Did they deserve to die because someone calls their innocent bodies “collateral damage?”

What about all of our poor children of color — sorted, separated, tested, and arrested out of schools — who roam the streets with no jobs, no hope and endless violent images pumped into their heads from corporate media lies and mythologies in the holding tanks called our ghettoized neighborhoods, pick up guns and shoot each other for something to do until the police arrive to place them into the plantation prisons that await their profitable arrival? Do they deserve to die?

There are many reasons why children and adults are killing each other. My Black Indian Mama Dee used to say, white supremacy and capitalism isn’t good for any human, even white people. People have talked about the proliferation and glorification of guns to all young people through mass media, as well as the deep wounds of the cult of independence on a human’s psyche, not to mention the gutting by Republicrats of the mental health system. But one of the deepest ones that I see is the factory schools themselves, the separation of youth from elders’ wisdom and the ways that our children no longer even vaguely understand the respecting, honoring, and neccessary reverance of their elders.

Om this society, we are taught how to ghetto-ize and separate our elders from our children in as many ways as possible. This separation and lack of reverence is valued in capitalism as it sets up more products and capital to trade on. I pray and send love and strength to these families and little ancestors to help their still living families decolonize from this myth of separation and capital-inspired death so their may be healing for them.

From this moment and so many more like it, I am drawn to believe that when people like me and my mixed race family in poverty die, we deserve to. My hope and vision is that with this moment of so much sorrow for the families in Connecticut, perhaps the oddly democratizing impact of death will free us all from the unspoken but clearly existent concept that some of us deserve to die and awaken us all to the real-ness that none of us do.

Pitting before dinner: Trash Talk, MellowHype, Sabertooth Zombie, and Antwon at DNA Lounge

Tony Robles
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By Greg Weissel
All photos by Matthew Reamer

A half hardcore, half hip-hop bill at 6pm on a Monday in San Francisco. What could possibly go wrong? Nothing, in fact, did go wrong – and the writhing masses wreathed in weed smoke hovering over the concrete dance floor at DNA Lounge proved that mixed bills can make for the most energetic live shows.

The mood for the night was one of joyful irreverence, marked by the line of young men and women lined up on 11th Street, holding their skateboards, wearing Odd Future or punk rock shirts, cutting in line and hassling the strict bouncers.

Antwon, from San Jose, appeared on stage by 6:30pm, just himself in a black metal Deafheaven shirt , and his DJ in front of the anxious mass. His dark lyrics and threatening instrumentation inspired the crowd to start moving early. The first pit of the night broke out during “40 Bag” as Antwon asked if anyone had 20 on a 40 bag.

Sabertooth Zombie hit the stage next, playing the familiar opening chords of the Monday Night Football theme song before launching into its mix of thrash, psychedelia, and heavy metal riffs. The North Bay quintet played ragers from its earlier, punker releases and mixed in the more intellectual compositions from its Human Performance series of seven-inches.

STZ gave way to MellowHype, the LA-based duo made up of Odd Future members rapper Hodgy Beats and producer Left Brain. The stage grew crowded with dudes lighting joints and then with kids from the crowd stage driving. Enthusiastic nihilism that had everyone chanting “Fuck The Police.” The two behind MellowHype bounced around between songs, throwing themselves into the crowd and hitting blunts in between verses.

As MellowHype was leading the crowd through its last hit, Trash Talk was setting up behind them. Time was growing short, DNA Lounge had another event booked for 9pm and it was already past 8. The now-LA, formerly-Sacramento foursome wasted no time, charging into a set that featured tracks from all its releases, including its new 119 full-length, recently released on Odd Future Records.

But there was no hip-hop here, just pure aggression funneled into the maelstrom of the pit. By the end of the set, frontperson Lee Spielman had relocated to a structure in the middle of the crowd and was spitting venom directly in the faces of the frenzied crowd.

About that dog Charlie

Zelda Bronstein
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About that dog Charlie

Nothing like a dog story to captivate a city that has so much else going on. And while there are (sadly) dogs euthanized in this city fairly often, mostly because they’re unadoptable or found to be dangerous, the particulars of Charlie’s story — and the press attention it’s gotten — has turned this one incident into a world-wide campaign against the Canine Death Penalty.

You can’t call the City Attorney’s Office about it; the voice mail is full. You can’t call Animal Control and Welfare — the lines direct you to an email address. There are so many callers demanding a reprieve for the American Staffordshire Terrier (aka St. Francis Terrier, aka pit bull) that nobody at City Hall can handle them all.

Supporters have gathered more than 100,000 signatures on a petition to save him. He made the front page of the Examiner. And now, insiders tell me, the folks who run San Francisco are trying to find a clean way out.

Let’s face it: If the execution date goes forward, there will be TV trucks lined up all over, a doggie-death countdown, animal-rights protests — basically, a clusterfuck that will make the City of St. Francis look horrible.

In other words: If you kill the dog, it’s going to be a public-relations disaster.

But here’s the thing: City law gives Police Officer John Denny, of the department’s Vicious and Dangerous Dog Unit, full authority to order a critter euthanized. There is no appeal; his call is final. And he’s made his decision: Death for Charlie.

So Charlie’s owner, David Gizzarelli, has hired a lawyer and is fighting in court. The latest stay expires at the end of December. It’s a long shot that a judge will overrule Denny — but it’s entirely possible that somebody at City Hall will try to find a solution short of the Ultimate Penalty. There are all kinds of options — the dog could be taken away from Denny and adopted somewhere else. Denny could order that the dog be kept on leash at all times (an excellent idea anyway). It could be sent to a behavior-modification trainer.

Look: I’m not a big fan of pit bulls. They’re powerful animals who were bred to be dangerous. They can make fine pets, but I don’t think they should be allowed (in general) to run off leash in crowded areas. The city’s mandatory neuter law is a good thing, and helps, but still: Treat these often-adorable creatures as constant potential — potential — threats, and you’re going to be better off.

Yeah, the dog attacked a police horse. Lots of dogs who have never seen horses freak out around them; a good reason why the cops shouldn’t ride horses into an off-leash dog park.

I’m not a dog trainer or behaviorist, and I haven’t met this dog, but I’m generally against the death penalty, including for animals, if there’s any other feasible option. And whatever the outcome, I can tell you there are lot of other people in official SF who are sick of hearing about Charlie and would really, really like to find a way for it all to go away.

Choked out

Andrew Lam
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Choked out

news@sfbg.com

When a struggle occurs in jail, it happens behind closed doors where the only witnesses are usually on opposite sides of the law. And when a struggle between these adversaries results in death of an inmate, a lot of questions emerge, questions that can linger for years if not publicly addressed.

Three years ago, a 31-year old inmate named Issiah Downes died in a San Francisco jail cell following a confrontation with deputies. After a yearlong investigation, San Francisco Chief Medical Examiner Amy Hart determined the death was a homicide. Weeks later, Downes’ mother Esther filed a wrongful death suit against the city, which was ultimately settled for $350,000, a significant sum that could have been even higher if she wasn’t too ill to pursue a trial.

Yet the deputies involved remain on the job, working in the jail, with nobody ever punished for what at least one witness said was a homicide that should have had consequences for more than just city taxpayers.

According to the lawsuit, on September 7, 2009 Downes complained about the televisions in his unit being turned off. Deemed a disturbance, he was transferred to a segregated area of the jail. The transfer turned into a scuffle involving multiple deputies who forced Downes to the ground. He was then moved into a “safety cell” where another struggle broke out and he was held prone on the floor while deputies allegedly applied pressure to his back and neck. After complaining that he could not breathe, Downes lost consciousness and was soon declared dead.

The lawsuit named the deputies involved with restraining Downes as Mel Song, Juan Guitron, Edward Gutierrez, Ken Lomba, Kevin Macksound, and Dan White. No charges were pressed against anyone. What’s more, the Sheriff Department’s Communications Director Susan Fahey confirmed that all the deputies named as defendants in the civil suit are still employed by the department in the jail.

While the story has slowly faded from the headlines, one witness has been knocking on doors across San Francisco in an attempt to tell his version of events and bring some light to this man’s murky death. Dennis Damato was in jail at the time and remembers it being a quiet day as he and other inmates watched college football. “Miami played Florida State,” Damato told the Guardian. “I was on a top bunk at the end of the row.”

From his bunk, Damato saw Downes step into the hallway outside the cell and he says Downes was not resisting deputies or being confrontational. “There was no commotion. This guy wasn’t doing anything,” says Damato, who saw a deputy approach and stand beside Downes. “He (Downes) was just standing there nice and quiet and [a deputy] was standing to his left. I did not see them communicate.”

Damato says he looked away for a moment to check the score of the game and when he turned back, he saw the deputy attacking Downes, who was in handcuffs. “He was bent over, handcuffs in front of him, and the deputy had him in a choke hold,” Damato told us. “Mr. Downes was saying he can’t breathe. His eyes were bulging while being choked and brought down.”

Damato says Downes was already on the floor when more deputies arrived to assist and roughly 15 minutes passed before they dragged Downes to a secluded room. Convinced that Issiah Downes was murdered, Damato has reached out to everyone from the DA’s office to the Sheriff’s Department but he says he was shut down at every turn: “They’d say ‘it’s over with. Go home.'”

The deputies could not be reached for comment because the Sheriff’s Department didn’t make them available or release their contact information as we requested.

After Downes’ death the Medical Examiner’s Office investigated and the subsequent report confirms that Downes suffered blunt trauma to his neck (in addition to his torso and extremities), consistent with Damato’s claim that Downes was strangled.

“Were it not for the physiologic stresses imposed by the struggle and restraint, there is no reasonable medical certainty that Mr. Downes would have died at the moment he did.” Assistant ME Judy Melinek, M.D. Concluded in her report. “The manner of death, homicide, indicates that the volitional actions of others caused or contributed to this death.”

Although Chief Medical Examiner Amy Hart said her findings did not speak to any unlawful behavior on the part of the deputies, Esther Downes’ attorney, Geri Green, says, “I think it was very brave of her to call it a homicide,” noting that the finding strengthened the family’s case against the city.

That “homicide” call came after a yearlong investigation that included analyzing a prone restraint method called “figure four,” which incident reports from deputies say Downes was placed in moments before his death. In a figure four, a person lies in a prone position, hands held behind his/her back with knees bent and feet held in the air. Prone restraint is not uncommon but it is controversial as its various methods have lead to deaths.

Downes weighed more than 300 pounds and the autopsy found evidence of pressure on his neck and back. The report summarizes an interview with a trainer for the Sheriff’s Department who said the hold is often difficult to accomplish on an overweight person. Additionally, other inmates reported hearing Downes yell that he could not breathe and a jail nurse said she could hear loud moaning coming from the safety cell where Downes was restrained.

Fahey said the department looked into the matter. “The department conducts its own internal investigation but its report is not public record,” Fahey told us. The Police Department also investigated but in an email, spokesperson Albie Esparza said the results are confidential under laws protecting peace officers. “The case file was handled by SFPD, however those are not public records under section 6254(f) of the Government Code, which protects case files, even after a case has been terminated.”

Ellen Hirst, a spokesperson for then-Sheriff Mike Hennessey, told reporters at the time that the department believed all procedures were executed properly. The department’s official “Safety Cell Use” policies, which we reviewed, state “A prisoner may remain restrained, with handcuffs, waist chains, and/or leg irons as necessary, while in the safety cell to prevent self-inflicted injury” for no more than one hour. Yet the department’s “Use of Force” policies state, “Choking and the use of carotid restraint are not allowed by the SFSD.”

The ME concluded the cause of death to be probable respiratory arrest during prone restraint with morbid obesity. That conclusion, along with the report’s other findings, lead Esther Downes’ to charge in her lawsuit that the deputies used excessive force and illegal and unconstitutional restraint procedures on her son and “in an effort to conceal the homicide, conspired to cover up the cause and manner of death.”

Attorney Ben Nissenbaum is an associate with the renowned John Burris Law firm in Oakland, which has done extensive work on civil rights and police brutality including the Rodney King case. He says the need to further subdue an inmate in a segregated area of the jail is suspicious.

“Why would you restrain a person in a safety cell?” says Nissenbaum. “They’re already restrained. All you have to do is close the door.”

He also noted that safety cells — unlike the rest of a jail facility — are not equipped with surveillance cameras. “There are no cameras or video inside the safety cells and that is common knowledge among deputies,” Nissenbaum told us.

Although the Sheriff Department’s investigation report is not public record, it doesn’t appear that it found any criminal conduct. San Francisco District Attorney’s Office spokesperson Stephanie Ong Stillman told us, “We would have to be presented with something showing criminal conduct before we prosecute anyone…When someone dies in jail, it’s a Sheriff’s investigation.”

Over at City Hall, the City Attorney’s Office — which deals with civil suits against the City — wasn’t exactly eager to pursue the matter. “We have to consider the cost for the city of taking the case to trial,” says City Attorney spokesperson Matt Dorsey, adding that a trial is often not in the city’s best interest.

The case didn’t go to trial and was officially closed on May 18, 2011, two months after San Francisco settled with Esther Downes for $350,000. She died last June near her home in Hawaii and her surviving relatives declined comment on the lawsuit or Issiah Downes.

Like many of those who find their way into the judicial system, Downes had personal problems. He was morbidly obese, suffered from schizophrenia, received counseling for suicide (at one point he tried to gouge one of his eyes, leaving him partially blind), and had previous convictions for involuntary manslaughter, robbery, assault with a deadly weapon, and battery of a police officer. Yet he was paying his debts to society and getting help. He was a member of what public officials like to call “society’s most vulnerable”, which might turn out to be a great understatement if his mother’s conspiracy charge and Dennis Damato’s story are true.

The awful truth

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The awful truth

cheryl@sfbg.com

FILM Early last week, the Academy of Motion Picture Arts and Sciences announced the 15-film shortlist from which the five Best Documentary nominees will be culled. There are some strong contenders — including The Waiting Room, set at Oakland’s Highland Hospital — but two of 2012’s highest-profile docs were oddly absent: Amy Berg’s West of Memphis (which opens locally Feb. 8) and Ken Burns’ The Central Park Five, which opens Friday. It might be ironic that both films are about injustice.

The exclusion of Memphis could simply be due to thematic fatigue. No amount of producer Peter Jackson’s Middle-earth millions could massage away the fact that 2011’s Paradise Lost 3: Purgatory — the final entry in Joe Berlinger and Bruce Sinofsky’s series of West Memphis Three docs going back to 1996 — was nominated, and lost to a feel-good flick about high school football. (Atom Egoyan’s narrative film based on the case is due in 2013.) The only chance for a WM3 doc to win an Oscar, it seems, will be if the real killers are ever discovered — in which case, place your bets on which movie will be made first: Paradise Lost 4 or West of Memphis 2.

The case at the heart of The Central Park Five is different from the West Memphis ordeal in several notable ways: it was a rape and beating, not a triple murder; there were five teens convicted of the crime, not three; instead of “Satanic Panic,” it had racial overtones (the victim was white; the accused were African American and Latino) inflamed by NYC’s screaming-headline press; and no celebrities bothered to take up the Central Park Five’s cause, unless you count veteran documentarian Ken Burns (who co-directed with his daughter, Sarah Burns, and David McMahon, Sarah’s husband). Also, the real rapist has been found — his confession, corroborated by DNA evidence, is played at the beginning of the film — though he came forward after most of the accused had finished serving their time.

The filmmakers do well to contextualize the case, using news footage and interviews to reconstruct the mood of 1989 New York City. It hardly resembled its glittering present incarnation: there was a crack epidemic, rampant street crime, and an average of six murders a day. Even still, the Central Park jogger attack was sensational enough to spark intense, racially-biased media coverage; the fact that Antron McCray, Kevin Richardson, Raymond Santana, Korey Wise, and Yusef Salaam had confessed to the crime just exacerbated the public hysteria.

But as The Central Park Five makes clear, those confessions were coerced from scared young men who’d already been interrogated for several hours. As the accused recall in present-day interviews, they all had been in the park that night, as part of a larger group whose misdeeds included rock-throwing and harassing passers-by. There was no physical evidence tying them to the jogger (who had no memory of being brutalized), and the timeline of her assault and their movements in the park didn’t quite line up. But “the confessions seemed genuine,” remembers a juror. “It was hard to understand why anyone would make that kind of thing up.”

None of the NYC police or prosecutors involved in the case are interviewed in The Central Park Five. Two reasons: an ongoing civil rights lawsuit filed by the wrongfully convicted men (which now involves the filmmakers — in September, they were subpoenaed for footage of the accused discussing their confessions); and really, who wants to go on record admitting that they failed, and ruined multiple lives as a result? Unlike the WM3, the Central Park Five’s “innocence never got the attention that their guilt did,” historian Craig Steven Wilder points out. Academy Award nomination or not, The Central Park Five may help change that.

Like the injustice doc, another late 2012 trend is the presidential biopic. Weeks after the release of Lincoln, Hyde Park on Hudson arrives with a lighthearted (-ish) take on Franklin D. Roosevelt’s 1939 meeting with King George VI (of stuttering fame) and Queen Elizabeth at FDR’s rural New York estate. Casting Bill Murray as FDR is Hyde Park‘s main attraction, though Olivia Williams makes for a surprisingly effective Eleanor.

But the thrust of the film concerns FDR’s relationship with his cousin, Daisy — played by Laura Linney, who’s relegated to a series of dowdy outfits, pouting reaction shots, and far too many voice-overs. The affair has zero heat, and the film is disappointingly shallow — how many times can one be urged to giggle at someone saying “Hot dogs!” in an English accent? — not to mention a waste of a perfectly fine Bill Murray performance. As that sideburned Democrat bellows in Lincoln, “Howwww dare you!” *

 

THE CENTRAL PARK 5 opens Fri/14 in the Bay Area; HYDE PARK ON HUDSON opens Fri/14 in San Francisco.

Guns in Bayview

Andrew Lam
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Guns in Bayview

The National Rifle Association’s bid to kill two San Francisco gun control ordinances — which a federal judge initially rejected last week, although that legal process continues — highlights differing views on the issue in the violence-plagued Bayview, where two prominent activists have opposing viewpoints.

One ordinance requires guns in the home to be locked up when not on the owner’s person and the second bans the sale of fragmenting and expanding bullets, affecting only the city’s sole gun store: High Bridge Arms, in the Mission district.

The first ordinance was introduced in 2007 by then-Mayor Gavin Newsom and supported by Sheriff and then-Sup. Ross Mirkarimi and opposed by three supervisors: Ed Jew, Aaron Peskin, and Chris Daly. City Attorney Dennis Herrera was pleased at the judge’s ruling.

“The NRA took aim at San Francisco’s Police Code,” Herrera said in a press release. “I’m proud of the efforts we’ve made to beat back these legal challenges, and preserve local laws that can save lives.”

NRA attorney C.D. Michel told the San Francisco Examiner, “This is not over, not by a long shot…What if you’re old and need glasses in the middle of the night, or you have kids at home to protect? Why are they being forced to keep their guns locked up?”

Interestingly, its not the NRA’s name on the front of the lawsuit, entitled “Espanola Jackson v. City and County of San Francisco.”

Jackson, a San Francisco native and longtime Bayview Hunter’s Point civil rights activist, has been fighting for the rights of minorities since she was old enough to hold a picket sign. She was recognized last May by the San Francisco Human Rights Commission with a “Legacy Award for a Lifetime in Human Rights Advocacy.”

So why is she advocating for unlocked guns in the home, and more lethal bullets?

“I live in the Bayview and I’m 79 years old,” she told The Guardian. “We’re mostly single women, but we need to have protection.”

She cited a recent police report she’d read of an elderly woman being assaulted by several teenage girls, just blocks from her home, as one of the many reasons she feels she needs protection in her own neighborhood.

Jackson said she’s had a lifetime of training with her firearm, although she wouldn’t identify the kind of weapon she wield. Back in the ’60s, she said, “they were calling us pistol packing mamas.” It’s that history, she said, that makes her feel safest with a gun in her drawer, where she can easily get it in case of a robbery.

But Theo Ellington — a board member of the Bayview Opera House and the Southeast Community Facilities Commission — sees the issue differently. Notably, as a member of the Young Black Democrats, he led the opposition against Mayor Ed Lee’s proposal to introduce “Stop and Frisk” policing to San Francisco. Lee abandoned the idea after activists cited rampant civil rights abuses under the policy in New York City.

Ellington thinks that overturning the San Francisco’s gun ordinances would be a bad idea. “We face a much greater risk if we fail to take measures to prevent [gun] accidents,” Ellington told us. “The last thing we want is for any weapons to be in the hands of children or for potential misuse.”

He has reason to be worried about the Bayview. Recent city statistics show an upswing in most crime categories in the district from 2011 to 2012, from homicides and rape to vehicle theft and burglaries. National studies have shown gun owners or their family members are more likely to get shot by guns kept in homes than are intruders. Public safety means different things in different areas, Ellington said, especially “when we’re dealing with a population that is plagued by gun violence.”

Our Weekly Picks: December 5-11

Andrew Lam
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0

WEDNESDAY 5

Jill Tracy

Spooky chanteuse Jill Tracy describes her new holiday release, Silver Smoke, Star of Night, as “the Christmas album for those who prefer the October chill.” She celebrates its release with three festive events, starting with tonight’s “Fragrance: The Allure and Magical History of Perfumes,” an after-hours party at the San Francisco Conservatory of Flowers. The evening is both concert and launch of her limited-edition fragrances (appropriately, devoted to “dark elegance”), created with local perfumers Nocturne Alchemy. Sat/8, the Hypnodrome (where Tracy has been known to perform with the Thrillpeddlers) hosts “Creepshow Christmas” — a family-friendly show mixing ghost stories with live accompaniment. Finally, Silver Smoke‘s official CD release shindig is Dec. 19 at the DNA Lounge. Spirits will be bright! (Cheryl Eddy)

Tonight, 6-10pm, $13

San Francisco Conservatory of Flowers

Golden Gate Park, 100 John F. Kennedy Dr., SF

Sat/8, 8pm, $13–$25

Hypnodrome

575 10th St., SF

www.jilltracy.com

 

Blue Scholars

The young MCs in Seattle rap duo Blue Scholars met, quite appropriately, in a hip-hop club at the University of Washington. You can hear these academic roots clearly in DJs Sabzi and Geologic’s smart, searing rhymes. The heady lyrical content of their work tackles serious, political issues such as socioeconomic mobility, empowerment, and questioning authority. Even more impressively, these boys don’t just talk the talk. Geologic’s history of activism in the Filipino-American community and the duo’s headquarters in 98118, the country’s most ethnically diverse zip code, is the perfect recipe for the smart, relevant hip-hop that the scene most desperately needs (we’re looking at you, Chris Brown). (Haley Zaremba)

With The Physics, Brothers From Another

8pm, $19.50

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

Get Carter and The Trip

Verrrry clever, Castro Theatre — programming back-to-back screenings of Get Carter (1971) and The Trip (2010). Gritty Get Carter follows a snarling Michael Caine as he prowls around Newcastle, punching his way through the local gangster contingent he holds responsible for his brother’s death. The Trip, a travelogue featuring Steve Coogan and Rob Brydon (playing exaggerated versions of themselves), contains some genius and quotable comedy — ABBA sing-offs, mock-epic speeches — but none more memorable than the two actors going head to head with their Caine impressions: “You were only supposed to blow the bloody doors off!” Truly, an inspired double feature. (Cheryl Eddy)

Get Carter 2:40 and 7pm; The Trip 4:50 and 9:10pm, $8.50–$11

Castro Theatre

429 Castro, SF

www.castrotheatre.com


THURSDAY 6

“Drag Queens on Ice”

It’s a bird! It’s a plane! It’s … er, definitely something, flying at you with the unstoppable momentum of a two-story wig and a pair of birdseed-filled balloons. You already know what’s green and ice skates (Peggy Phlegm) now come find out what’s queen and ice wobbles — all those years in man-stilletos can’t help you out on the rink, honey. This cherished annual hoot features a wealth of San Francisco’s beloved gender clown personalities threading their way through bewildered tourist families in Union Square (who actually get really into it, and by the end it’s a heartwarming family affair, full of squeals of delight). You can even skate with these swanning lovelies! No money back if you end up with a weave in your face. The great Donna Sachet — she of the stunning, form-fitting, fake-fur-trimmed ravishing red holiday dress — mistresses the ceremonies. Grab a warming adult beverage from nearby Emporio Rulli Il Caffe and join in the fun. But don’t you dare judge, or you might get Nancy Kerrigan’d. Skates are blades, remember. (Marke B.)

8-9:30pm, $10 entrance, $5 rentals

Union Square Skating Rink

Post and Geary, SF

www.unionsquareicerink.com

 

The Family Stone

I’ve had some good times listening to San Francisco’s Sly and the Family Stone — both letting my mind wander the groove of their funky sound and feeling the sense of pride in one’s self that Sly Stone sings so well — and I’d venture a guess that you have too. Though that innovate teacher and leader has opted for life out of the spotlight, three of the original members, Jerry Martini (saxophone), Cynthia Robinson(trumpet), and Greg Errico (drums), are keeping the music alive with the help of a few younger talents. Mostly hailing from the Las Vegas area, these new members are all performers with rich experiences listening to Sly’s music. This new Family Stone recreates the old hits in a fresh show, hoping to bring the music to all generations. (Molly Champlin)

7-8pm, $40–$45

Rrazz Room

222 Mason, SF

(800) 380-3095

www.therrazzroom.com

 

Streetlight Manifesto

Streetlight Manifesto was pretty late to the ska game, releasing its first album in 2003, well over a decade after the genre’s revival heyday. Though in a way, the band’s timing was actually perfect. Born out of the ashes of previous Jersey ska-punk heroes Catch-22 and One Cool Guy, Streetlight’s catchy tunes and punk rock virility have been nearly single-handedly keeping third-wave ska alive in a world dominated by hip-hop, mainstream pop, and EDM. The band is ringing in the new year with the release of its fifth album, The Hands That Thieve. During this tour, Streetlight Manifesto promises to play new songs, old favorites, and everything in between; so put on your skanking shoes and lace ’em up tight. It’s gonna be a good night. (Zaremba)

With Hostage Calm, Lionize

8pm, $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

FRIDAY 7

Hope Beyond

Kim Gordon, artist and gallery director at Modern Eden, has curated the one-night-only art show, Hope Beyond, a benefit for the victims of Hurricane Sandy. The assembled line-up includes an impressive selection of artists representing a variety of pop-surreal and contemporary styles. The work ranges from the graffiti style sharpie drawings of Kidlew to intricate fusion of nature images and Hindi symbolism by Inge Vandormael. Personally, I’m excited to see what all of these artists will contribute to the show. Especially Serge Gay Jr. — an artist whose paintings collage and reproduce pop culture images to create dichotomies between what’s real and what’s fake and make you to take a second look at his subjects: beauty, violence, drugs, and race. With all art priced below $100 and the proceeds going to Hurricane Sandy victims, what’s not to love? (Champlin)

6pm, free

Modern Eden Gallery

403 Francisco, SF

(415) 956-3303

www.hope-beyond.com

 

SFBallet’s Nutcracker

The folks in Imperial Russia loved The Nutcracker and kept it alive during Soviet times. But the West never saw it until some White Russians, who had escaped to San Francisco, nagged then San Francisco Ballet Artistic Director Willam Christensen to choreograph it in 1944. By now there are hundreds of versions all over the world; the oddest one I ever saw had Drosselmeyer arrive on a spaceship. SFB’s, choreographed by Helgi Tomasson in 2004, is set during the 1915 Panama International Exhibition. It lacks the cloying sweetness and sentimentality that infects so many others. Tomasson’s is a love letter to the City — cool, transparent, a little reserved and superbly elegant. (Rita Felciano)

Through Dec. 28, 7pm, 2pm matinees; $20–$270

War Memorial Opera House

301 Van Ness, SF

(415) 865-2000

www.boxofficesanfrancisco.com


SATURDAY 8

Misfit Toy Factory II

Did you ever feel cheated as a kid when you would see cartoons and hear stories about elves making toys from scratch, then you got a Barbie doll or video game that obviously wasn’t cobbled at the North Pole? Well, now is your chance to watch the toys actually being made. Not by elves though, but by local artists. There will be over 35 of them at Root Division Art Space bringing creativity from their various fields (painting, sculpture, and illustration mostly) to the art of toy making. All the work will be sold for a flat rate of $40. Bring cash for some shopping, or just come to enjoy the atmosphere of creativity complete with music by DJ Yukon Cornelius. (Champlin)

6pm, free

Root Division Art Space

3175 17th, SF

(415) 863-7668

www.rootdivision.org

 

John Prine

I think I need to start with a disclaimer: I love John Prine. Yes, I’m completely biased when I say that he is one of the greatest living lyricists and you’d be lucky to go see him. But why take my word for it? His more than 40 years of successful songwriting can speak for themselves. Starting off as a Chicago-area postman doing open mics in his spare time, Prine eventually got noticed — by a young Roger Ebert. Now, almost 70 years after that glowing review, Prine is still an incredible songwriter and performer, and each song is a charming, witty, and poignant labor of love. In his time as a performer, many trends and genres have come and gone, but a great folk song never goes out of style. (Zaremba)

With Justin Townes Earle

8pm, $39–$59

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com


SUNDAY 9

San Francisco Crab Fest 2012

Continuing a long-running San Francisco tradition that takes advantage of the fact that the crab fishing season along the California coast coincides with the holiday season, the Fisherman’s Wharf Community Benefit District 2012 Crab Fest will offer up a tasty fete featuring the crustacean prepared in a variety of ways by local restaurants, along with exhibits, cooking demonstrations and more. A host of sustainably-produced regional wines will provide the perfect way to raise a toast to the annual event, which donates all proceeds to the San Francisco Firefighters Toy Program and the San Francisco Police Department’s Youth Fishing Program. (Sean McCourt)

Noon-3pm, $25–$30

Waterfront Terraces, Fisherman’s Wharf

145 Jefferson St., Third Floor, SF

www.visitfishermanswharf.com

 

Queer Rebels Winter Shindig

Though the weather outside is frightful, the smolderingly creative queers performing tonight at El Rio are more than capable of keeping your toasty warm. The lineup alone is worth the sleigh ride to El Rio — burlesque from the bountiful Ms. Vagina Jenkins, jazzy moves courtesy East Bay punker Brontez Purnell, the release performance of drag king blueser K.B. TuffNStuff’s Trans of Venus album, and so much more hotness. But as if that wasn’t enough to draw you like a moth to flame, this: the evening is a benefit for Queer Rebels’ year-round lineup of genderbending, empowering art events like the Exploding Lineage! experimental film fest, two-day summit of Asian American activists, and the group’s annual eponymous production of queer takes on the Harlem Renaissance and beyond. (Caitlin Donohue)

8-11pm, $7-20 sliding scale

El Rio

3158 Mission, SF

www.elriosf.com


SUNDAY 9

John Cale

Whereas Lou Reed was the primary source of the Velvet Underground’s swagger, and hard-bitten lyricism, John Cale took charge of the group’s more avant-garde leanings. Even 45 years after leaving the band, Cale continues to challenge and surprise his listeners, as evidenced by the title of his latest LP: Shifty Adventures in Nookie Wood. Largely devoid of the splintering bursts of noise that defined his formative years, and the rootsy pastoralism of Paris 1919 and Vintage Violence, Cale’s latest is an art-rock record in the tradition of Peter Gabriel and Kate Bush: affecting in its ability to experiment and take risks while working squarely within the pop template. Another gutsy effort from an aging icon whose renegade streak hasn’t gone anywhere. See him while you can. (Taylor Kaplan)

With Cass McCombs

8pm, $32–$48

Regency

1290 Sutter, SF

(888) 929-7849

www.theregencyballroom.com

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Editor’s notes

Andrew Lam
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0

tredmond@sfbg.com

EDITOR’S NOTES The San Francisco Local Agency Formation Commission is holding a hearing Dec. 7 on the Mayor’s Renewable Energy Task Force report. That may not sound like the most exciting moment in any of our lives — but it’s actually worth talking about, a lot. Because the city has a goal of reaching 100 percent renewable energy in just eight more years, and the task force think it can be done — and the report, while it has its moments, completely screws up the central tenet of any long-term renewables policy.

Background: Former Mayor Gavin Newsom, who was prone to making sweeping press statements about things he never really intended to do, proclaimed in 2010 that San Francisco would be free of all fossil fuel electricity in 10 years. Then he went on his merry way to the Lieutenant Governor’s Office.

It fell to his successor, Ed Lee, to figure out how to make this happen, so Lee appointed a task force to study the situation. A lot of the members were environmental activists; some were experts in solar energy. One, Ontario Smith, worked for Pacific Gas and Electric Co., hung up five minutes into the first phone-conference meeting, and took his name off the final report.

If you don’t think this is serious business, you haven’t been looking out the window this past week. Scientists are now saying that it’s already too late to prevent the surface temperature of the Earth from rising three degrees, which means volatile and dangerous weather patterns are going to be part of the future anyway, and things might get way, way worse. San Francisco’s energy policy isn’t going to prevent China from burning coal, but it’s a step — and a 100 percent renewable portfolio would be a signal to other cities (and countries) that this is economically and technically feasible.

The report has 39 recommendations, many of them simple, practical, and laudable. It talks (correctly) about the importance of distributed generation — that is, small-scale solar and other renewable systems on houses and commercial buildings. It gives a nod to CleanPowerSF, the city’s community-choice aggregation system.

And it never once mentions public power.

In fact, from the tone of the report, the city plans to get to 100 percent renewable generation with the support and assistance of PG&E.

Let me give you a ring on the clue phone, folks: It isn’t going to happen.

Private utilities don’t have any interest in distributed generation, because it, quite literally, destroys their business model. If I have solar panels on my roof that meet my family’s energy demands, I have no need for PG&E anymore (except to use the company’s grid as a storage battery system, but soon we won’t need that, either). The only functional path to 100 percent renewables in a dense city is small-scale generation — and PG&E stands directly in the way.

I’ve always been a proponent of public ownership of essential services — water, power, streets and roads, firefighting and police operations, broadband, etc. But when it comes to electricity, this is more than a financial and resource-control issue. I see no path to a carbon-free (and nuclear-free) future, in San Francisco or anywhere else, as long as private companies make profits generating power in one place, shipping it along their private lines, and selling it someplace else.

Public power is not sufficient to create Newsom’s energy dream — but it’s absolutely necessary. And I hope the members of LAFCO make that point — and suggest that the task force update its report to reflect economic and political reality.

Wiener charges blogger with taking potty photo

Zelda Bronstein
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Wiener charges blogger with taking potty photo

I don’t even know what to do with this except report it and tell you some background. Because it’s just strange, all around.

Short story: Sup. Scott Wiener’s pressing criminal charges against a blogger who tried to take a photo of him peeing in the City Hall men’s room.

Michael Petrelis, the mad-man blogger who once called me for several days straight in the middle of the night to scream “your wife has syphillis!” into the phone, was at City Hall Oct. 26 with gay Honduran activist Erick Martinez. At some point, he decided to go into the public restroom on the second floor — and noticed that Sup. Scott Wiener was in there, using the urinal.

Petrelis has been fighting with Wiener over a lot of issues, including the nudity ban and Wiener’s efforts to remove benches from the plaza at 18th and Castro, and on the issues, he’s been right. He has a history of demanding accountability from the LGBT power structure, sometimes in ways that are not exactly polite — but he’s still a valuable gadfly, and I’ve gotten over the insanity of the late-night calls (more on that below).

But in this case, Wiener was just trying to take a piss — and Petrelis lifted his phone and tried to take a picture. Wiener’s wiener, I guess. Supervisor taking a leak. I don’t know exactly what he was going after, but the phone didn’t work right and he couldn’t get the photo until Wiener had buttoned up his pants and moved over to the sink, where he was going to brush his teeth.

Instead, he saw Petrelis and picked up the brush and toothpaste and left — but not before the intrepid blogger snapped a pic, which wound up on the Petrelis Files blog. It’s not a terribly attractive or terribly scandalous photo; guy with a toothbrush. Whatever.
But Wiener was, well, pissed — and I don’t blame him. We were always taught that you can take journalistic photos without the subject’s permission in a place where people have no expectation of privacy; if there’s any place in the world where a reasonable person would expect privacy, the bathroom would seem to quality.

Wiener called the cops — or in this case, the Sheriff’s Office, since that’s who patrols City Hall.

Wiener’s been complaining (for no reason, really) about the way the deputy sheriffs have responded to the protests over his nudity ban (come on — the nudists really aren’t a threat to anyone). But he asked for an investigation, filed a statement, and got the department to take it seriously enough to bring the matter to the district attorney for possible prosecution.

And the DA has filed charges.

Petrelis surrendered and was booked Nov. 29 on suspicion of violating Penal Code Section 647 (j) 1, which is typically used to prosecute peeping Toms: “Any person who looks through a hole or opening, into, or otherwise views, by means of any instrumentality, including, but not limited to, a periscope, telescope, binoculars, camera, motion picture camera, camcorder, or mobile phone, the interior of a bedroom, bathroom, changing room, fitting room, dressing room, or tanning booth, or the interior of any other area in which the occupant has a reasonable expectation of privacy, with the intent to invade the privacy of a person or persons inside.”

Bail was initially set at $25,000, which is astonishingly high for this level of crime, but Petrelis and his lawyer, Derek St. Pierre, got it reduced and Petrelis was cited and released on his own recognizance.

Wiener’s not talking; his office sent over a statement detailing the facts of the case and stating that Petrelis … has political disagreements with me, has a history of inappropriate and harassing behavior.” Both of those facts are undeniably true.

St. Pierre, though, thinks this is a huge waste of criminal justice resources. “I’m surprised that the D.A.’s Office decided to charge this case,” he told me. “I don’t see this as illegal conduct.”

In fact, he said, “the most concerning part of the case is that Wiener references that face that they have political disagreements. That suggests to me that political differences are driving the supervisor’s concerns.”

Maybe — or maybe he thinks his privacy really was invaded, and that Petrelis needs to be held accountable, too. As I said, I can’t blame him; Petrelis was acting like a total asshole. You can fight with Wiener, as I often do, and you can make speeches and denounce and interrupt meetings at City Hall and do all manner of impolite protests, but Jesus — the guy deserves the right to take a pee in peace.

That said, I have to wonder: Is this really worth turning into a criminal case? Did Wiener really have to take it that far? Petrelis, who loves attention, isn’t going to back down. “We will be fighting this case,” St. Pierre told me, starting with an arraignment hearing Dec. 5, at which I can pretty much guarantee the plea will be “not guilty.”

So we might have a full-blown trial here, and (as a fan of restorative justice) I’m not so sure that the criminal courts are the best way to resolve this. You’d think they could go to Community Boards. Wiener could agree to personally lower the rainbow flag to half-staff every now and then and Petrelis could agree to clean pigeon shit off some newsracks. Or something.

Because I don’t imagine that even Wiener wants to take the stand in a public trial and face cross-examination by Petrelis. The only winners at that spectacle would be the reporters.

PS: I don’t even remember exactly why Petrelis started the late-night calls to my home phone; it was around the same time he was calling lots of other people. I think he was mad that the Guardian ran (or didn’t run) some kind of ad around the doctor who was in charge of STD control at the Department of Public Health. I think there was some report about syphillis among gay men in SF that Petrelis didn’t like. I just remember that my son was two years old and sick and we were having a hell of time getting him to sleep and just when he would finally nod off the phone would ring and Petrelis would yell at me about syphillis. I’d hang up and he’d call back ten seconds later and yell again. I finally paid the phone company $2 a month to block his calls.

I was not among those who sought a restraining order or went to the police; that’s not my style. I was furious, but I knew it would pass, and eventually it did.

So will this, Scott.

Aggressive Warriors

Andrew Lam
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Aggressive Warriors

steve@sfbg.com

No standard defensive strategy is likely to stop the Golden State Warriors, Mayor Ed Lee, and their huge team of partners and employees from dominating the game of approving construction of a new basketball and concert arena on San Francisco’s central waterfront. That became clear on Nov. 14, as the political operation overcame fire, darkness, and neighborhood-based opposition for the first big score.

The Board of Supervisors Budget and Finance Committee was set to consider declaring the project, which the Warriors want to build on Piers 30-32 by the 2017 basketball season, to be “fiscally feasible,” recommending it move forward with more detailed environmental studies and a term sheet nailing down myriad administrative details.

Before the 11am hearing, the project team held a packed press conference to announce that the Warriors had volunteered to abide by the city’s local-hire standards for public works projects, hiring San Francisco residents or military veterans for at least 25 percent of total construction jobs and 50 percent of apprenticeships. A beaming Lee praised the deal as an “unprecedented” indicator of the Warriors’ willingness to partner with the city.

The event overflowed with union members in hard hats and orange “Build It Now!” T-shirts, as well as a full range of local political pros, from former mayoral and current project spokespersons PJ Johnston and Nathan Ballard to former aides to progressive supervisors, David Owen and David Loyola. Among the agreement’s four signatories were Joshua Arce, the Brightline Defense Project head who last year crusaded for Sup. John Avalos’s local hire ordinance, and building trades chief Michael Theriault.

Strikingly missing at the press conference was Sup. Jane Kim, in whose District 6 the project would be built — over the objections of many residents who are raising concerns about the loss of waterfront views, huge crowds attending what is projected to be more than 200 events per year, high interest rates paid by city taxpayers, the project’s accelerated approval schedule, and other concerns.

Kim is one of the three members of the Budget Committee, which held its meeting despite an electrical fire in the basement of City Hall that knocked out power to the building. Portable photography lighting was brought in to supplement the emergency backup lights, making it bright enough so the televised show could go on but giving a strangely surreal feel to the proceedings and reinforcing the urgency project supporters feel to move this forward without delay.

Kim raised the concerns of her constituents, winning support for amending the resolution to ensure the Citizens Advisory Committee — whose chair was given two minutes to convey how its members feel steamrolled by the accelerated process, asking it be delayed by a month or two — will be given chances to weigh in and pushing the EIR scoping meetings back a few weeks to January.

In the end, Kim and the committee voted to move the project forward. A few days later, on Nov. 19, the process repeated itself with another flashy press conference in the Mayor’s Office — with another important union endorsing the project — followed by the Land Use Committee responding favorably to the project.

The full Board of Supervisors was scheduled to approve the project’s fiscal feasibility the next day, after Guardian press time, but there was little chance that the full board would take any other action than giving the Warriors, Lee, and their huge roster of teammates what they want.

This despite unusual financing and some very real concerns about waterfront development.

 

 

JOBS, MONEY, AND SUPPORT

Mayor Lee — who has placed a high priority on this project since announcing his deal with the team in May — emphasized its job creation and contribution to the local economy during the Nov. 19 press conference.

“I remind people, this is a private investment of hundreds of millions of dollars,” Lee said of a project pegged to cost around $1 billion. “It means a lot of jobs, and that is so important to all of us.”

The project is expected to directly create 4,300 jobs: 2,600 construction jobs and 1,700 permanent jobs, including those at the 17,000-seat sports and entertainment arena and the 250-room hotel and 100,000 square feet of retail and restaurants that would be built as part of the project.

“We’ve been spending a lot of these last many months describing what it is we want to build,” Warriors President Rick Welts said at the press conference before casting the project in grander terms. “That’s not really what we’re building. What we’re really building are memories.”

But city residents and workers are looking for more tangible benefits than just the highs of watching big games or concerts. The building trades were already expected to strongly support the project, which only got stronger with last week’s local-hire deal. Labor’s support for the project was broadened on Nov. 19 with the announcement that the Warriors agreed to card-check neutrality for the hotel, making it easier for its employees to join UNITE-HERE Local 2.

“Thank you for being a partner and we’re looking forward to working with you in the future,” Local 2 head Mike Casey, who notably also serves as president of the San Francisco Labor Council, said to Welts at the event before the two signed a formal agreement.

In addition to allowing the hotel workers to easily organize, the Warriors agreed to card-check neutrality for vendors at the arena with at least 15 employees and those outside the arena with more than 45 employees, as well as giving those who now work Warriors’ games at Oracle Arena first dibs on jobs at the new arena.

“I think that speaks a lot about what the project is. It’s not just a San Francisco project, but a Bay Area project,” Casey said. He also said, “I want to thank the mayor for bringing people together and laying all this out.”

While Lee and the Warriors do seem to have this deal pretty well wired, this is still a San Francisco project, a complex one on the politically and environmentally sensitive waterfront that city taxpayers are helping to pay for and one for which the residents there will bear the brunt of its impacts.

 

PAYING FOR IT

Lee, Office of Economic and Workforce Development head Jennifer Matz, and other key project supporters have repeatedly claimed this project is funded completely with private money, noting how rare that is for urban sports stadiums these days.

But in reality, city taxpayers are spending up to $120 million for the Warriors to rebuild the unstable piers on which the arena will be built, plus an interest rate of 13 percent, an arrangement that has drawn criticism from a key source.

Rudy Nothenberg, who served as city administrator and other level fiscal advisory roles to six SF mayors and currently serves as president of the city’s Bond Oversight Committee, wrote a Nov. 12 letter to the Board of Supervisors urging it to reject the deal.

“Quite simply, I would have been ashamed of such a recommendation,” Nothenberg wrote of the high interest rate. “In today’s markets it is incomprehensible to have such a stunning recommendation brought to your honorable Board in such haste.”

Johnston and Matz each disputed Nothenberg’s characterization, citing a report by the project consultants, the Berkeley-based Economic and Planning Systems Inc. (EPS), that 13 percent is a “reasonable and appropriate market based return.”

Matz told us the rate was based on the risky nature of rebuilding the piers, for which the Warriors are responsible for any cost overruns. And she compared the project to the massive redevelopment projects now underway on Treasure Island and Hunters Point, from which the city is guaranteeing powerful developer Lennar returns on investment of 18.5 percent and 20 percent respectively.

Johnston, who was press secretary to former Mayor Willie Brown and worked with Nothenberg on building AT&T Park and other projects, told us “I have great respect for Rudy.” But then he went on to criticize him for taking a self-interested stand to defend the views from the condo he owns nearby: “They don’t want anything built in their neighborhood. They would rather leave it a dilapidated parking lot.”

But Nothenberg told us his stand is consistent with the work he did throughout his public service career in trying to keep the waterfront open and accessible to the public, rather than blocking those views with a 14-story stadium and hotel complex.

“I have a self-interest as a San Franciscan, and after 20 years of doing the right thing, I don’t want to see this rushed through in an arrogant way that would have been unthinkable even a year ago,” Nothenberg told us. “I spent 20 years of my life trying to deal with waterfront issues.”

He is being joined in his opposition by other neighborhood residents, land use experts such as attorney Sue Hestor, some opponents of the 8 Washington project concerned with the creeping rollback of waterfront development standards, and members of the Citizens Advisory Committee who have felt steamrolled by the rapid process so far and unable to thoroughly discuss the project or the neighborhood’s concerns.

“We would like to slow this process down,” committee Chair Katy Liddell told supervisors on Nov. 14. “Things are going so quickly.”

 

DETAILS OF THE DEAL

The $120 million plus interest that the city will owe the Warriors would be offset by the $30 million the team would pay for Seawall Lot 330 (the property across from the piers where the hotel would be built), a one-time payment of $53.8 million (mostly in development impact fees), annual rent of nearly $2 million on its 66-year lease of Piers 30-32, and annual tax and mitigation payments to the city of between $9.8 million and $19 million.

Kim raised concerns at the Budget Committee hearing about the more than 200 events a year that the arena will host, but she was told by Matz that’s necessary to make the project pencil out for the Warriors.

Many of the project’s financial and administrative details are still being worked out as part of a term sheet going to the Board of Supervisors for approval, probably in April. Other details will be studied in the project Environmental Impact Report, which is expected to come back to the board in the fall.

The Department of Public Works, Police Department, and — perhaps most critically given its impact on Muni and roadways — Municipal Transportation Agency have yet to estimate their costs.

“We do have a lot of concerns in the neighborhood about this project,” Kim told the Land Use Committee, singling out impacts to the transportation system as perhaps the most important, followed by quality-of-life issues associated with huge crowds of sports fans.

Kim noted that the area already has a problematic transportation infrastructure, with some of the highest rates of motorist-pedestrian collisions in the city and a public transit system that reaches capacity at peak times, and said that many residents worry this project will make things worse. The EIR will deal with the transportation details. But Kim praised how about half the space on the piers, about seven acres, will be maintained as public open space: “I think the open space aspect is incredible and it could actually increase access to the waterfront.” In the end, Kim urged project proponents to heed the input of the CAC and other concerned parties because, “This could be a very valuable project, or it could also be a disaster.”

Supervisors approve nudity ban on close vote

Sasha Cuttler
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139
Supervisors approve nudity ban on close vote

Over the objections of progressive supervisors and under threats of a lawsuit from nudists and civil liberties advocates, the San Francisco Board of Supervisors today voted 6-5 to outlaw public nudity in the city. Supervisors voting against the ban were David Campos, Christina Olague, John Avalos, Eric Mar, and Jane Kim.

Sup. Scott Wiener, who sponsored the measure, cast it as a last resort to deal with what has become daily displays of nudity in the Castro district he represents (and most recently around City Hall as his legislation was being considering in committees), noting that, “Public nudity is part of San Francisco and is appropriate in some circumstances.” His legislation makes exceptions for permitted events such as the Folsom Street Fair and Bay-to-Breakers.

But Wiener said that “public nudity can go too far,” as he says it has over the last two years in the Castro’s Jane Warner Plaza, and that “freedom of expression and acceptance does not mean you can do whatever you want.”

Campos echoed some of the legal concerns that critics of the legislation have raised, noting that, “As a lawyer, I do worry about when you ban specific conduct and then you have exceptions to that.” He also questioned whether Wiener has done enough to try to mediate the increasingly divisive conflict he’s been having with the nudist community and whether this was an appropriate use of scarce police resources.

“I don’t believe we’re at the point of saying this becomes a priority over violent crime,” Campos said, noting that he’s been unable to get more police foot patrols to deal with a recent spate of violent crimes in the Mission, which shares a police station with the Castro.

Avalos said it was absurd to focus city resources on this victimless issue when the city is wrestling with far more serious problems, such as poverty and violence, and he played a clip from the film Catch 22 where a soldier goes naked to a ceremony to highlight that absurdity. “I will refuse to put on this fig leaf, I just can’t do it,” Avalos said.

Mar said he sympathized with Wiener’s concerns, but agreed with Campos that Wiener could have done more to mediate this situation before both sides dug in: “I really don’t think we need citywide legislation, particularly overbroad legislation, to deal with a problem isolated to one neighborhood.”

Wiener seemed stung by the comments and said he could cite example of each supervisor pushing resolutions or ordinances that dealt with similarly trivial issues, comparing it to refusing to deal with a constituent’s pothole complaint until that supervisor fixed Muni and solved the city’s housing problem. But Campos pushed back, calling the comparison ridiculous and saying there was no reason for a citywide ban to deal with such an isolated issue.

Nudists at the hearing reacted angrily to the approval and started to disrobe before President David Chiu ordered deputies to intervene and abruptly recessed the hearing. Now, it will likely be up to the courts to decide whether Wiener’s concerns about weiners can withstand legal scrutiny.

Gascon skips valuable reform panel

Zelda Bronstein
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58
Gascon skips valuable reform panel

District Attorney George Gascon didn’t show up for the town hall meeting that Sen. Mark Leno held on criminal justice reform last night. Gascon was scheduled to appear on a panel with Sheriff Ross Mirkarimi, Chief Probation Officer Wendy Still, Public Defender Jeff Adachi, and Police Chief Greg Suhr (who also didn’t show, sending Commander John Murphy instead).

Gascon spokesperson Stephanie Ong Stillman minimized the decision to forego appearing on a panel with Mirkarimi, whom Gascon prosecuted for a domestic violence incident and continues to persecute with calls to resign or abdicate some of his official duties, telling us, “There was just a change in his schedule.”

But Gascon, who has only lived and worked in San Francisco for three years, might have benefitted from the discussion, which focused on how San Francisco has for decades pioneered a successful approach to criminal justice emphasizing rehabilitation and redemption rather than the punitive “zero tolerance” approach to crime pushed in Sacramento and other jurisdictions, which has been costly in human and fiscal terms.

“This team of individuals you see in front of you have had the most extraordinary results in leading San Francisco,” Leno said, focusing much of the discussion on how well-prepared San Francisco was for Realignment, the year-old state policy of transferring low-level offenders from the overcrowded state prison system to the local level.

David Onek, the UC Berkeley criminal justice professor who ran against Gascon for DA last year, was added to the panel after Gascon bailed out. He said, “San Francisco by all accounts is way ahead of the curve and can really provide leadership to the rest of the state for how to do Realignment right.”

The main reason for that, as most panelists acknowledged, was because of a variety of programs created by longtime Sheriff Michael Hennessey, who endorsed Mirkarimi to continue his legacy over two traditional law enforcement challengers. Mirkarimi noted that Hennessey didn’t have a law enforcement background when he became sheriff, and that the SFPD and other local agencies long resisted the progressive reforms that he instituted.

“The constellation of what we’re all addressing is unique to San Francisco,” Mirkarimi said, describing the city’s current multi-agency approach as “one that recognizes where redemption comes into the criminal justice system.”

Still, whose department oversees Mirkarimi’s three-year probation for his misdemeanor false imprisonment conviction, emphasized how much her department’s approach has changed in recent years, adopting “evidence-based” approach that respects  probationers, which she now calls “clients,” and addressing their needs.

“We created a plan for success instead of supervising for failure,” Still said. “We changed the culture.”

That cultural change came from the Sheriff’s Department, she said. “Sheriff Hennessey developed a litany of programs over the years, so we were well-positioned for [SB] 678,” the legislation that created Realignment. Despite all the recent talk about having “zero tolerance” for crimes like domestic violence, Hennessey’s controversial approach brought ex-offenders into key leadership positions and refused to dehumanize criminals or see them in black-and-white terms.

“In San Francisco, we kind of live in a bubble. You don’t know how crazy it is outside San Francisco,” Adachi said, noting how politicians in other jurisdictions have aggressively sought to block sentencing reforms and demonize criminals for political reasons.
“In San Francisco, we’ve been so fortunate that we’ve had progressive criminal justice policies,” Adachi said, recognizing that the last three DAs refused to bring the death penalty and Mirkarimi for six years ago creating the Reentry Council to address recidivism.

“It might seem like common sense, but it’s radical to other counties,” Mirkarimi said. “It makes me proud to be part of a criminal justice system that is looking forward.”
  

Film Listings

Andrew Lam
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0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Vizcarrondo. For rep house showtimes, see Rep Clock.

DOCFEST

The 11th San Francisco Documentary Film Festival runs through Nov 21 at the Brava Theater, 2781 24th St, SF; Roxie, 3117 16th St, SF; and Shattuck Cinema, 2230 Shattuck, SF. Tickets (most films $10-12) and complete schedule at www.sfindie.com.

OPENING

Anna Karenina Joe Wright broke out of British TV with the 9,000th filmed Pride and Prejudice (2005), unnecessary but quite good. Too bad it immediately went to his head. His increasing showiness as director enlivened the silly teenage-superspy avenger fantasy Hanna (2011), but it started to get in the way of Atonement (2007), a fine book didn’t need camera gymnastics to make a great movie. Now it’s completely sunk a certified literary masterpiece still waiting for a worthy film adaptation. Keira Knightley plays the titular 19th century St. Petersburg aristocrat whose staid, happy-enough existence as a doting mother and dutiful wife (to deglammed Jude Law’s honorable but neglectful Karenin) is upended when she enters a mutually passionate affair with dashing military officer Count Vronsky (Aaron Taylor-Johnson, miscast). Scandal and tragedy ensue. There’s nothing wrong with the screenplay, by Tom Stoppard no less. What’s wrong is Wright’s bright idea of staging the whole shebang as if it were indeed staged — a theatrical production in which nearly everything (even a crucial horse race) takes place on a proscenium stage, in the auditorium, or "backstage" among riggings. Whenever we move into a "real" location, the director makes sure that transition draws attention to its own cleverness as possible. What, you might ask, is the point? That the public social mores and society Anna lives in are a sort of "acting"? Like wow. Add to that another brittle, mannered performance by Wright’s muse Knightley, and there’s no hope of involvement here, let alone empathy — in love with its empty (but very prettily designed) layers of artifice, this movie ends up suffocating all emotion in gilded horseshit. The reversed-fortune romance between Levin (Domhall Gleeson) and Kitty (Alicia Vikander) does work quite well — though since Tolstoy called his novel Anna Karenina, it’s a pretty bad sign when the subsidiary storyline ends up vastly more engaging than hers. (2:10) (Harvey)

Brooklyn Castle Geeks rock — that much we all know in the science- and math-rich Bay Area. That doesn’t lessen the impact of this documentary about Brooklyn I.S. 318’s young chess players, who have won the most junior high chess championships in the country and were the first middle school team to win the US Chess Federation’s national high school championship. With 60-plus percent of the students below the federal poverty level, the players certainly aren’t rolling in privilege, especially during these budget-slashing times. Nonetheless, with the help of caring teachers and an intensive chess class, the school’s players, spanning a spectrum of skills with some surpassing even Einstein’s rating, have managed to bring home state and national championships for the school — and vastly improved their prospects along the way. They range from Rochelle, the shy girl who has the chance to become the first African American female chess master; Alexis, the boy who yearns to get into a good high school and college to care for his immigrant parents; Justus, the sixth-grade chess prodigy who’s already a master and suffers intensely when he loses; and Pobo, the sweet-faced son of Nigerian émigrés who says he probably wouldn’t even be in school if not for chess. Brooklyn Castle is about chess, yes, as director Katie Dellamaggiore takes the time to spell out the rating and tournament point systems, but it’s also just as importantly about the kids, who are smart, strategic, and getting primed to play the game of life. (1:42) Opera Plaza. (Chun)

Holy Motors Holy moly. Offbeat auteur Leos Carax (1999’s Pola X) and frequent star Denis Lavant (1991’s Lovers on the Bridge) collaborate on one of the most bizarrely wonderful films of the year, or any year. Oscar (Lavant) spends every day riding around Paris in a white limo driven by Céline (Edith Scob, whose eerie role in 1960’s Eyes Without a Face is freely referenced here). After making use of the car’s full complement of wigs, theatrical make-up, and costumes, he emerges for "appointments" with unseen "clients," who apparently observe each vignette as it happens. And don’t even try to predict what’s coming next, or decipher what it all means, beyond an investigation of identity so original you won’t believe your eyes. This wickedly humorous trip through motion-capture suits, graveyard photo shoots, teen angst, back-alley gangsters, old age, and more (yep, that’s the theme from 1954’s Godzilla you hear; oh, and yep, that’s pop star Kylie Minogue) is equal parts disturbing and delightful. Movies don’t get more original or memorable than this. (1:56) Embarcadero, Shattuck. (Eddy)

A Royal Affair At age 15 in 1766, British princess Caroline (Alicia Vikander) travels abroad to a new life — as queen to the new ruler of Denmark, her cousin. Attractive and accomplished, she is judged a great success by everyone but her husband. King Christian (Mikkel Boe Følsgaard) is just a teenager himself, albeit one whose mental illness makes him behave alternately like a debauched libertine, a rude two year-old, a sulky-rebellious adolescent, and a plain old abusive spouse. Once her principal official duty is fulfilled — bearing a male heir — the two do their best to avoid each other. But on a tour of Europe Christian meets German doctor Johann Friedrich Struenesse (Mads Mikkelsen), a true man of the Enlightenment who not only has advanced notions about calming the monarch’s "eccentricities," but proves a tolerant and agreeable royal companion. Lured back to Denmark as the King’s personal physician, he soon infects the cultured Queen with the fervor of his progressive ideas, while the two find themselves mutually attracted on less intellectual levels as well. When they start manipulating their unstable but malleable ruler to push much-needed public reforms through in the still basically feudal nation, they begin acquiring powerful enemies. This very handsome-looking history lesson highlights a chapter relatively little-known here, and finds in it an interesting juncture in the eternal battle between masters and servants, the piously self-interested and the secular humanists. At the same time, Nikolaj Arcel’s impressively mounted and acted film is also somewhat pedestrian and overlong. It’s a quality costume drama, but not a great one.(2:17) California, Clay, Smith Rafael. (Harvey)

Silver Linings Playbook David O. Russell follows up 2010’s The Fighter with this dark comedy about a troubled man (Bradley Cooper) attempting to piece his life back together. Jennifer Lawrence and Robert De Niro co-star. (2:01)

The Twilight Saga: Breaking Dawn – Part 2 The Twilight series ends. BUT IT WILL NEVER DIE. (1:55)

ONGOING

Argo If you didn’t know the particulars of the 1979 Iranian Revolution, you won’t be an expert after Argo, but the film does a good job of capturing America’s fearful reaction to the events that followed it — particularly the hostage crisis at the US embassy in Tehran. Argo zeroes in on the fate of six embassy staffers who managed to escape the building and flee to the home of the sympathetic Canadian ambassador (Victor Garber). Back in Washington, short-tempered CIA agents (including a top-notch Bryan Cranston) cast about for ways to rescue them. Enter Tony Mendez (Ben Affleck, who also directs), exfil specialist and father to a youngster wrapped up in the era’s sci-fi craze. While watching 1973’s Battle for the Planet of the Apes, Tony comes up with what Cranston’s character calls "the best bad idea we have:" the CIA will fund a phony Canadian movie production (corny, intergalactic, and titled Argo) and pretend the six are part of the crew, visiting Iran for a few days on a location shoot. Tony will sneak in, deliver the necessary fake-ID documents, and escort them out. Neither his superiors, nor the six in hiding, have much faith in the idea. ("Is this the part where we say, ‘It’s so crazy it just might work?’" someone asks, beating the cliché to the punch.) Argo never lets you forget that lives are at stake; every painstakingly forged form, every bluff past a checkpoint official increases the anxiety (to the point of being laid on a bit thick by the end). But though Affleck builds the needed suspense with gusto, Argo comes alive in its Hollywood scenes. As the show-biz veterans who mull over Tony’s plan with a mix of Tinseltown cynicism and patiotic duty, John Goodman and Alan Arkin practically burst with in-joke brio. I could have watched an entire movie just about those two. (2:00) Four Star, Marina, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Eddy)

Cloud Atlas Cramming the six busy storylines of David Mitchell’s wildly ambitious novel into just three hours — the average reader might have thought at least 12 would be required — this impressive adaptation directed (in separate parts) by Tom Twyker (1998’s Run Lola Run) and Matrix siblings Lana and Andy Wachowski has a whole lot of narrative to get through, stretching around the globe and over centuries. In the mid 19th century, Jim Sturgess’ sickly American notory endures a long sea voyage as reluctant protector of a runaway-slave stowaway from the Chatham Islands (David Gyasi). In 1931 Belgium, a talented but criminally minded British musician (Ben Whishaw) wheedles his way into the household of a famous but long-inactive composer (Jim Broadbent). A chance encounter sets 1970s San Francisco journalist Luisa (Halle Berry) on the path of a massive cover-up conspiracy, swiftly putting her life in danger. Circa now, a reprobate London publisher’s (Broadbent) huge windfall turns into bad luck that gets even worse when he seeks help from his brother (Hugh Grant). In the not-so-distant future, a disposable "fabricant" server to the "consumer" classes (Doona Bae) finds herself plucked from her cog-like life for a rebellious higher purpose. Finally, in an indeterminately distant future after "the Fall," an island tribesman (Tom Hanks) forms a highly ambivalent relationship toward a visitor (Berry) from a more advanced but dying civilization. Mitchell’s book was divided into huge novella-sized blocks, with each thread split in two; the film wastes very little time establishing its individual stories before beginning to rapidly intercut between them. That may result in a sense of information (and eventually action) overload, particularly for non-readers, even as it clarifies the connective tissues running throughout. Compression robs some episodes of the cumulative impact they had on the page; the starry multicasting (which in addition to the above mentioned finds many uses for Hugo Weaving, Keith David, James D’Arcy, and Susan Sarandon) can be a distraction; and there’s too much uplift forced on the six tales’ summation. Simply put, not everything here works; like the very different Watchmen, this is a rather brilliant "impossible adaptation" screenplay (by the directors) than nonetheless can’t help but be a bit too much. But so much does work — in alternating currents of satire, melodrama, pulp thriller, dystopian sci-fi, adventure, and so on — that Cloud Atlas must be forgiven for being imperfect. If it were perfect, it couldn’t possibly sprawl as imaginatively and challengingly as it does, and as mainstream movies very seldom do. (2:52) California, 1000 Van Ness, SF Center, Sundance Kabuki. (Harvey)

Dangerous Liaisons John Malkovich and Sarah Michelle Gellar may have already starred in pop culture’s favorite adaptations of this classic French novel, but since pretty people scheming never gets old, here’s a Chinese take on Les Liaisons dangereuses, complete with big-name cast and all the visual allure of 1930s Shanghai. "You are such a cad!" a woman shrieks at Xie Yifan (Jang Dong-gun) in the first scene, and indeed he is — though his heart belongs to "Miss Mo" (Cecilia Cheung). The malicious wager (if you seduce her and then horribly dump her, I’ll let you sleep with me … plus: incidental affairs along the way) is struck and things proceed on schedule, until Yifan finds himself actually falling for virtuous widow Fenyu (Zhang Ziyi). You know how it ends. Gorgeous costumes and mise-en-scène add visual interest to the familiar story, which also adds a little political flair in the form of Chinese students protesting the early days of Japanese occupation. (1:45) Metreon. (Eddy)

Diana Vreeland: The Eye Has to Travel The life of legendary fashion editor Diana Vreeland is colorfully recounted in Diana Vreeland: The Eye Has to Travel, a doc directed by her granddaughter-in-law, Lisa Immordino Vreeland. The family connection meant seemingly unlimited access to material featuring the unconventionally glamorous (and highly quotable) Vreeland herself, plus the striking images that remain from her work at Harper’s Bazaar, Vogue, and the Costume Institute of the Metropolitan Museum of Art. "Narrated" from interview transcripts by an actor approximating the late Vreeland’s husky, posh tones, the film allows for some criticism (her employees often trembled at the sight of her; her sons felt neglected; her grasp of historical accuracy while working at the museum was sometimes lacking) among the praise, which is lavish and delivered by A-listers like Anjelica Huston, who remembers "She had a taste for the extraordinary and the extreme," and Manolo Blahnik, who squeals, "She had the vision!" (1:26) Opera Plaza. (Eddy)

The Flat Arnon Goldfinger’s The Flat begins as the filmmaker’s family descends upon the Tel Aviv apartment of his recently-deceased grandmother, "a bit of a hoarder" who lived to 95 and seemingly never got rid of anything. This includes, as Goldfinger discovers, copies of the Joseph Goebbels-founded newspaper Der Angriff, containing articles about "the Nazi who visited Palestine." The Nazi was Leopold von Mildenstein, an SS officer with an interest in Zionism. Turns out he made the journey in 1933 with his wife and a Jewish couple named Kurt and Gerda Tuchler — Goldfinger’s grandparents. Understandably intrigued and more than a little baffled, Goldfinger investigates, finding letters and diary entries that reveal the unlikely traveling companions were close friends, even after World War II. His mother, the Tuchler’s daughter, prefers to "keep the past out," but curiosity (and the pursuit of a good documentary) presses Goldfinger forward; he visits von Mildenstein’s elderly daughter in Germany, digs through German archives, and unearths even more suprises about his family tree. Broader themes about guilt and denial emerge — post-traumatic coping mechanisms that echo through generations.

(1:37) Albany, Opera Plaza. (Eddy)

Flight To twist the words of one troubled balladeer, he believes he can fly, he believes he can touch the sky. Unfortunately for Denzel Washington’s Whip Whitaker, another less savory connotation applies: his semi-sketchy airline captain is sailing on the overconfidence that comes with billowing clouds of blow. Beware the quickie TV spot — and Washington’s heroic stance in the poster — that plays this as a quasi-action flick: Flight is really about a man’s efforts to escape responsibility and his flight from facing his own addiction. It also sees Washington once again doing what he does so well: wrestling with the demons of a charismatic yet deeply flawed protagonist. We come upon Whip as he’s rousing himself from yet another bender, balancing himself out with a couple lines with a gorgeous, enabling flight attendant by his side. It’s a checks-and-balances routine we’re led to believe is business as usual, as he slides confidently into the cockpit, gives the passengers a good scare by charging through turbulence, and proceeds to doze off. The plane, however, goes into fail mode and forces the pilot to improvise brilliantly and kick into hero mode, though he can’t fly from his cover, which is slowly blown despite the ministrations of kindred addict Nicole (Kelly Reilly) and dealer Harling (John Goodman at his most ebullient) and the defensive moves of his pilots union cohort (Bruce Greenwood) and the airline’s lawyer (Don Cheadle). How can Whip fly out of the particular jam called his life? Working with what he’s given, Washington summons reserves of humanity, though he’s ultimately failed by John Gatins’ sanctimonious, recovery-by-the-numbers script and the tendency of seasoned director Robert Zemeckis to blithely skip over the personal history and background details that would have more completely filled out our picture of Whip. We’re left grasping for the highs, waiting for the instances that Harling sails into view and Whip tumbles off the wagon. (2:18) 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

Hotel Transylvania (1:32) Metreon.

A Late Quartet Philip Seymour Hoffman is fed up playing second fiddle — literally. He stars in this grown-up soap opera about the internal dramas of a world-class string quartet. While the group is preparing for its 25th season, the eldest member (Christopher Walken) is diagnosed with early stage Parkinson’s. As he’s the base note in the quartet, his retirement challenges the group’s future, not just his own. Hoffman’s second violinist sees the transition as an opportunity to challenge the first violin (Mark Ivanir) for an occasional Alpha role. When his wife, the quartet’s viola player (Catherine Keener), disagrees, it’s a slight ("You think I’m not good enough?") and a betrayal because prior to their marriage, viola and first violin would "duet" if you get my meaning. This becomes a grody aside when Hoffman and Keener’s violin prodigy daughter (Imogen Poots) falls for her mother’s old beau and Hoffman challenges their marriage with a flamenco dancer. These quiet people finds ways to use some loud instruments (a flamenco dancer, really?) and the music as well as the views of Manhattan create a deeply settled feeling of comfort in the cold —insulation can be a dangerous thing. When we see (real world) cellist Nina Lee play, and her full body interacts with a drama as big as vaudeville, we see what tension was left out of the playing and forced into the incestuous "family" conflicts. In A Late Quartet, pleasures are great and atmosphere, heavy. You couldn’t find a better advertisement for this symphonic season; I wanted to buy tickets immediately. And also vowed to stay away from musicians. (1:45) Albany, Embarcadero, Smith Rafael. (Vizcarrondo)

A Liar’s Autobiography: The Untrue Story of Monty Python’s Graham Chapman Blessed with recordings made by Monty Python member Graham Chapman (King Arthur in 1975’s Monty Python and the Holy Grail; Brian in 1979’s Life of Brian) before his death in 1989 from cancer, filmmakers Bill Jones, Jeff Simpson, and Ben Timlett recruited 14 different animation studios to piece together Chapman’s darkly humorous (and often just plain dark) life story. He was gay, he was an alcoholic, he co-wrote (with John Cleese) the legendary "Dead Parrot Sketch." A Liar’s Autobiography starts slowly — even with fellow Monty Python members Cleese, Terry Jones, Terry Gilliam, and Michael Palin lending their voices, much of the bone-dry humor falls disappointingly flat. "This is not a Monty Python film," the filmmakers insist, and viewers hoping for such will be disappointed. Stick with it, though, and the film eventually finds its footing as an offbeat biopic, with the pick-a-mix animation gimmick at its most effective when illustrating Chapman’s booze-fueled hallucinations. (1:22) Smith Rafael. (Eddy)

Lincoln Distinguished subject matter and an A+ production team (Steven Spielberg directing, Daniel Day-Lewis starring, Tony Kushner adapting Doris Kearns Goodwin, John Williams scoring every emotion juuust so) mean Lincoln delivers about what you’d expect: a compelling (if verbose), emotionally resonant (and somehow suspenseful) dramatization of President Lincoln’s push to get the 13th amendment passed before the start of his second term. America’s neck-deep in the Civil War, and Congress, though now without Southern representation, is profoundly divided on the issue of abolition. Spielberg recreates 1865 Washington as a vibrant, exciting place, albeit one filled with so many recognizable stars it’s almost distracting wondering who’ll pop up in the next scene: Jared Harris as Ulysses S. Grant! Joseph Gordon-Levitt as Robert Lincoln! Lena Dunham’s shirtless boyfriend on Girls (Adam Driver) as a soldier! Most notable among the huge cast are John Hawkes, Tim Blake Nelson, and a daffy James Spader as a trio of lobbyists; Sally Field as the troubled First Lady; and likely Oscar contenders Tommy Lee Jones (as winningly cranky Rep. Thaddeus Stevens) and Day-Lewis, who does a reliably great job of disappearing into his iconic role. (2:30) Presidio, SF Center, Shattuck. (Eddy)

Looper It’s 2044 and, thanks to a lengthy bout of exposition by our protagonist, Joe (Joseph Gordon-Levitt), here’s what we know: Time travel, an invention 30 years away, will be used by criminals to transport their soon-to-be homicide victims backward, where a class of gunmen called loopers, Joe among them, are employed to "do the necessaries." More deftly revealed in Brick writer-director Rian Johnson’s new film is the joylessness of the world in which Joe amorally makes his way, where gangsters from the future control the present (under the supervision of Jeff Daniels), their hit men live large but badly (Joe is addicted to some eyeball-administered narcotic), and the remainder of the urban populace suffers below-subsistence-level poverty. The latest downside for guys like Joe is that a new crime boss has begun sending back a steady stream of aging loopers for termination, or "closing the loop"; soon enough, Joe is staring down a gun barrel at himself plus 30 years. Being played by Bruce Willis, old Joe is not one to peaceably abide by a death warrant, and young Joe must set off in search of himself so that—with the help of a woman named Sara (Emily Blunt) and her creepy-cute son Cid (Pierce Gagnon)—he can blow his own (future) head off. Having seen the evocatively horrific fate of another escaped looper, we can’t totally blame him. Parsing the daft mechanics of time travel as envisioned here is rough going, but the film’s brisk pacing and talented cast distract, and as one Joe tersely explains to another, if they start talking about it, "we’re gonna be here all day making diagrams with straws" —in other words, some loops just weren’t meant to be closed. (1:58) 1000 Van Ness, Piedmont, Sundance Kabuki. (Rapoport)

The Man With The Iron Fists (1:36) 1000 Van Ness, SF Center.

The Other Son The plot of ABC Family’s Switched at Birth gets a politically-minded makeover in Lorraine Lévy’s The Other Son, in which the mixed-up teens represent both sides of the Israel-Palestine conflict. When mop-topped wannabe rocker Joseph (Jules Sitruk) dutifully signs up for Israeli military duty, the required blood test reveals he’s not the biological son of his parents. Understandably freaked out, his French-Israeli mother (Emmanuelle Devos) finds out that a hospital error during a Gulf War-era evacuation meant she and husband Alon (Pascal Elbé) went home with the wrong infant — and their child, aspiring doctor Yacine (Medhi Dehbi), was raised instead by a Palestinian couple (Areen Omari, Khalifia Natour). It’s a highly-charged situation on many levels ("Am I still Jewish?", a tearful Joseph asks; "Have fun with the occupying forces?", Yacine’s bitter brother inquires after his family visits Joseph in Tel Aviv), and potential for melodrama is sky-high. Fortunately, director and co-writer Levy handles the subject with admirable sensitivity, and the film is further buoyed by strong performances. (1:53) Opera Plaza, Smith Rafael. (Eddy)

Paranormal Activity 4 (1:21) Metreon.

The Perks of Being a Wallflower Move over, Diary of a Wimpy Kid series — there’s a new shrinking-violet social outcast in town. These days, life might not suck quite so hard for 90-pound weaklings in every age category, what with so many films and TV shows exposing, and sometimes even celebrating, the many miseries of childhood and adolescence for all to see. In this case, Perks author Stephen Chbosky takes on the directorial duties — both a good and bad thing, much like the teen years. Smart, shy Charlie is starting high school with a host of issues: he’s painfully awkward and very alone in the brutal throng, his only friend just committed suicide, and his only simpatico family member was killed in a car accident. Charlie’s English teacher Mr. Andersen (Paul Rudd) appears to be his only connection, until the freshman strikes up a conversation with feline, charismatic, shop-class jester Patrick (Ezra Miller) and his magnetic, music- and fun-loving stepsister Sam (Emma Watson). Who needs the popular kids? The witty duo head up their gang of coolly uncool outcasts their own, the Wallflowers (not to be confused with the deeply uncool Jakob Dylan combo), and with them, Charlie appears to have found his tribe. Only a few small secrets put a damper on matters: Patrick happens to be gay and involved with football player Brad (Johnny Simmons), who’s saddled with a violently conservative father, and Charlie is in love with the already-hooked-up Sam and is frightened that his fragile equilibrium will be destroyed when his new besties graduate and slip out of his life. Displaying empathy and a devotion to emotional truth, Chbosky takes good care of his characters, preserving the complexity and ungainly quirks of their not-so-cartoonish suburbia, though his limitations as a director come to the fore in the murkiness and choppily handled climax that reveals how damaged Charlie truly is. (1:43) Bridge, Embarcadero, Piedmont, Shattuck, Sundance Kabuki. (Chun)

Pitch Perfect As an all-female college a cappella group known as the Barden Bellas launches into Ace of Base’s "The Sign" during the prologue of Pitch Perfect, you can hear the Glee-meets-Bring It On elevator pitch. Which is fine, since Bring It On-meets-anything is clearly worth a shot. In this attempt, Anna Kendrick stars as withdrawn and disaffected college freshman Beca, who dreams of producing music in L.A. but is begrudgingly getting a free ride at Barden University via her comp lit professor father. Clearly his goal is not making sure she receives a liberal arts education, as Barden’s academic jungle extends to the edges of the campus’s competitive a cappella scene, and the closest thing to an intellectual challenge occurs during a "riff-off" between a cappella gangs at the bottom of a mysteriously drained swimming pool. When Beca reluctantly joins the Bellas, she finds herself caring enough about the group’s fate to push for an Ace of Base moratorium and radical steps like performing mashups. Much as 2000’s Bring It On coined terms like "cheerocracy" and "having cheer-sex," Pitch Perfect gives us the infinitely applicable prefix "a ca-" and descriptives like "getting Treble-boned," a reference to forbidden sexual relations with the Bellas’ cocky rivals, the Treblemakers. The gags get funnier, dirtier, and weirder, arguably reaching their climax in projectile-vomit snow angels, with Elizabeth Banks and John Michael Higgins as grin-panning competition commentators offering a string of loopily inappropriate observations. (1:52) Metreon. (Rapoport)

Searching for Sugar Man The tale of the lost, and increasingly found, artist known as Rodriguez seems to have it all: the mystery and drama of myth, beginning with the singer-songwriter’s stunning 1970 debut, Cold Fact, a neglected folk rock-psychedelic masterwork. (The record never sold in the states, but somehow became a beloved, canonical LP in South Africa.) The story goes on to parse the cold, hard facts of vanished hopes and unpaid royalties, all too familiar in pop tragedies. In Searching for Sugar Man, Swedish documentarian Malik Bendjelloul lays out the ballad of Rodriguez as a rock’n’roll detective story, with two South African music lovers in hot pursuit of the elusive musician — long-rumored to have died onstage by either self-immolation or gunshot, and whose music spoke to a generation of white activists struggling to overturn apartheid. By the time Rodriguez himself enters the narrative, the film has taken on a fairy-tale trajectory; the end result speaks volumes about the power and longevity of great songwriting. (1:25) Opera Plaza. (Chun)

The Sessions Polio has long since paralyzed the body of Berkeley poet Mark O’Brien (John Hawkes) from the neck down. Of course his mind is free to roam — but it often roams south of the personal equator, where he hasn’t had the same opportunities as able-bodied people. Thus he enlists the services of Cheryl (Helen Hunt), a professional sex surrogate, to lose his virginity at last. Based on the real-life figures’ experiences, this drama by Australian polio survivor Ben Lewin was a big hit at Sundance this year (then titled The Surrogate), and it’s not hard to see why: this is one of those rare inspirational feel-good stories that doesn’t pander and earns its tears with honest emotional toil. Hawkes is always arresting, but Hunt hasn’t been this good in a long time, and William H. Macy is pure pleasure as a sympathetic priest put in numerous awkward positions with the Lord by Mark’s very down-to-earth questions and confessions. (1:35) Embarcadero, Piedmont, Shattuck, Sundance Kabuki. (Harvey)

Seven Psychopaths Those nostalgic for 1990s-style chatty assassins will find much to love in the broadly sketched Seven Psychopaths. Director-writer Martin McDonough already dipped a pen into Tarantino’s blood-splattered ink well with his 2008 debut feature, In Bruges, and Seven Psychopaths reads as larkier and more off-the-cuff, as the award-winning Irish playwright continues to try to find his own discomfiting, teasing balance between goofy Grand Guignol yuks and meta-minded storytelling. Structured, sort of, with the certified lucidity of a thrill killer, Seven Psychopaths opens on Boardwalk Empire heavies Michael Pitt and Michael Stuhlbarg bantering about the terrors of getting shot in the eyeball, while waiting to "kill a chick." The talky twosome don’t seem capable of harming a fat hen, in the face of the Jack of Spades serial killer, who happens to be Psychopath No. One and a serial destroyer of hired guns. The key to the rest of the psychopathic gang is locked in the noggin of screenwriter Marty (Colin Farrell), who’s grappling with a major block and attempting the seeming impossible task of creating a peace-loving, Buddhist killer. Looking on are his girlfriend Kaya (Abbie Cornish) and actor best friend Billy (Sam Rockwell), who has a lucrative side gig as a dog kidnapper — and reward snatcher — with the dapper Hans (Christopher Walken). A teensy bit too enthusiastic about Marty’s screenplay, Billy displays a talent for stumbling over psychos, reeling in Zachariah (Tom Waits) and, on his doggie-grabbing adventures, Shih Tzu-loving gangster Charlie (Woody Harrelson). Unrest assured, leitmotifs from McDonough plays — like a preoccupation with fiction-making (The Pillowman) and the coupling of pet-loving sentimentality and primal violence (The Lieutenant of Inishmore) — crop up in Seven Psychopaths, though in rougher, less refined form, and sprinkled with a nervous, bromantic anxiety that barely skirts homophobia. Best to bask in the cute, dumb pleasures of a saucer-eyed lap dog and the considerably more mental joys of this cast, headed up by dear dog hunter Walken, who can still stir terror with just a withering gaze and a voice that can peel the finish off a watch. (1:45) Metreon, 1000 Van Ness, Sundance Kabuki. (Chun)

Silent Hill: Revelation 3D The husband and adopted daughter of Rosa (Radha Mitchell, star of the 2006 first film and seen briefly here), Harry (Sean Bean) and Heather (Adelaide Clemens) have been on the run from both police and ghouls since mom vanished into the titular nether land some years ago. When dad is abducted, Heather must follow him to you-know-where, accompanied by cute-boy-with-a-secret Vincent (Kit Harington). There she runs screaming from the usual faceless knife-wielding nuns and other nightmare nemeses while attempting to rescue Pa and puzzle out her place in resolving the curse placed on the ghost town. The original 2006 film adaptation of the video game was a mixed bag but, like the game, had splendid visuals; this cut rate sequel lacks even that, despite the addition of 3D (if you’re willing to pay for a premium ticket). It’s pure cheese with no real scares, much-diminished atmosphere, and laughable stretches of mythological mumbo-jumbo recited by embarrassed good actors (Martin Donovan, Deborah Kara Unger, Carrie-Anne Moss, a punishingly hammy Malcolm McDowell). There is one cool monster — a many-faced "tarantula" assembled from mannequin parts — but its couple minutes aren’t worth ponying up for the rest of a movie that severely disappoints already low expectations. (1:34) Metreon. (Harvey)

Sinister True-crime author Ellison Oswalt (Ethan Hawke) hasn’t had a successful book in a decade. So he uproots wife (Juliet Rylance) and kids (Michael Hall D’Addario, Clare Foley) for yet another research project, not telling them that they’re actually moving into the recent scene of a ghastly unsolved murder in which an entire family — save one still-missing child — was hanged from a backyard tree. He finds a box in the attic that somehow escaped police attention, its contents being several reels of Super 8 home movies stretching back decades — all of families similarly wiped out in one cruel act. Smelling best-sellerdom, Ellison keeps this evidence of a serial slayer to himself. It’s disturbing when his son re-commences sleepwalking night terrors. It’s really disturbing when dad begins to spy a demonic looking figure lurking in the background of the films. It’s really, really disturbing when the projector starts turning itself on, in the middle of the night, in his locked office. A considerable bounce-back from his bloated 2008 Day the Earth Stood Still remake, Scott Derrickson’s film takes the opposite tact — it’s very small in both physical scope and narrative focus, almost never leaving the Oswalt’s modest house in fact. He takes the time to let pure creepiness build rather than feeling the need to goose our nads with a false scare or goresplat every five minutes. As a result, Sinister is definitely one of the year’s better horrors, even if (perhaps inevitably) the denouement can’t fully meet the expectations raised by that very long, unsettling buildup. (1:50) Metreon. (Harvey)

Skyfall Top marks to Adele, who delivers a magnificent title song to cap off Skyfall‘s thrilling pre-credits chase scene. Unfortunate, then, that the film that follows squanders its initial promise. After a bomb attack on MI6, the clock is running out for Bond (Daniel Craig) and M (Judi Dench), accused of Cold War irrelevancy in a 21st century full of malevolent, stateless computer hackers. The audience, too, will yearn for a return to simpler times; dialogue about "firewalls" and "obfuscated code" never fails to sound faintly ridiculous, despite the efforts Ben Whishaw as the youthful new head of Q branch. Javier Bardem is creative and creepy as keyboard-tapping villain Raoul Silva, but would have done better with a megalomaniac scheme to take over the world. Instead, a small-potatoes revenge plot limps to a dull conclusion in the middle of nowhere. Skyfall never decides whether it prefers action, bons mots, and in-jokes to ponderous mythologizing and ripped-from-the-headlines speechifying — the result is a unsatisfying, uneven mixture. (2:23) California, Four Star, Marina, Metreon, 1000 Van Ness, Shattuck, Sundance Kabuki. (Ben Richardson)

Taken 2 Surprise hit Taken (2008) was a soap opera produced by French action master Luc Besson and designed for export. The divorced-dad-saves-daughter-from-sex-slavery plot may have nagged at some universal parenting anxieties, but it was a Movie of the Week melodrama made on a major movie budget. Taken 2 begins immediately after the last, with sweet teen Kim (Maggie Grace) talking about normalizing after she was drugged and bought for booty. Papa Neeson sees Kim’s mom (Famke Janssen) losing her grip on husband number two and invites them both to holiday in Istanbul following one of his high-stakes security gigs. When the assistant with the money slinks him a fat envelope, Neeson chuckles at his haul. This is the point when women in the audience choose which Neeson they’re watching: the understated super-provider or the warrior-dad whose sense of duty can meet no match. For family men, this is the breeziest bit of vicarious living available; Neeson’s character is a tireless daddy duelist, a man as diligent as he is organized. (This is guy who screams "Victory loves preparation!") As head-splitting, disorienting, and generally exhausting as the action direction is, Neeson saves his ex-wife and the show in a stream of unclear shootouts. Taken 2 is best suited for the small screen, but whatever the size, no one can stop an international slave trade (or wolves, or Batman) like 21st century Liam. Swoon. (1:31) Metreon, 1000 Van Ness. (Vizcarrondo)

The Waiting Room Twenty-four hours in the uneasy limbo of an ER waiting room sounds like a grueling, maddening experience, and that’s certainly a theme in this day-in-the-life film. But local documentarian Peter Nicks has crafted an absorbing portrait of emergency public health care, as experienced by patients and their families at Oakland’s Highland Hospital and as practiced by the staff there. Other themes: no insurance, no primary care physician, and an emergency room being used as a medical facility of first, last, and only resort. Nicks has found a rich array of subjects to tell this complicated story: An anxious, unemployed father sits at his little girl’s bedside. Staffers stare at a computer screen, tracking a flood of admissions and the scarce commodity of available beds. A doctor contemplates the ethics of discharging a homeless addict for the sake of freeing up one of them. And a humorous, ultra-competent triage nurse fields an endless queue of arrivals with humanity and steady nerves. (1:21) Shattuck. (Rapoport)

Wreck-It Ralph Wreck-It Ralph cribs directly from the Toy Story series: when the lights go off in the arcade, video game characters gather to eat, drink, and endure existential crises. John C. Reilly is likable and idiosyncratic as Ralph, the hulking, ham-fisted villain of a game called Fix-It-Felix. Fed up with being the bad guy, Ralph sneaks into gritty combat sim Hero’s Duty under the nose of Sergeant Calhoun (Jane Lynch), a blond space marine who mixes Mass Effect‘s Commander Shepard with a PG-rated R. Lee Ermey. Things go quickly awry, and soon Ralph is marooned in cart-racing candyland Sugar Rush, helping Vanellope Von Schweetz (a manic Sarah Silverman), with Calhoun and opposite number Felix (Jack McBrayer) hot on his heels. Though often aggressively childish, the humor will amuse kids, parents, and occasionally gamers, and the Disney-approved message about acceptance is moving without being maudlin. The animation, limber enough to portray 30 years of changing video game graphics, deserves special praise. (1:34) Metreon, 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Ben Richardson)

Critics urge caution on fast-moving Warriors arena deal

Sasha Cuttler
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Critics urge caution on fast-moving Warriors arena deal

UPDATED The proposal to let the Golden State Warriors build a new sports arena complex at Piers 30-32 is moving forward quickly, with the Board of Supervisors Budget and Finance Committee considering approving its fiscal feasibility tomorrow (Wed/14), the Land Use Committee hearing its design and transportation aspects on Monday, and the full board scheduled to move it forward on Tuesday, two days before Thanksgiving. After that, it will undergo an environmental study and work on myriad fiscal and administrative details, coming back to the board for final approval, probably in the fall, with the goal of opening by the 2017 basketball season.

[UPDATE 11/14: The Finance Committee today voted 3-0 to approve findings of fiscal feasibility for the project after Sup. Jane Kim made amendments delaying the EIR scoping session until January and ensuring the Citizens Advisory Committee will be given more time to review the project and its term sheet. City officials and the Warriors also signed a deal this morning requiring that at least 25 percent of its construction jobs and half of its apprenticeship positions go to local residents or military veterans. We’ll have more details and analysis of what happened in the coming days.]

Critics of the project say it is being rammed through too quickly, with too little public notice or attention to blocking off views of the bay, and on terms that are too costly to city taxpayers. To some, Lee’s quest for a “legacy project” is reminiscent of the groupthink boosterism that characterized the initial America’s Cup proposal, before it was revealed to really be a lucrative waterfront real estate scheme that was great for developers but costly to the public, and later abandoned.

And just like last time, when the Guardian, then-Sup. Chris Daly, Budget Analyst Harvey Rose, and others forced a major scaling back of the developers’ ambitions, there are some prominent voices of caution now being raised about the Warriors arena deal and its potential to fleece city taxpayers, including concerns raised by someone with decades of experience shepherding some of San Francisco’s biggest public works projects.

Rudy Nothenberg, who served as city administrator and other level fiscal advisory roles to six SF mayors and currently serves as president of the city’s Bond Oversight Committee, yesterday wrote a letter to the Board of Supervisors urging it to reject the deal.

Among other things, he criticized the 13 percent interest that city taxpayers would pay on the $120 million in pier restoration work that the Warriors will do. “Quite simply, I would have been ashamed of such a recommendation,” Nothenberg wrote. “In today’s markets it is incomprehensible to have such a stunning recommendation brought to your honorable Board in such haste.”

Project spokesperson PJ Johnston and its main advocate City Hall, Office of Economic and Workforce Development head Jennifer Matz, each disputed Nothenberg’s characterization, citing a report by the project consultants, the Berkeley-based Economic and Planning Systems Inc. (EPS), that 13 percent is a “reasonable and appropriate market based return.”

Matz told us the rate was based on the risky nature of rebuilding the piers, for which the Warriors are responsible for any cost overruns. And she compared the project to the massive redevelopment projects now underway on Treasure Island and Hunters Point, from which the city is guaranteeing powerful developer Lennar returns on investment of 18.5 percent and 20 percent respectively.

Johnston, who was press secretary to former Mayor Willie Brown and worked with Nothenberg on building AT&T Park and other projects, told us “ I have great respect for Rudy.” But then he went on to criticize him for taking a self-interested stand to defend the views from the condo he owns nearby: “They don’t want anything built in their neighborhood. They would rather leave it a dilapidated parking lot.”

But Nothenberg told us his stand is consistent with the work he did throughout his public service career in trying to keep the waterfront open and accessible to the public, rather than blocking those views with a 14-story stadium and surrounding commercial and hotel complex.

“I have a self-interest as a San Franciscan, and after 20 years of doing the right thing, I don’t want to see this rushed through in an arrogant way that would have been unthinkable even a year ago,” Nothenberg told us. “I spent 20 years of my life trying to deal with waterfront issues.”

Among those also sounding the alarm about how quickly this project is moving is land use attorney Sue Hestor and former Mayor Art Agnos, who told us the supervisors should heed the input of Nothenberg and make sure this is a good deal for the city.

Agnos said, “Rudy Nothenberg stands apart from every other department head and CAO in the modern history of San Francisco for his financial and managerial expertise in bringing major projects with complex finances to completion that worked for our City. That is why the past six mayors…whether conservative or liberal…trusted him to advise them and administer the biggest projects in this city from Moscone Convention Center to the new main library to the Giants baseball park and Mission Bay. “

Legislative Analyst Harvey Rose released his initial analysis of the project on Friday. The $120 million plus interest that the city is paying to the Warriors would be partially offset by the $30 million the team would pay for Seawall Lot 330, a one-time payment of $53.8 million (mostly in development impact fees), annual rent of nearly $2 million on its 66-year lease of Piers 30-32, and annual tax and mitigation payments to the city of between $9.8 million and $19 million.

But the report also notes that many city departments and agencies – including the Department of Public Works, Municipal Transportation Agency, and the Police Department – have yet to estimate their costs. Both Johnston and Matz emphasized Rose’s conclusion that the project is “fiscally feasible” – the determination that supervisors will have to agree with to move the project forward – but the report also noted “the finding of ‘fiscal feasibility’ means only that the project merits further evaluation of environmental review.”

The full text of Nothenberg’s letter follows:

Dear Supervisors:

My experience as a high level financial advisor and city administrator for Mayors Moscone, Feinstein, Agnos, Jordan, Brown, and Newsom, and current President of the City’s Bond Oversight Committee cause me to write in the hope that you will reject the outrageous 13% interest rate that the developers of the waterfront arena are proposing to charge the City for their cost of replacing Piers 30/32. 

In my years as General Manager of Public Utilities, the Municipal Railway System, Water and Hetch Hetchy, and later as the Chief Administrative Officer for the City and County of San Francisco, I took probably more that a billion dollars worth of various debt instruments to the Board. 

Never…even in the worst days of highest modern era interest rates of the 1970’s hovering at 20% …never did I ever bring a 13% City borrowing to the Mayor and the Board of Supervisors for approval.  Quite simply, I would have been ashamed of such a recommendation.

In today’s markets it is incomprehensible to have such a stunning recommendation brought to your honorable Board in such haste. 

Even more remarkable is the fact that just weeks ago, Allentown, Pennsylvania has just procured a 4.78 % interest rate for $224.4 million of taxable bonds to help build with private contributions a hockey arena for 8500 seats. 

Yet, you are being told the best our city can do is 13% for $120 million.

No Board of Supervisors I ever appeared before would tolerate such dramatic discrepancy.

It is with this in mind, I would most respectfully urge you to send this proposed deal back to the developers, instructing the City’s negotiators not to bring it back without a far more favorable interest rate for City tax payers not to exceed a maximum of 7.5%.

And that would still be almost twice what the City would need to pay for City issued debt and more than amply compensate the developers for any risk premium that they allege that they are taking. 

Any such instruction from you to the City negotiators should also make it clear that they are not to make any new concessions to the developers in exchange for achieving a still high, but eminently more reasonable interest rate.

Thank you for your attention.

Rudy Nothenberg

Chief Administrative Officer (Ret.)

Documentation:

1.     The Warriors Arena negotiates 13% interest on $120 million from San Francisco when the City of Allentown in Pennsylvania just issued $224.4 million of taxable bonds for an arena at an average interest rate of 4.78%. 

13% for SF versus 4.78%  for Allentown

 http://www.allentownpa.gov/Home/AllentownCityNews/tabid/142/xmmid/636/xmid/2000/xmview/2/Default.aspx

City of Allentown – PA – Official Site

www.allentownpa.gov

The official website for the City of Allentown, PA. Learn about all the exciting events going on in the city of Allentown, from music, arts, theater, and sports. Allentown is the largest city in the 

2.     Allentown hockey arena bonds cost $4.2 million to issue …

www.lehighvalleylive.com/allentown/…/allentown_hockey_ar…

Oct 10, 2012 – About $224.4 million in municipal bonds were sold last week to help finance arena construction. City officials say the issuance costs are about …

 

 

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