Politics

Burning Man goes green

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Burning Man founder Larry Harvey chooses the theme for each year’s event — such as 2002’s the Floating World and last year’s Hope and Fear — but it usually doesn’t have much impact on the basic character of the event. This year’s theme, Green Man, is different.

"It’s the first theme that has any kind of practical, political character," Harvey told the Guardian, noting that Green Man has sparked big changes in how the event will be staged, a campaign to improve burners’ environmental practices, and a new way of reutf8g to the outside world.

"We’re looking at every aspect of the event: solid waste, energy, and materials," said Tom Price, who has filled the newly created full-time position of environmental director, which was a natural offshoot from his previous work as Burning Man’s lobbyist and the founder of Burners Without Borders, which formed to do Gulf Coast cleanup after Hurricane Katrina hit (see "From Here to Katrina," 2/22/06).

Harvey said it was the good that burners did in Mississippi that started him thinking about the green theme and the idea that Burning Man needed to start turning its energies outward at a time when global warming and other environmental problems are growing public concerns.

"We’re working our way back into the world. Maybe not the mainstream but certainly onto Main Street," Harvey said. "There’s a lot out there that needs reform. The time of the reformer is at hand, I believe."

Among the projects Price is now working on are expanding the already large recycling effort at the event, finding ways to use more solar panels and fewer generators, coordinating theme camps to share power sources, using the purchase of emissions credits to offset the greenhouse gases created by Burning Man, and creating incentives for art projects to use alternative fuels.

"The whole process is being driven by the community," Price said.

Ramping up Burning Man’s environmental activism and commitment has been the goal of several movements within the larger event, such as Cooling Man (www.coolingman.net) and Greening the Burn (tribes.tribe.net/greeningtheburn), as well as being a priority for many Burning Man employees, such as technology dominatrix Heather Gallagher, a.k.a. Camera Girl, and facilities manager Paul Schreer, a.k.a. Mr. Blue.

"We’ve been hippie busybodies pushing for this on the inside," Gallagher told us. "And when [Harvey] announced the theme, I was, like, ‘Yesss!’ "

"What’s exciting about the Green Man theme and this year’s event is it’s a perfect illustration of the power of community," Price said, noting that networking and experimentation have always been hallmarks of the event. "Going back 10 years, Burning Man has been a place for early adopters who are on the cutting edges of a lot of disciplines."

That makes it a good place to experiment with new technologies and evangelize those that work well.

"I’ve always believed Burning Man would eventually partner in some way with the environmental movement," Harvey said. "It’s almost a historic inevitability."

Since the theme was announced, the organization has been overwhelmed with offers from individuals and groups that want to help green the event, from someone who donated $350,000 worth of solar panels to power the eponymous man and surrounding activities this year to artists such as Jim Mason, who has developed a gasification system he wants to use to turn center camp coffee grounds and other waste into fuel that would in turn power his machine (and probably shoot fire as well).

"So I’m proposing drag racing to a more responsible environmental future. As usual, the ravers are not going to save the world. But at least they can power their indulgent disasters with the fuel the local gearheads turned reluctant environmentalists have made for them," Mason, the controversial artist who helped spearhead the Borg2 revolt a couple years ago, wrote by e-mail to the Guardian.

Price said he’s excited by the implications of Mason’s project, noting that it simultaneously addresses energy issues and waste disposal.

"If he can do this, he will have solved two problems," Price said. "Our relationship to nature on the playa is very intimate. Just being at the event, we’ve learned in a way those in the city haven’t what it means to deal with your garbage and to provide your energy."

Harvey sees this year’s theme as a turning point.

"In some ways, we hope this year will be an environmental and alternative energy expo," he said, although he expects it to resonate on an even deeper level that participants will carry back into their communities. "It’s a much broader thing than environmental politics. It’s about our relationship to nature." (STJ)

Peter’s principles (or lack thereof)

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By Steven T. Jones

Before hitting the latest news of ethics problems in the mayor’s office, and the brilliant segment that KGO-TV’s dogged investigative reporter Dan Noyes has done to highlight them, it’s important to offer some context and perspective.
Mayor Gavin Newsom imported veteran Democrat Party flack Peter Ragone to be his press secretary upon taking office three years ago. Ragone didn’t really know San Francisco that well, but he seemed to understand the national political landscape and therefore became a trusted adviser to our ambitious mayor. The gay marriage move was brilliant, shoring up Newsom’s support in the city’s queer community and positioning him as a civil rights leader for future campaigns.

Yet along the way, Ragone seemed to forget that Newsom was the mayor of San Francisco at a time when progressives controlled the Board of Supervisors and couldn’t simply be dismissed. Over and over, Ragone spun stories to reporters about the incompetence and/or malevolence of progressives or other critics of the mayor — often attacking or belittling the journalists when they expressed skepticism — until he had very little credibility left with any of us (something I say as someone who regularly talks with journalists from all the other major news outlets in town).

So when the SFist discovered that some posters to their site were actually coming from Ragone’s computer, and Ragone avoided answering questions about it and opted to instead claim on the site that allegedly pseudonymous John Nelson was a real person, his best friend actually, who often stayed at Ragone’s house during the early morning and late night hours when he posted — most people simply assumed Ragone was lying.

I wanted to give Ragone the benefit of the doubt and asked whether I could meet John or otherwise get some verification for his existence. Ragone said no, and said, “I don’t think I’d like to see my friends and family put through the wringer of San Francisco politics.”

Matt Smith hates San Francisco

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By Tim Redmond

That’s the only conclusion I could reach after reading this piece of garbage that was until recently sitting high on the front page of the SF Weekly website.

It’s fine for journalists to be cynical. It’s fine to challenge the conventional wisdom. But all I got from this piece — and frankly, all I get a lot of the time from Matt Smith — is how much San Francisco sucks, how lame all of us who love this city are, how stupid local politics is, and how nobody who is a part of the fabric of this town is anything but a witless moron who can’t possibly live up to Mr. Smith’s standards.

Matt: Why do you live here?

Politics blog: SOTU

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@@http://www.sfbg.com/blogs/politics/2007/01/the_sotu_response.html@@

The wi-fi elephant

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› sarah@sfbg.com

It’s been widely reported in recent weeks that San Francisco and the Google-EarthLink team have already reached a deal to offer free wireless Internet service citywide. In reality, the deal cut by Mayor Gavin Newsom is tentative and requires the approval of the San Francisco Public Utilities Commission (SFPUC) and the Board of Supervisors.

And getting that approval looks increasingly unlikely in light of a growing chorus of critics and a scathing assessment of the plan that Board of Supervisors budget analyst Harvey Rose laid out in his Jan. 11 report on the feasibility of a municipally owned wi-fi system.

As Rose notes, even though the city’s technology consultant, Civitium, recommended that officials examine all alternative approaches to bridging the digital divide, the Department of Telecommunications and Information Services (DTIS) negotiated with Google-EarthLink "without conducting a more formal analysis of the feasibility of wireless broadband or a completed study of the feasibility of wired networks."

That study of various options, including a municipal broadband system using fiber, was requested by the Board of Supervisors on Oct. 5, 2004, before Newsom pitched his free wi-fi idea in his State of the City speech two weeks later. The DTIS and the SFPUC staff decided to fast-track Newsom’s plan; the fiber study began in June 2006 and is expected from Columbia Telecommunications Corp. (CTC) any day now.

Rose’s report questions why the city wasn’t studying all its options before going with the Google-EarthLink wi-fi system, which the mayor is pushing. Supervisors have now announced plans to study various digital options in board committee meetings and at the Local Agency Formation Commission before making any decisions.

All of this doesn’t bode well for Newsom because, according to Rose, the Google-EarthLink deal gives the two telecommunications giants potentially unfair business advantages, delivers San Francisco a technically flawed system, and leaves gaping holes in Newsom’s much-ballyhooed attempt to bridge the digital divide.

Rose’s not-so-rosy report reveals that EarthLink’s wireless network limits potential competition in the unlicensed radio frequency band, giving the company a quasi-exclusive franchise, "as any competitors would have to contend with EarthLink’s existing wireless signals."

The deal also gives EarthLink the appearance of a conflict of interest, because the company serves as wholesale network provider and one of the available Internet service providers.

The report warns that the plan’s sale and usage of user data for private purposes "exposes those utilizing the EarthLink wireless network to the wide dissemination of their personal data, even if such users opt out of the receipt of marketing materials." Rose also notes that Google gets exclusive access to users of EarthLink’s basic service — a setup that gives the telecommunications giant free access to millions of points of data, all in return for a free but slow service.

Perhaps most damning for Newsom, given the mayor’s repeated claims that the deal is all about helping the underserved, is Rose’s observation that the basic free service provided by EarthLink will be slower than existing DSL and cable Internet technology.

Rose writes, "To receive service roughly comparable to existing technology and similar networks being implemented in other cities, network users would have to pay an estimated monthly fee of $21.95, while 3,200 network users who qualify under a proposed ‘Digital Inclusion Product’ would pay a monthly fee of $12.95."

In the face of all these drawbacks, Rose recommends the board tell the city to reissue a request for proposals to allow for consideration of publicly owned, public-private, and privately owned systems — the three wireless models Rose contrasts in his 42-page report. While Rose concludes that it may be fiscally feasible to build municipally owned wi-fi, he notes the city would likely face competition from private interests and risk network obsolescence within a few years.

Rose suggests future proposals should provide wi-fi access for low-income residents that is "high-quality and free," including "state-of-the art connectivity that is at least equal in technological capability to nearby offerings," and "try to leverage existing public and private infrastructures." He also recommends such proposals include, to the extent practicable, the city’s existing fiber infrastructure — and incorporate results of Civitium’s and the CTC’s studies.

"Google-EarthLink only seems to be there to sell the advertising and collect the fees," Sup. Jake McGoldrick told the Guardian, as he vented frustration over how the Mayor’s Office and the DTIS focused exclusively on the Google-EarthLink deal.

"Every time they were asked for information that would advance other options, they stonewalled," McGoldrick said.

DTIS chief administrator Ron Vinson told the Guardian he hasn’t seen the fiber study, which was expected at the start of the year. "It’s not out yet. We haven’t seen it," Vinson said Jan. 19, the day after Newsom told the Chronicle that the wi-fi deal was too important to be killed off by politics.

But as wi-fi activist Bruce Wolfe told the Guardian, "It’s the mayor’s introduction of an insufficient plan that’s causing the situation to become political, when really it’s a technical question."

Fiber is a more reliable and faster technology than wi-fi, and it serves as a better backhaul to a wi-fi system than the phone lines that Google-EarthLink plans to use. Wolfe said the deal is "like buying diesel buses when everyone’s converting to hybrids."

He said San Francisco’s hilly, foggy, and built-out terrain means residents will get spotty wi-fi at best and no wi-fi at worst, particularly if they’re not within sight of a wi-fi node or on the third floor of a high-rise. Wolfe recommends that the city combine its preexisting fiber backbone and short-term contracts with groups of wi-fi providers to create a series of neighborhood access points, all managed by a nonprofit agency with technological expertise.

"If Google owned the city and needed to provide access to us, it wouldn’t go for a wi-fi-only solution," Wolfe said. "This is no time to be building a white elephant." *

Editor’s Notes

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› tredmond@sfbg.com

It’s getting a bit creepy how easily and casually we are all starting to joke about global climate change.

It’s not coming, it’s here. My brother is framing houses in a T-shirt in upstate New York. And it’s so cold in California that the citrus crop is ruined. The other day one of my colleagues mentioned that global warming might not make every place warmer; "it’s just going to kill us all."

Maybe it will.

One of the most chilling (sorry) depictions of what’s about to happen comes not from Al Gore’s movie (which was powerful) but from a book called A Friend of the Earth, which is a pretty bad novel by a very good writer, T.C. Boyle. The story line is weak, but the scene — Santa Inez in 2025 — has a strange air of realism. It’s almost impossible to live there in Boyle’s future; the storms are so regular and fierce that only specially constructed homes can survive them, and almost nobody spends much time outdoors.

I have a friend who’s a very, very successful investment adviser, a self-made millionaire several times over, who has been living a dream of a life in Boca Raton, Fla., diving and spearfishing and cruising around on his yacht … and he just sold his place and bought a dirt farm in Kentucky. Florida is going to be wiped out by the hurricanes, he says. He’s also shut down a lot of his business, since he thinks the US economy is going to completely tank soon. He wants to be someplace where he can grow his own food.

I think this is crazy. I’ve never been into doomsday. I have two kids, which by itself is an act of optimism and hope. As we say in my family (which has elevated the art of denial to world-class levels), everything is going to be just fine.

So I laugh about the weather like everyone else. I live way up on a hill; if the ice melts and the sea rises all the way to my doorstep, it will be time to buy an ark. I’ve always been into boats anyway.

But right now it really feels like this is coming at us a lot faster than anyone expected. And the much-heralded moves by the governor of California to reduce greenhouse gases a little bit by a few years from now seem so incredibly puny.

In politics I’ve always felt that intent matters. There are some wonderful programs that don’t work as well as they should, not because of corruption but because the money is inadequate or the staff isn’t properly trained or somebody made some mistakes. That’s different from somebody deliberately lying, cheating, and stealing to game the system.

Pacific Gas and Electric Corp. is a corrupt institution with sleazy lawyers and consultants who abuse the local political system. Carolyn Knee, who was the treasurer for a group fighting on behalf of a ballot campaign for public power in 2002, is a good person who apparently made some mistakes in the complex process of filing all the campaign finance documents on a volunteer basis for a grassroots initiative. And she just told me the SF Ethics Commission wants to fine her $26,700.

There’s something very wrong here. *

How to Make a Pigeon Burrito

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By Sarah Phelan

No, this isn’t my secret recipe for surviving life in the city on a tight budget. Instead, this is my not-so-secret recipe for helping get wild birds out of spaces they’d rather not be in—like trapped in the bay window of Farley’s coffee house on Potrero Hill, which is what happened last week when I was having lunch in the famed establishment and a pigeon flew through the door, then tried to escape, but hit the window, instead.

Understandably, everyone panicked at the sight of a pigeon flying into a window. People screamed, customers ducked and it looked like things could rapidly turn nasty, especially for the pigeon.
At which point I surprised even myself by standing up, picking up my ratty old black jacket which was hanging on the back of my chair, instructing those sitting in the bay window to “Move!” and swiftly throwing ratty jacket over the bird so it was completely engulfed.

Immediately, the bird stopped moving, and I was able to roll it up, in one gentle move, thereby transforming bird and coat into a pigeon burrito, in which the bird was the filler and the coat was the soft shell. With the bird firmly secured, I walked to door, opened my coat and, the bird immediately spread its wings and flew up and away, over the rooftops of Potrero Hill and towards the Bay, like my soul escaping its body.

To my embarrassment, everyone clapped and a man, who was sitting on the bench that wraps around the tree outside Farley’s, shouted, “You’re a hero!”

So, next time you see a bird trapped, surprise yourself by stripping off your coat, sweater, shirt, or whatev, and making a bird burrito. You’ll be glad you did.
ps In case you’re wondering, what’s this doing on the politics blog, I figure bird rescue is a political statement of sorts…
pps I learned this trick from the fine folks at Native Animal Rescue in Santa Cruz

Peter Ragone: sockpuppeteer

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According to KCBS radio, mayoral flack Peter Ragone has finally admitted to both posting on SFist and other blogs under a false name and lying to reporters about the existence of his imaginary friend, John Nelson. Newsom, who just returned from 10 days in Switzerland, reportedly expressed his displeasure with Ragone, but downplayed the incident.

Apparently, both men think that’s the end of this, but it isn’t. I had an appointment with Ragone scheduled for 4 p.m. today, but he has pushed that back to tomorrow. I’ll be curious what he has to say, and what “lessons” he’s learned, as he obliquely told the Chron. He directly lied to me and other journalists, a lie that KGO-TV broadcast the other night. Ragone needs to issue a public apology, he needs to directly apologize to me and others, then he needs to explain how the incident and other recent offenses have changed him and what he intends to do to restore his damaged credibility. Until he does that, none of us should believe anything that we hear from the Mayor’s Office.

Read more on the Guardian politics blog

FRIDAY

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JAN. 19

MUSIC

Experimental Audio Research

Experimental Audio Research sounds more like something
that would happen in a top-secret section of Lawrence
Berkeley National Lab, not at a rock show. E.A.R. is
the project of avant-rock eccentric Sonic Boom, whose
bombastic pseudonym conveys his distortion-heavy
musical niche. Boom, one of the founding members of
the now defunct Spaceman 3, brings together science
and rock ’n’ roll, dissonance and structured harmony,
and premeditation and improvisation to fuel the
creative process. (Hayley Elisabeth Kaufman)

With LSD and the Search for God and Fuxa
9:30 p.m., $10 Hemlock Tavern
1131 Polk, SF
(415) 923-9023
www.hemlocktavern.com

FILM

Tales of the San Joaquin and Affluenza

Liberals and conservatives may clash on politics, but
both extremes love hot, sweaty guilt. So when
proactive media comes along to help the wayward masses
channel guilt into action, it’s worth driving past 85
McDonald’s to find out how you too can save our
dissolving, decomposing, and devolving nation.
Humanist Hall’s double feature of Tales of the San
Joaquin (about river pollution) and the snarkily
titled Affluenza (about the sickness of American
consumerism) should help ease the self-reproach. (Sara
Schieron)

7:30 pm, $5
Humanist Hall
390 27th St., Oakl.
(510) 451-5818
www.humanisthall.net

Control of resources

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› a&eletters@sfbg.com

Among the usual tidings of war and occupation, the recent holiday season brought news that hundreds of people had been burned alive in a pipeline explosion in Lagos, the commercial capital of Nigeria and its largest city. They were gathered around a section reportedly ruptured by a criminal gang of "bunkerers" siphoning petrol from the state-owned oil company prior to selling it on the black market.

In a cutting irony wasted on few in Nigeria, Africa’s largest oil producer (the fifth largest importer to the United States — and rising) has struggled for years with a serious fuel shortage. Within the crowded Abule Egba district of Lagos, where December’s horrible scene took place, low-paid workers and their families often forgo caution in the event of a pipeline rupturing to fill pails and cans with the desperately needed liquid, either for use in their own vehicles and home generators or for resale on the black market, where a small amount can equal several weeks’ wages.

To read the news reports on these accidents (if that’s the right term for such acts of desperation) is usually to miss much of the complex picture lying behind the scenes in Africa’s most populous and oil-rich country. The politics of oil in Nigeria reaches deep into an increasingly fractured society and far beyond its national borders.

Needless to say, it’s a lot for a lone actor-playwright to take on, even one playing multiple characters over the course of two hours. But young solo performer Dan Hoyle seems to thrive on such challenges. Developed with and directed by veteran solo performer Charlie Varon, Tings Dey Happen brings the 25-year-old Hoyle’s American theater audience a powerfully etched human-scale impression of the scope of oil politics in Nigeria as he discovered it during a 10-month trip in 2005 as a Fulbright scholar.

Without benefit of costume or scenery and with merely an atmospheric sound design (courtesy of David Hines) and some key lighting shifts (by Patti Meyer), Hoyle soon establishes his setting with a series of quick-change characterizations amid a bustling city street in Lagos. Affecting the pidgin English that is the lingua franca of Nigeria and smoothly transitioning through various postures and demeanors, Hoyle re-creates his reception as a white American sore thumb. From there we travel with him widely, from stops at the US Embassy and local bars frequented by expat oil workers to the network of swamps and streams in the delta known simply as "the creeks," the territory of dozens of militia groups at war with the state and one another for the liberation of the delta and a share of the oil money.

In all, Hoyle plays more than 20 characters based on people he met and interviewed. There’s also a friendly Nigerian stage manager who does not hesitate in taking exception to the character Dan’s sometimes overly downbeat treatment of the subject matter or spurring the crowd to let go of its Bay Area mind-set and try to adopt a more Nigerian one.

Hoyle also gained access to some highly placed people in Lagos. In addition to a somewhat unctuous US ambassador, for instance, Dan memorably meets the antigovernment rebel leader and Ijaw warlord Asari (a.k.a. Alhaji Mujahid Dokubo-Asari, or Asari Dokubo), the Muslim militant whose forces have declared war on the Nigerian state and the oil companies who they (with justification) say have usurped and wreaked havoc on Ijaw land.

Throughout, Dan is glimpsed only in stories told by those he met. He’s the young white American who’s (remarkably) neither a Christian missionary nor a petrochemical engineer; who wants, crazily, to study oil politics (prompting one wag to advise him to practice ducking, as he’s sure to be shot at); who, to one local’s amazement and consternation, doesn’t know how to fix a computer.

Tings is a history lesson and a political lesson — even a geography lesson (the Niger Delta "is like your Mississippi Delta," the stage manager explains with knowing understatement, "but there are more guns"). But the show is also very much an entertainment and a display of performance prowess. Hoyle — whose first solo endeavor, Circumnavigator, was followed by Florida 2004: The Big Bummer, a report from a front line in the last presidential election — has made this multicharacter reportage-bricolage his forte, backing it with the limber facility of a physically disciplined actor and natural mimic.

There’s a certain admirable audacity in Hoyle’s Nigeria project, not just in his fearless reconnaissance of deeply troubled waters — especially among the battle-hardened rebels of the creeks — but in his willingness to boldly assume the voices and personae of ordinary Nigerians, to step inside their perspectives and encourage his American audiences to follow.

In what’s perhaps an overly eager attempt to please, however, his characters tend to be eccentrics. And in some cases the characterizations feel more put on, along the lines of caricature, than fully embodied. While invariably absorbing, the sum of these parts may also lend a skewed impression of the average Nigerian. There’s no mention, for example, of the nonviolent resistance led by women and student organizations against the exploitation of Nigerian people, land, and resources. (The only female character essayed in Tings is a sympathetically indignant prostitute.)

Moreover, the play’s two hours could stand trimming and focusing (a malaria-fueled fever dream in which Dan is visited by competing advice givers Graham Greene and Richard Pryor, for example, is only weakly funny and hence all the more tangential). These quibbles aside, Hoyle’s work brings a burgeoning talent to a still woefully neglected subject that, as presented here, is both absorbing in its dramatic complexity and urgent in its political import. *

TINGS DEY HAPPEN

Through Feb. 10

Thurs.–Fri., 8 p.m.; Sat., 5 p.m., $15–$22

Marsh

1062 Valencia, SF

(415) 826-5750

1-800-838-3006

www.themarsh.org

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CineKink 2007

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The simple act of witnessing can transform sex into politics, so it’s not hard to see why privacy (like permission) is sacred. The quaint notion of the boudoir is ingrained in most acts of physical intimacy — whether lovers seek haven in the bedroom or take joy in rejecting it. More like Wild Kingdom than Girls Gone Wild, the CineKink 2007 series at Yerba Buena Center for the Arts neutrally observes sexual transgression: the forms it takes, the relief it offers, and the privacy it (often jubilantly) breaches.

More fun than watching actual webcam girls, Aerlyn Weissman’s doc WebCam Girls (Thurs/18, 9 p.m.) looks at three successful mavens and frames their stories with academic analysis. These women all began their journeys in the world of semivoyeurism from a place of corporate exploitation, so it’s ironic that they, like their patrons (commonly nine-to-five cubicle dwellers), are surveyed at work … well, at their home offices. In this surveillance their homes are as public as their patrons’ cubicles — to the 15 people (as opposed to 15 minutes) for whom they’re famous. Their identities are their brands, putting them in vulnerable positions both figuratively and literally.

Almost a brother film to WebCam Girls, Damon and Hunter: Doing It Together is a short feature nested in the Passion Plays Program (Fri/19, 9 p.m.). For the women of WebCam Girls, the issue of individualism is essential (Anna Voog makes Rorschach-inspired videos for her word-association songs, and Ducky Doolittle puts on fashion shows), but Damon and Hunter are like Rosencrantz and Guildenstern: porn stars with protected identities as opposed to global brands. Primarily composed of one talking head interview with the two lovers, director Tony Comstock’s documentary intercuts a XXX scene that is more sweet than erotic. The footage feels deliberately contrary to a porn aesthetic, giving the impression that we’re observing, with anthropological so-called neutrality, the well-worn sex life of a couple. One partner asks, "Are you comfortable?" and the request for consent is like a demonstration of love.

Unlike the docs in the CineKink Series, Going Under (Sat/20, 7 p.m.), a sensitive and occasionally vague narrative feature, expressively represents the erotic and ultimately calmative values of nonvanilla sex. Psychoanalyst-turned-filmmaker Eric Werthman’s movie is about a relationship between psychoanalyst Peter (Roger Rees) and his dominatrix, Suzanne (Geno Lechner). Exhausted by her field of work, Suzanne announces her retirement, which signals an opportunity for them to see each other "outside." The two bond over childhood trauma: for them, history is a tragic theme. "I can never forget how we met" is an important sentence: not so much shamed as burdened, Suzanne struggles with the couple’s desires outside the security of her leather-bound workplace.

Fans of Going Under will find a good companion piece in Howard Scott Warshaw’s documentary Vice and Consent: The Art of Wrapping Intimacy in Very Scary Paper (Fri/18, 7 p.m.). Offering a more incisive view of BDSM (bondage and discipline, dominance and submission, and sadomasochism) than Going Under, Vice and Consent initiates a remarkable dialogue about the transcendence that results from this highly rigorous discipline. The hour-long doc has a homespun production value that gives a kind of authenticity to its interviews but also somewhat clouds its dialogue about sex as an exploration of human consciousness. Exhaustively, this film discusses the means by which the community rejects "vanilla" — and poetically, the world outside vanilla is as infinite as the characters who go searching. (Sara Schieron)

CINEKINK 2007

Thurs/18–Sat/20, 7 and 9 p.m. (Thurs/18, 6 p.m. free reception), $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

>

Where are the chicks?

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› amanda@sfbg.com

It’s a warm, blue-sky day in late November, and about 35 people are gathered outside one of the National Park Service buildings in the Presidio, trading tales of where and when they last saw California quail. Point Reyes is named most frequently. The Marin Headlands get a few nods from the bird enthusiasts. Strybing Arboretum in Golden Gate Park raises a minor cheer. Someone mentions "Quail Commons" in the Presidio, and an "Ooh" ripples around the circle, but it turns out the sighting was a while ago.

The enthusiastic volunteers, mostly bird lovers and Presidio neighbors, have turned out for today’s annual Quail Habitat Restore-a-Thon, an event aimed at transforming Quail Commons, the quarter-acre sliver of property located behind the Public Health Service Hospital on the western edge of the Presidio, into the national park’s premier quail habitat.

And the handful of quail that still live in the Presidio will surely appreciate it — although they might have a better time if only there were some ladies around.

Unfortunately, there aren’t. After a long morning of trimming back trees and planting sprouts of native coffee berry and coyote bush, Damien Raffa, a natural resources educator for the Presidio, confirms all the rumors that have been raked up with the weeds: the quail population has reached a new low. There are just six remaining in the Presidio. And yes, they’re all male.

The demise of the local quail population sounds like something only bird nerds would be fluffing their feathers over, but the strange thing is that the birds didn’t just fly away while the binoculars were trained elsewhere. A concerted effort to save the city’s quail population was made by multiple parties, costing thousands of dollars and using hundreds of work hours.

In 2000 the Board of Supervisors named the sociable fowl with the cunning head plumage the official bird of San Francisco. Since the informal inception of the Habitat Restore-a-Thon in the late ’90s, the number of volunteers has increased more than fivefold, and hundreds of park staff hours have been spent restoring habitats to the quail’s particular standards.

The Golden Gate Audubon Society dropped $15,000 on a Quail Restoration Plan and budgets $6,000 a year for the project. In the Presidio education has included a Web site, bright yellow "Quail Area" bumper stickers, and road signs in sensitive areas warning drivers to watch out for the little ground-loving birds. For the past two years biological monitors have been hired by the Presidio Trust to study the precious few remaining quail, with the hopes of pinpointing why they’re disappearing.

So why are the plump little fowl more commonly found trussed in gravy on sterling platters in some of the Embarcadero’s finer eating establishments than nesting under scrubby bushes among the windswept dunes on the western side of the city?

What went wrong? And what does it say about how the Presidio and other natural areas in the city are being managed?

PRESIDIO PRIORITIES


A mere 20 years ago, the state bird of California, Callipepla californica, was so bountiful in the Presidio that the average bike ride down Battery Caulfield or along Land’s End yielded at least one sighting.

"Brush rabbits, wrentits, Western screech owls, and the California quail" are the common wildlife listed off by Josiah Clark, a San Francisco native who spent his childhood scrambling around the Presidio with his binoculars. He’s now a wildlife ecologist and runs an environmental consulting company called Habitat Potential. "Those were once ‘can’t-miss’ species when I was a kid. Now I’m more likely to find a vagrant bird from the East Coast than a wrentit or a screech owl in the Presidio."

Since the former US Army base was decommissioned and opened to the public, the wrentit and screech owl have disappeared, and the quail are flying the coop too, despite the protective national-park status of the city’s largest natural area.

"Sometimes I think about the irony of it," says Dominik Mosur, a former biological monitor for the Presidio Trust who still birds in the national park once or twice a week. "The Presidio Trust was founded in 1998, at the same time habitat restoration for the quail really started happening. The more people got involved in somewhat of a misguided manner, the less successful it’s become."

Having a species of animal disappear from a national park is very unusual, according to Peter Dratch, who oversees the Endangered Species Program for the National Park Service. "It’s a rare event for a species in a national park to become locally extirpated," he says. Just three national parks have lost an animal out of the thousand endangered and threatened species he tracks.

Mosur is concerned that economic interests are trumping ecological needs in the Presidio. "I’m not saying that ecologists who work for the trust want to see the quail extinct," Mosur says. "But I think their bosses wouldn’t mind. Preserving nature and making money are really conflicting things. You can’t make any money off of an open lot of sagebrush with some quail in it, but you can make quite a bit of money converting Letterman hospital into a lot of apartments."

And making money is the bottom line for this national park. The Presidio, unlike any other national park in the country, is forced to fully fund itself, according to a mandate proposed by Rep. Nancy Pelosi in the mid-’90s. Guardian investigations and editorials over the years have raised questions about the viability of this arrangement. The cash cow is supposed to be the abundance of housing and development opportunities made possible by the abandoned army barracks and buildings, which means this national park is in the business of real estate, not natural resources.

While an annual $20 million federal allocation has been meted to the park during its teething stages, the Presidio Trust is tasked with weaning itself off that funding by 2013. Halfway through the 15-year deadline, the 2006 annual report for the trust shows that revenue is up just 4.5 percent while overhead costs have jumped 22 percent from last year’s numbers.

So making money is more important than ever. The doubtful are invited to trawl the Presidio’s Web site, where it’s easy to find information about housing rentals and development opportunities, the new restaurants that have opened, and the free coffee now available at transit hubs, but only a deep search will reveal anything about birds, trees, and flowers. A click on the "Nature in the City" link scores you a picture of the very common and abundant great horned owl. If you want to "read more," you get a blurb about mushrooms. The "Save the Quail" link, which was up as recently as this fall, has disappeared, just like the bird itself.

At press time, spokespeople for the Presidio Trust had not answered our questions about quail habitats or future restoration plans, despite repeated inquiries.

To be fair, the decimation of local quail is a phenomenon not exclusive to the Presidio. The population in Golden Gate Park has also dropped to a dangerous low. Annual citywide "Christmas Bird Counts," conducted by the Golden Gate Audubon Society, show more than 100 quail 10 years ago but as few as 40 just 5 years ago. Last year there were 27. This year promises to have even fewer.

"When a population gets low, it’s easier for it to get really low really fast," Clark says.

Most local bird-watchers and ecologists agree that it’s been a collision of conditions such as increased predation, decimated habitats, and unsavory, incestuous mating stock that has meant the gallows for the quail. But poor management decisions on behalf of the people in power have been the tightened noose.

SAVE THE QUAIL


Mention quail to anyone in management at Golden Gate Audubon, the Presidio Trust, or the city’s Recreation and Park Department, and you’ll be directed to Alan Hopkins, who has lived and watched birds in the city since 1972 and is the most widely regarded local expert on quail.

Initially, it wasn’t one of his favorite species. "They were a little too cute," Hopkins says. "But the more I started to study them, I saw how social they were. They’re fascinating, and they were here way before we were."

It wasn’t until the mid-1980s that he really started making a special effort to look for them during his daily bird-watching. Within a few years he began to worry about the health of the local population as he saw an increase in predators like raptors and feral cats.

At the same time, habitats were decimated by an aggressive campaign to purge the parks of homeless people. This involved cutting back the deep underbrush where quail like to hide out. In addition, the preservation of tall, stoic trees such as cypress, pine, and eucalyptus has meant an increase in habitats for quail predators like hawks and ravens, which prefer to spot prey from a heightened roost. As these factors conspired, numbers continued to drop, and the breeding stock became more and more narrow, until the coveys were rife with incest.

While predation is always a possibility, it doesn’t start having a big effect until the quail take to the streets, driven by disrupted habitats and dismal mating prospects. Though not generally migratory birds, when a spot becomes inhabitable, quail have been known to move around the city using wild property edges for succor until they find another covey or place to roost. And in San Francisco, they really are in the streets. Quail can’t fly long distances, and they travel mostly on foot.

Two birds wearing leg bands left the unpalatable conditions of the Presidio and resurfaced in Golden Gate Park, which means the unappealing mating scenario and disrupted habitat drove them to negotiate several city blocks in search of greener pastures. "They probably went through people’s backyards," Hopkins says. "That’s one of the reasons we think people need to preserve their backyards."

But increased gentrification has destroyed these wild, backyard corridors, which have been the secret highways for wildlife through the city.

Hopkins started an education-and-restoration campaign called "Save the Quail" in the ’90s. His hope was that the more people were aware of the quail and the small things they could do to save them, like preserving certain plants in their yards and keeping their cats indoors, the more it would benefit the birds and the parks.

"If we can restore the quail, it’s a good harbinger of health in the city," says Peter Brastow, director of Nature in the City, a nonprofit group that works to restore biodiversity in San Francisco by encouraging citizens to work and play in natural areas. "If we have great success with them, then we’re probably doing a lot for many other species too."

And that, Brastow argues, is important for the health of the people who live here. "Connecting to nature should be a bona fide recreational activity. Going bird-watching, walking your dog on a leash, [and] doing stewardship are all ways for urbanites to reconnect with these threatened natural areas that need people to sustain them. People need nature. It’s a feedback loop."

But, as is so often the case in San Francisco, for every pro, there’s a con.

LOCAL KNOWLEDGE


As the quail preservationists beseeched the city’s Rec and Park Department and the Presidio Trust for places to restore habitats, efforts were waylaid by the competing interests of feral cat fans and off-leash dog lovers.

"It really became a polarized issue," says Samantha Murray, Golden Gate Audubon’s conservation director. "Unfortunately, quail have had a lot working against them for the last 20 years, and none of that helped."

As arguments played out in public meetings, time ticked away for the birds, and the population continued to plummet. Eventually, a strip of unused land between Harding Park Golf Club and Lake Merced was granted as a new place for a quail habitat, even though it’s not an area where quail have ever been seen.

"It was a compromise," Hopkins says.

In addition, a quail niche was carved out of a quarter-acre plot in the Presidio where a covey still existed. Dubbed Quail Commons, it became the locus of restoration efforts, with regular work parties weeding out nonnative invasive species and sowing new shoots of quail-approved plants.

It wasn’t long, however, before the plot became more of a poster child for the trust and less a place where effective restoration occurred. Hopkins and other local birders and ecologists proffered regular advice on what might work, but they say the trust depended too heavily on outside studies by experts and seized on a rigid formula rather than a fluctuating plan that responded to unexpected changes in the local ecology.

"Quail are dependent on a lot of nonnative species for food source and cover," Hopkins says. In a burst of antipathy toward nonnative species, much of the Himalayan blackberry and wild radish, two of the quail’s favorite plants, were scourged from the parks. The native plants that replaced them provide a very limited diet for the birds.

"One bad year for those plants," Hopkins says, "and the ability to eat is gone."

He points out that providing water or food where necessary and introducing more birds when the population became so inbred could have been very effective.

"I think it’s naive to think if you simply restore habitat, it’s going to be enough," he says. He admits that contradicts statements he’s made in the past, but that’s the nature of the beast when it comes to ecology. No specific formula is guaranteed to work in every situation, which is what, some scientists say, makes local knowledge so valuable.

"Local knowledge is huge," says Karen Purcell, leader of the Urban Bird Studies project at Cornell University’s Lab of Ornithology, which uses "citizen scientists" from around the country to supplement its bird research. "People who know their birds and what’s going on in their areas contribute information that many times we could never get."

To maintain reliability, the lab gathers as much data as possible from as many sources as are available, so that rogue or ill-informed data is diluted.

"There are so many people like myself who’ve spent so much time watching this place and the animals that live in it. People from as close as Marin couldn’t even say the things that we know," says Hopkins, who’s been hired by the trust to consult for a few projects but not granted any regular position or much compensation for his expertise.

"The people I’ve had to deal with through the Presidio Trust and Golden Gate National Parks Conservancy try to do their best, but I always get the feeling there are conflicting interests," he says. "There’s always the budget. There are always aesthetic issues."

When it comes to action, things drag at the federal level much like they do when negotiating with competing interests around the city. "As far as the National Park Service goes, they’ve got to have a study," Clark says. "And the study has to be done by qualified academics. That’s the way the system works."

This past year’s Presidio biological monitor, Chris Perry, describes himself as "not really a birder," even though "99.5 percent of my job was monitoring quail." Perry has a master’s degree, and the bulk of his career has been spent doing a variety of environmental work. "It doesn’t require someone to be a birder to be a good ecologist."

Perry agrees with the locals on one contentious issue: efforts to reintroduce quail into the Presidio are long overdue. Hopkins says he hoped for reintroduction years ago, but politics invaded.

"They hemmed and hawed about it. It costs money," he says. One of the problems with reintroduction, he adds, is that you can’t just "open the cage and let them loose." Quail are social birds, and like any new kid in town, the birds are more likely to succeed if there are some old-timers around who know the local ropes.

That may be a problem for the other primary habitat-restoration area in the city, Harding Park, where no quail have been spotted.

"We’d like to do reintroduction a few years from now," says Murray of Golden Gate Audubon, which for the past three years has been working to establish a habitat there. "If we do it — invest the resources and time — we want it to work."

In the past year the group has decided to ramp up the effort, hiring a part-time volunteer coordinator, Bill Murphy, to oversee the planting of lupine and coffee berry and the weeding out of English ivy and ice plant.

The hope is that "if you build it, they will come," Murphy says of the site. But it doesn’t take an expert to realize that Harding Park is far from being a perfect place for quail. Tall cypresses dominate, and the ground is thick with heavy wood chips and duff, rather than the sand quail prefer.

Brush piles have been another issue, falling into the aesthetics category. Quail experts have long advocated them as an easy way to naturally house species. If done properly, the small mountains of sticks, logs, and branches — resembling something you’d take a match to for a first-class bonfire — can have a screening effect, with openings large enough for a quail to squeeze in and take cover but too small for a pursuing cat or dog.

"At Land’s End I suggested they put up brush piles, which are very beneficial, and they agreed to do it," Hopkins says. "But the landscape architect they hired is complaining because they think these brush piles are unsightly."

In addition to being unsightly, the ones that have been built are too uniform, resembling the neatly laid bare poles of a teepee. According to Clark, they are essentially ineffective.

"The brush piles in the Presidio are like skeletons," he says. "It looks like a brush pile, but it’s not actually serving any purpose. They’re almost analogous to the whole structure of the restoration program."

ISLANDS AMONG ISLANDS


Consider the boundaries of the city: water laps the edges on three sides. San Francisco not only thinks and acts like an island — it practically is one. The parks and natural areas, separated by streets and concrete and scattered throughout one of the most densely populated cities in the country, are oases for humans as they shed the stresses of busy workdays. They’re also habitats for wildlife who began life on this peninsula and have no way to really leave it.

Those interests are sometimes in concert, sometimes in competition.

The Presidio is the largest of the islands, and the fact that the 1,400 acres were once an army base with stringent rules about access, populated by a military with a predictable routine, worked to the advantage of local wildlife for many years.

"There weren’t as many cats, no off-leash dogs, not as much street traffic." Hopkins says. "Army bases across the country are a lot of our best habitats because of benign neglect."

"Military activities are actually easier for many of these species to deal with than an area with wide public access," says John Anderson, a professor of ornithology at College of the Atlantic who specializes in island avian populations. "It serves as a ‘habitat island.’ This is why you have nesting birds at the end of the runways at JFK. As long as you get a jet taking off every 30 seconds, it doesn’t have much impact. On the other hand, if you have a jet making a low pass over a nesting colony once a summer, it is likely to cause a lot of disturbance."

If there’s the equivalent of a jet flying low over the Presidio, it would be the increase of hikers, bikers, park staff, and volunteers regularly traipsing through areas that until recently never saw much action.

And one place that’s stood empty and secluded for years is about to see an enormous influx of people.

The Public Health Service Hospital is slated to become condominiums with 250 to 400 market-rate units. It’s the largest housing development in the park, and the Presidio Trust is relying on at least $1 million in net revenue from the project: it’s a keystone in the overall plan for financial sustainability.

However, the decrepit building is located next to the oldest relic scrub oak habitat in Presidio Hills. "This area has been here since time began," Clark says on a recent tour through that tucked-away corner of the park.

Indeed, the overgrown dunes have an ancient, haunted feel. Listening to the unique song of the white-crowned sparrow, standing among the small scrub oaks and some of the rarest plants in the Presidio, it’s possible to forget the nearby high-rises, highways, and houses and imagine a time when the whole western edge of the city was little more than acres and acres of windswept sand and scrubby brush.

"This is the first place I had interactions with park stewards and saw them doing something that worked," Clark says. "They took down a couple of trees, and people complained, but so much diversity popped up where those trees were. Pines can be great and support a lot of birds, but in an intact, native ecosystem they aren’t very helpful. This area is a relic, and quail are a part of that relic."

It’s clear that this original setting would be perfect for quail and anything else is just a compromise. The soil is loose and sandy, perfect for the dirt baths that clean their feathers. The ground cover is negotiable for their small stature, but there’s good shelter and ample food and water.

We’re just down the hill from Quail Commons, where the last six Presidio quail live, but there’s a lot of unfriendly activity between here and there — a road, a fence, a parking lot, and a dump where construction debris is regularly tossed.

"These two areas would be so much more valuable if they were connected," Clark says.

Through the trees that line the hills, it’s possible to see the back of the old abandoned hospital. It remains to be seen if more quail will be able to live here among more people and all the things that come with them — dogs and cats, trash and cars. Will the new inhabitants take quail education to heart?

As if they’re harbingers of what’s to come, two joggers with a baby stroller and a dog cruise by. As the dog leaps through the scrub, the couple pass by without a glance at the Quail Habitat sign. *

Barbara and Angela socked it to ’em! Keep it up!

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By Bruce B. Brugmann

Last Thursday, Jan.llth, when Sen. Barbara Boxer confronted Secretary of State Condoleezza Rice over the casualties in the Iraq War, the San Francisco Chronicle reported four more soldiers died in the civil war.

On Friday, when the right wing commentators yelled “slime” at Barbara and tried to change the subject by updating the swiftboat routine, the Chronicle reported “At least l9 people were reported killed or dead nationwide Friday, including l0 bullet-riddled bodies found in Baghdad and an Iraqi journalist who was killed in a drive-by shooting in the northern city of Mosul. KhudrYounis al-Obaidi was the second journalist killed this year.”

Meanwhile, even the Chronicle helped change the subject by playing the Boxer/Rice story big on on its Friday Jan. l3th front page. Carla Marinucci lead posed a naive and irrelevant question: Was Boxer’s “heated confrontation” with Rice “a case of ‘vicious feminine politics–as some critics have suggested–or merely the politics of frank talk in tough times?”

Marinucci wrote that Boxer, during her questioning of Rice, said she wanted to focus attention on the human consequences of the decision.

“Who pays the price? I’m not going to pay a personal price. My kids are too old, and my grandchild is too young” to serve, Boxer told Rice. “You’re not going to pay a price, as I understand it, within immediate family. So who pays the price? The American military and their families.”

Boxer’s statement was right on target, as were those of many other senators (Democrat and
Republican) who attacked the war and Bush when she appeared before the Senate Foreign Relations Committee.
But the swiftboaters were out in gale force, not to discuss the Bush casualties or the issues of a war gone to hell, but to try to change the subject and attack Boxer, whose major sin it appears is that she happens to have been right about the war almost from the beginning. The New York Post/Murdoch called her comments “a low blow.” Tony Snow, the White House spokesman and former Fox News/Murdoch personality, said the comments were “outrageous” and said that Boxer had made “a great leap backward for feminism.” Fox News/Murdoch commentator Karen Hanretty whacked Boxer for talking about Rice’s “breeding history.”
Fox/Murdoch ran screaming heads all day Friday saying “Will Boxer Apologize?” and “Boxer slimes Rice.”
And Bill O”Reilly, the FoxNews/Murdoch star of slither and slime, took up the issue Friday night with Angela Alioto.

Boxer, to her immense credit, refused to apologize in the Marinucci story. “This is just typical of what they do…
the Bush administration always goes after me, and anyone who has been against the war from the start,” she said. “It’s ‘kill the messenger.'” Boxer said she will continue to be tough on the issue of the war because the “focus (on casualties) is crucial.”

Alioto, to her immense credit, stood up to Reilly on his Fox program, ably defended Boxer, got in some nice punches and kept making the casualties point by saying that “we fight wars with other people’s children” and “if everybody in Congress had a child in Iraq, we wouldn’t be in Iraq.”

The back and forth was delicious: O’Reilly: She (Boxer) denigrated Secretary Rice because Secretary Rice…

Alioto: That is not true.

O’Reilly: …doesn’t have any children.

Alioto: She would have said the same thing to a man. She would have said the same thing to a man. (See the full transcript below.)

Good for Barbara. Good for Angela. Keep it up. Keep the pressure on.

Meanwhile the Ballis report came in this morning with this count:

+U.S. Military killed in action in Iraq today (l/l5/O7): 2

+Current Total: 3,029

+Wounded total to (l/l0/07): 22,834

Wounded (l2/28 to l/l0/07): 120

See the Guardian editorial “Cut off the war money” in our current issue and on our website. We will regularly publish a snapshot of the statistics of military, civilian, and journalist casualties that tell this tragedy that grows grimmer by the day. B3

Boxer comments to Rice draw fire from the right – Senator says she won’t apologize for ‘strong message’

Friday Night Fights: Bill O’Reilly Takes on Liberal Extremists Over Boxer’s Statements | NewsBusters.org

Politics blog

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@@http://www.sfbg.com/blogs/politics/@@

Mayor Chicken

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› news@sfbg.com

The format is always the same: Mayor Gavin Newsom shows up at a carefully scouted location somewhere in the city with his perfect tie and perfect hair. He brings a cadre of department heads in tow, sending the clear message that he can deliver government services to the public. He takes a few questions from the audience, but the format allows him to deflect anything tough, to delegate any problems to department heads, and to offer a thoughtful “we’ll look into that” when the need arises.

There is no substantive discussion of anything controversial — and no chance for anyone to see the mayor debate contentious issues.

This, of course, is by design.

Newsom has made it very clear during his first term as mayor that he can’t take the heat. He is the imperious press release mayor, smiling for the cameras, quick with his sound bites, and utterly unwilling to engage in any public discussion whose outcome isn’t established in advance.

He has become Mayor Chicken.

So don’t expect any leadership from Newsom during an upcoming series of what the Mayor’s Office is calling “policy town hall meetings” that have been hastily scheduled this year, beginning Jan. 13 in the Richmond District with a discussion of homelessness. The town hall meeting is just politics as usual for Newsom. Since taking office in 2004, he’s held eight of these stage-managed events.

“He does a good Phil Donahue shtick,” says Sup. Chris Daly, recalling one such town hall meeting Newsom held in Daly’s District 6 after he was elected mayor. “Scripted town hall meetings are smart politics for Newsom.”

Scripted events weren’t what Daly had in mind when he wrote Proposition I, which calls on the mayor to appear before the supervisors once a month to answer questions. And these campaign-style events certainly weren’t what voters had in mind Nov. 7, 2006, when 56.42 percent of them approved the Daly legislation, which asks the mayor in no uncertain terms to appear “in person at regularly scheduled meetings of the Board of Supervisors to engage in formal policy discussions with members of the Board.”

Examiner columnist Ken Garcia — a conservative hack who regularly sucks up to Newsom — recently dismissed the voter-approved measure as “a silly, obvious stunt to play rhetorical games with the mayor,” which is how the Newsom camp would like to spin things. But Daly recalls how when he first mentioned the idea of a mayoral question time — back when Willie Brown was still in Room 200 — he was sitting next to then-supervisor Newsom, “who thought it was a great idea.”

It’s hardly an unprecedented concept. Ken Livingstone, the mayor of London, meets with his city’s assembly 10 times a year and presents a detailed report on initiatives and progress. But now Newsom is mayor, suddenly Daly’s idea doesn’t strike him as all that great any more.

While it’s easy to accuse Daly of playing political games, it’s not so easy for Newsom — who loves to talk about the “will of the voters” — to dodge Prop. I. Newsom’s decision to snub voters and avoid real debate was so obvious that he got beat up on both the Chronicle and Examiner editorial pages, on several prominent local blogs, and in television broadcasts. Perhaps that’s why he decided this week to show up and give a speech at the Board of Supervisors inauguration Jan. 8, the first time in years he’s set foot in those chambers. He’s trying to look like he’s complying with voters’ wishes when he’s really doing nothing of the sort.

 

THE “KUMBAYA MOMENT”

It didn’t have to be this way. As board chair Aaron Peskin’s legislative aide David Noyola told the Guardian, immediately after Prop. I passed, Peskin tried to “depoliticize the issue” by becoming the sponsor of a motion to amend board rules.

Peskin’s motion aimed to make space on the board’s agenda for the mayor every third Tuesday so he could address the supervisors on policy matters — a matter he planned to discuss at the Dec. 7 meeting of the Rules Committee.

But two days earlier the mayor took his first jab at ducking the intent of Prop. I. He sent the supervisors a letter in which he claimed that to truly serve the public interest “we should hold these conversations in the community.”

Next, Newsom sent staffers to the Rules Committee hearing, where members discussed how not to force the implementation of Prop. I down the mayor’s throat — and the mayor’s staff claimed they’d be happy to work with the committee to that end.

As a result of this “kumbaya moment,” as Noyola calls it, the Rules Committee decided to continue the item to the following week to have more productive conversation. Meanwhile and unbeknownst to them, 19 minutes into the hearing, the Mayor’s Office of Communications issued a press release outlining Newsom’s intent to hold a town hall meeting in the Richmond District on Jan. 13 — which the mayor said would substitute for complying with Prop. I.

“The Rules Committee was blindsided by the mayor’s press release,” Noyola says.

The mayor, of course, said that all the supervisors were welcome to attend his town hall event and participate in the discussion, giving the appearance he was happy to debate but wanted to do so out in the neighborhoods. But that was a lie: Newsom and his staff knew very well that under state law, the supervisors were barred from participating in any such event.

According to the Brown Act, if a quorum of supervisors wants to be somewhere to discuss business that may be before the board in the future — such as homelessness — and if it wants policy interactions, the clerk must give notice that the supervisors intend to hold a special meeting.

The board actually discussed Newsom’s invitation, and board clerk Gloria Young estimated it would cost $10,000 to $15,000 to staff. It also raised serious procedural and legal questions for the board.

In other words, Newsom knew the supes couldn’t just show up and ask questions.

“But if the mayor wants people to just sit and attend a presentation in the background, like at a speech or a Christmas event, then special meeting notice isn’t needed,” notes Noyola, explaining why Peskin ultimately dismissed the mayor’s invite as “childish” — and why Peskin now says he’d support making question time a charter amendment, thereby forcing the mayor to comply with the will of the voters.

 

WHO’S PLAYING GAMES?

While the Newsom camp continues to dismiss the Daly-authored Prop. I as “political theater,” the supervisor is quick to counter it’s the Mayor’s Office that’s playing games.

“They claim political theater, but if that’s what it takes to get serious policy discussions going, then so be it,” says Daly, noting he has had one private discussion with the mayor in two years, while Sup. Geraldo Sandoval has not talked to him at all. “Newsom claims he has an open door to his office, but so do I — and he’s never been to mine. For the mayor to refuse to discuss important policy items and hide behind ‘I’m afraid of Chris Daly’ is pathetic. Willie Brown probably would have come.”

Daly also observes that San Francisco’s government is structurally unique within California because it represents a city and a county.

“It’s an awkward setup in which there is little formal communication between the board and the mayor,” Daly says, “other than when the board forwards legislation to the mayor for him to approve or veto.”

It’s a structural weakness that hasn’t been helped by the fact that in the three years since he was elected, Newsom only appeared before the board twice — this week and for the board inauguration two years ago — both times giving a brief speech but not engaging in dialogue. It’s an anomaly without precedent in the history of San Francisco. (It’s customary for mayors to deliver their State of the City speeches in the board chambers, but Newsom has done all his at venues outside City Hall.) Most mayors also make a point of occasionally appearing at board meetings (Willie Brown would sometimes even take questions from the supervisors).

On Jan. 8, Newsom slipped in at the last minute and sat next to Peskin until it was his turn to make some brief remarks, an opportunity that immediately followed public comment, during which a baseball-capped woman pleaded with the supervisors to “please kiss and make up with mayor.”

After Peskin welcomed “the 42nd mayor, Gavin Christopher Newsom, to these chambers where you are always welcome,” Newsom rose — and was hissed by a few members of the audience.

“This is a city that’s highly critical of its leadership and that expects greatness from its leaders,” the mayor said. “I have great expectations of 2007…. The key is to work together on the things that unite us…. I look forward to engaging with each and every one of you.”

 

WORKING TOGETHER

This isn’t just politics — there are serious issues involved. Without the monthly question time the Board of Supervisors requested and the voters approved, it’s hard for the city’s elected district representatives to figure out if this mayor actually supports or even understands the issues he claims to champion.

Last year, for example, Newsom was happy to take credit in the national press for the universal health care package that actually came from Sup. Tom Ammiano. But when Ammiano got blasted by business leaders, Newsom didn’t rush to defend the plan; it was hard to tell if he even still supported it.

Business leaders didn’t like that the proposal required employers to provide health care insurance. But Newsom’s own staff recognized that without that mandate, the plan would never work. Did the mayor support it or not?

The situation prompted Sup. Ross Mirkarimi to characterize the mayor’s proposal as “a one-winged aircraft that doesn’t fly,” and it was left to Newsom’s public health director, Dr. Mitch Katz, to confirm that both the voluntary and mandatory pieces of the legislation are joined at the hip. “One can’t successfully move forward without the other,” Katz said at a July 11 board meeting, which Newsom, of course, did not attend.

Since then, the mayor’s commitment to the amalgamated health care package has been thrown into question once again, this time thanks to a lawsuit the Golden Gate Restaurant Association filed only against the employer mandate aspect of the legislation.

The GGRA, which filed its suit the day after the election, is a Newsom ally that funneled more than a half million dollars in soft money into Rob Black’s unsuccessful campaign against District 6’s Daly and into Doug Chan’s coffers for his disastrous fourth-place showing in District 4.

Asked if he knows where the mayor stands on the city’s universal health care plan, Ammiano told the Guardian, “We’ll be meeting with Newsom in the new year and asking for a press conference in which we both pledge to give our continued support for all aspects of plan, but that’s not yet been nailed down.”

Ammiano’s experience is one example of repeated communication breakdowns between Newsom and the board, which have severely hindered policy discussions and the cause of “good government” to which Newsom so frequently pledges his fealty. As a result, Newsom has often ended up vetoing legislation only to reveal in his veto letter that all the legislation needed was a few minor tweaks — changes he might have just asked for had he been more engaged.

Consider how a year ago, Newsom vetoed legislation designed to limit how much parking could be included along with the 10,000 units of housing that were to be built in downtown San Francisco. The legislation was proposed by Newsom’s planning director, Dean Macris, and supported by every member of the Planning Commission but one.

When Newsom caught heat from downtown developers over the measure (see “Joining the Battle,” 2/8/06), he sent surrogates to muddy the waters and make his position unclear until after it was approved by the board. Newsom vetoed the measure, then proposed a couple prodeveloper amendments that hadn’t been brought to the board discussions.

“I’m trying to get the political leaders to come to an agreement because the city needs this,” a frustrated Macris told the Guardian at the time.

A few months later the board was similarly blindsided when it tried to approve legislation that would have created a six-month trial closure on Saturdays of some roads in Golden Gate Park. Newsom’s board liaison, Wade Crowfoot, worked closely with bicycle advocates and sponsor Sup. Jake McGoldrick to modify the legislation into something the mayor might be able to support.

Everyone involved thought they had a deal. Then, for reasons that still aren’t entirely clear, Newsom vetoed the measure. One of the reasons he cited was the fact that voters had rejected Saturday closure back in the 1990s, before the construction of an underground parking garage that still never fills up.

“For what it’s worth, what really sells it for me on this issue of the will of the voters was the shit I went through after Care Not Cash, when the voters supported it and [my critics] did everything to put up roadblocks. And I was making a lot of these same arguments, you know, so this hits close to home,” Newsom told the Guardian a few days after he vetoed Healthy Saturdays.

His words seem ironic: he loves the will of the voters when it suits his interest but not when it requires him to act like a real mayor.

This isn’t the first time Newsom’s been selective in honoring what the voters want: he also refused to hold up the Candlestick Park naming deal with Monster Cable, even though voters rejected it through Proposition H in 2004.

Last October, Newsom’s veto of Mirkarimi’s wildly popular foot patrol legislation led to a humiliating 9–2 override in November, but not before he’d dragged San Francisco Police Department chief Heather Fong with him through the political mud and created an unpleasant rift between himself and his formerly loyal ally Sup. Bevan Dufty.

Newsom has tried to spin his refusal to engage in question time as something other than defiance of voters by proposing the upcoming series of town hall meetings.

“Bringing these conversations to the neighborhoods — during nonwork hours — will allow residents to participate and will ensure transparent dialogue, while avoiding the politicized, counterproductive arguing that too often takes place in the confines of City Hall,” Newsom wrote in his Dec. 5 letter.

But even the Chronicle and the Examiner — neither of which have been supportive of progressives in City Hall — have condemned Newsom for ducking this fight. On Dec. 18, Chronicle editorial writer Marshall Kirduff opined, “There is no end of topics to discuss — a Muni overhaul, a new neighborhood coming to Treasure Island, police policies, the ever-with-us homeless. The city could do with more debate even at considerable risk of dopey rhetoric. That means the mayor should step out of his office, walk across City Hall and face the supervisors. It’s time to bring on the questions.”

Meanwhile, Daly notes the mayor has been spending excessive time out of state, not to mention making frequent trips to Southern California. “I think we should subpoena the guy; he doesn’t know what’s going on,” Daly quips.

A classic example of Newsom’s cluelessness about the local political scene occurred live on TV shortly after 59 percent of San Francisco voted to impeach President George W. Bush and Vice President Dick Cheney. Asked during a Nov. 16 City Desk News Hour interview with Barbara Taylor about Proposition J’s passage, Newsom said, “I am told Congress is going to come to a halt next week, and they’re going to reflect on this new San Francisco value. Before you impeach the president, you should consider the guy who would become president. Why don’t you start with the top two?”

Yup, it’s definitely time to bring on those questions. *

Newsom’s first town hall meeting takes place Jan. 13 at 10 a.m. in District 1, Richmond Recreation Center, at 251 18th Ave., SF.

 

Calling all media nerds

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@@http://www.sfbg.com/blogs/politics/@@

Emily Postfeminist

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› andrea@altsexcolumn.com

Dear Andrea:

Recently, my boyfriend and I were at a strip club and bought a lap dance. My experience has been that, as a girl, the hands-off rule generally doesn’t apply to me. However, out of respect for the girl, I don’t touch until she invites me to. This one invited me to touch her. Caught up in the moment, my boyfriend asked, "Can she touch your pussy?" I was a bit shocked because I assumed that was off-limits, but she said, "She can, but you can’t." So I started touching her on the outside of her G-string. I got a little braver and went under her G-string but still stayed outside. She moved a certain way during her dance, and my thumb kind of slipped right in. A few seconds later, she stopped it. She was nice and hugged me and told us to come back anytime. Did I go too far? I feel guilty that I may have made her feel like a hooker. Or is it really no big deal? I’m embarrassed to go back, and I’ve asked my boyfriend to not make that request in the future. How often does this sort of thing happen to a dancer?

Love,

Thumbelina

Dear Thumb:

Just what we needed, a new set of ethical dilemmas and moral failings to keep us awake and tossing on those long dark nights of the soul that tend to hit around this time of year. I really don’t think this is the sort of thing that used to bother people before half the female grad students in the country started stripping and writing books and doing performance art (oh, so much performance art) about it. For that matter, I don’t think other girls used to feel either as permitted or as obligated to go grope those girls for money at their places of work. I’m not entirely sure that what we’re seeing here is really an accurate demonstration of human sexual behavior in the wild — there are too many layers of politics and performance in there to tell what’s really happening — but I’m confident we’re at least seeing some genuinely new situations and their accompanying etiquette issues in play.

I’ve known any number of posteverything strippers, hookers, and dominatrices, but one in particular comes to mind. She’d been working at a womyn-owned crunchy organic peep show, but — surprise! — she could barely make her rent, so like so many before her, she’d given up her ideals and gone where the money is. Hired on at the grimy mainstream porn theater and Olde Lappe Dance Emporium, she was coming home with her pockets and God knows what else stuffed with 50s every night but complained to me that some guy came while she was wiggling around on him and ew, ew, gross, yuck, how dare he? I commiserated at the time because I’m a wimp like that, but honestly, isn’t this an occupational hazard? If you’re going to be a sex worker, you deserve to be treated with respect and decency, of course, and what you say goes as far as who’s allowed to touch where with what and so forth, but come on. Into each stripper’s life a little semen must fall. If that’s absolutely not going to work for you, dance behind glass (for lower tips) or, hey, get your Realtor’s license or something.

Most of the female sex workers I’ve known have been at least passingly bisexual, but even those who really aren’t seem quite genuinely enthusiastic about female customers, both prospective and actual. There are elements of novelty to the appeal, I’m sure, just as there are elements of safety and sisterly enthusiasm. What there ought not to be, and what you ought not to worry about, is an expectation that female customers aren’t really customers at all, that is to say, are not paying the sex worker for sex. While many women who go to strip clubs or book time with a dominatrix may be doing it to please a (male) partner or as a learning experience or a lark or just to make a statement of some sort, it would be pretty silly for a sex worker to be surprised when a customer, male or female, appears to be interested in having some sort of sex with her.

Your dancer granted you access. Maybe she liked you (or likes girls in general) or maybe she was milking you for tips, but whatever, she said yes. She has a sense of how sturdy or flimsy a barrier her G-string presents to curious fingers and was probably not surprised when you got where you got. Most tellingly, she invited you back whenever, which she was certainly under no obligation to do. I think it would be fine to go back there and fine to whisper "Sorry I got fresh last time" and fine not to. It would also be fine for her, in turn, to refuse you service, but I bet she doesn’t.

Love,

Andrea

Andrea Nemerson has spent the last 14 years as a sex educator and an instructor of sex educators. In her previous life she was a prop designer. And she just gave birth to twins, so she’s one bad mother of a sex adviser. Visit www.altsexcolumn.com to view her previous columns.

The Off-Guard Awards

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› tredmond@sfbg.com

It was a bad year for Jesus. His most fanatical followers just couldn’t seem to keep their dicks out of trouble: a minister who was part of the religious right power circle — someone who routinely condemned gay marriage, gay sex, and homosexuality in general — was caught getting erotic massages from a gay hooker. A Republican congressional representative who was a loyal member of the bigoted majority had to resign after sending sexually explicit e-mails to page boys.

The Vatican announced that same-sex couples are no longer acceptable as adoptive parents and said that condoms are only OK (maybe) if used by married men with HIV but only to prevent disease (not to prevent conception).

And Ann Coulter said Bill Clinton was gay, and Rush Limbaugh got nabbed with illegal Viagra … and all I can say is, it was a banner year for the Offies.

WHAT DO YOU EXPECT? THEIR CANDIDATE WAS REAL ATTRACTIVE TOO.

Supporters of District 6 supervisorial candidate Rob Black tried to attack incumbent Chris Daly with campaign fliers featuring pee and poop.

THE GUYS WITH GUNS SHOULD HAVE DRESSED LIKE POLITICAL PROTESTERS; THE COPS WOULD HAVE BEEN ON THEM IN SECONDS.

More than 500 cops were on hand in the Castro on Halloween night, but nine people still got shot.

THE SANTA CLARA 49ERS. THAT HAS AN AUTHENTIC HISTORICAL RING.

San Francisco lost its Olympic bid when the 49ers without warning announced they would abandon plans for a stadium at Candlestick Point and move to Santa Clara.

TOO BAD THE MAYOR CUT WELFARE PAYMENTS; POOR ANNEMARIE MAY BE OUT ON THE STREETS AT ANY MOMENT.

Mayor Gavin Newsom blasted the SF supervisors for eliminating a $185,000-a-year job for former supervisor Annemarie Conroy, saying they were attacking her "livelihood."

THAT WORKED OUT WELL, DIDN’T IT?

Newsom said he would "run roughshod" over the San Francisco Police Department to find a way to identify problem officers.

HEY, THEY’RE ALL STONED UP THERE ANYWAY. NOBODY WILL NOTICE.

Newsom’s staff sent off 13 homeless people with one-way bus tickets to Humboldt County.

AND ALL ALONG HE’S DENIED HE’S SUPPOSED TO BE A GROWN-UP.

Newsom dated scientology fan Sofia Milos but denied he was a supporter of L. Ron Hubbard’s bizarre cult. Then he dated 19-year-old Brittanie Mountz but denied that he ever let her drink alcohol.

AND SUCH AN INTELLIGENT PEDOPHILE TOO.

Republican Mark Foley was forced to resign from Congress after he was confronted with sexually explicit e-mails he sent to underage male pages. "He didn’t want to talk about politics," one former page said. "He wanted to talk about sex or my penis."

HMMM … QUEER OR A DRUGGIE? QUEER OR A DRUGGIE? QUEER OR A DRUGGIE? GUESS I BETTER GO WITH THE DRUGS.

Rev. Ted Haggard, one of the nation’s leading Christian right evangelicals, was forced to step down from his ministry after evidence emerged that he had hired a gay hooker for regular trysts during which he snorted speed. Faced with the allegations, he denied the gay sex but copped to the meth.

THOSE CELL PHONE CONVERSATIONS BACK IN 1860 MUST HAVE BEEN PRETTY JUICY.

Attorney General Alberto Gonzalez defended the Bush administration’s secret electronic eavesdropping on private citizens by saying that Abraham Lincoln and Franklin Roosevelt did the same thing.

AND IF YOU DON’T HAVE $10 FOR THE CAB, JUST WALK — WHAT ARE YOU WORRIED ABOUT?

Senator Joe Lieberman said he thinks it’s fine for Catholic hospitals in his home state to refuse to give contraceptives to rape victims because in Connecticut it’s only a short taxi ride to another hospital.

IT’S GOOD TO KNOW HE’S ONLY A HEARTBEAT AWAY FROM HAVING HIS HANDS ON THE NUCLEAR TRIGGER.

Dick Cheney accidentally shot a campaign contributor while hunting quail.

BUT WHAT ABOUT HIS TERM AS VICE PRESIDENT OF DRUNKEN QUAIL-HUNTING SHOTGUN BLASTS? WE’RE THINKING THAT MIGHT STILL BE RUNNING.

Cheney told reporters that his term as "vice president for torture" was over.

THE DEVIL, OF COURSE, IS IN THE DETAILS.

A Vatican commission has recommended that Catholics be allowed to use condoms — but only married Catholics and only if the man is HIV-positive and his wife is not and only if the intent is to avoid the spread of AIDS, not to prevent conception.

ALLOWING PEDOPHILIC PRIESTS TO WATCH OVER THEM IS JUST FINE HOWEVER.

The Vatican announced that it would no longer approve of gay families adopting kids.

WE SAW WAY TOO MUCH. NOW WE KNOW WAY TOO MUCH.

After Britney Spears flashed her crotch for photographers while partying with Paris Hilton, she posted a poem on her Web site apparently aimed at her ex-husband, which concludes:

"You trick me twice, now it’s three / Look who’s smiling now / Damn, it’s good to be me!"

REPUBLICAN FAMILY VALUES: $165,200 A YEAR. THREE-DAY WORKWEEKS. CUT WELFARE BENEFITS. THEN WHINE.

When Democrats in Congress suggested that the House actually schedule work five days a week, Rep. Jack Kingston (R-Georgia) complained, "Keeping us up here eats away at families. Marriages suffer. The Democrats could care less about families — that’s what this says."

HE, ON THE OTHER HAND, WILL LOOK LIKE A @#$&!!!

Bush told CNN that same day: the war in Iraq will look like "just a comma."

WOW — THAT’S TWO CONFIRMED INCIDENTS OF ACTUAL READING. MAYBE THIS ONE WILL TURN OUT BETTER THAN MY PET GOAT.

Bush told reporters the Iraq Study Group report was so important that "I read it."

AND IF WE CAN’T EXECUTE EVERYONE WHO TRIES TO TELL THE TRUTH, THEN THE TERRORISTS WILL HAVE WON.

Attorney General Gonzalez told Sean Hannity that Bush is committed to bringing "the masterminds of the 9/11 Commission" to justice.

WE UNDERSTAND — THE REST OF THE COUNTRY HAS BEEN HAVING A LITTLE TROUBLE WITH THAT TOO.

Bush told Katie Couric that "one of the hardest parts of my job is to connect Iraq to the war on terror."

RELAX, LINDSAY — CHENEY SAYS HE’S GIVEN UP ON TORTURE.

Lindsay Lohan said she didn’t want anyone to know she was in favor of voting because "it’s safer that way."

SHE, ON THE OTHER HAND, MUST BE INTO ANAL — RAMPANT, UPTIGHT RIGHT-WING CHATTER DOES SHOW SOME LEVEL OF HAVING A STICK UP YOUR ASS.

Ann Coulter announced Bill Clinton was probably gay, since "that sort of rampant promiscuity does show some level of latent homosexuality."

COME ON, COULD THE LEADER OF THE FREE WORLD REALLY BE A DUMB FRAT BOY WHO NEVER GREW UP? NAH …

Bush addressed the prime minister of the United Kingdom as "yo, Blair."

ANOTHER DIFFERENCE BETWEEN DEMOCRATS AND REPUBLICANS — BILL CLINTON KEPT THIS SORT OF STUFF SAFELY IN THE OVAL OFFICE.

At a G8 summit meeting Bush inexplicably began to grope the chancellor of Germany, Angela Merkel.

POOR GUY — IF WE HAD PALS LIKE ANN COULTER, OUR DICKS WOULD BE LIMP TOO.

Rush Limbaugh was arrested at the Palm Beach airport when a search of his luggage revealed a jar of Viagra pills with someone else’s name on them. Limbaugh said he had them prescribed under his doctor’s name to avoid embarrassment.

THEY DODGE THE DRAFT, START IMMORAL WARS, AND GROPE FOREIGN DIGNITARIES. GLAD TO KNOW THEY FART A LOT TOO.

Former Republican senator and Iraq Study Group member Alan Simpson indirectly criticized the Bush administration’s refusal to compromise on anything: "A 100-percenter is a person you don’t want to be around. They have gas, ulcers, heartburn, and BO."

THE PASSION OF THE SHIT-FACED BIGOT

Mel Gibson was arrested on suspicion of drunken driving and told a Los Angeles County deputy sheriff that "the Jews are responsible for all the wars in the world." He later asked a female deputy, "What are you looking at, sugar tits?"

PROVING ONCE AGAIN THAT THE US SENATE HAS PLENTY OF ROOM FOR PEOPLE WHO ARE BOTH RACIST AND STUPID.

Virginia senator George Allen referred to a Virginia native of Indian descent as a "macaca."

OF COURSE, BACK WHERE HE COMES FROM, IT’S SO MUCH EASIER TO FIGURE OUT WHOM TO HATE.

Senator Trent Lott of Mississippi told reporters that it’s hard for Americans to understand "what’s wrong" with Iraqis: "Why do they hate the Israelis and despise their right to exist? Why do they hate each other? Why do Sunnis kill Shiites? How do they tell the difference?"

NOW IF YOU COULD JUST GET YOUR FUCKING FOOT OUT OF YOUR MOUTH.

Comedian Michael Richards, who played Kramer in Seinfeld, denounced a heckler at an LA comedy club by calling him a "nigger" and saying that "50 years ago, we’d have had you upside down with a fucking fork up your ass."

PERFECT — NOW HE’S READY TO RUN FOR THE US SENATE.

California governor Arnold Schwarzenegger proclaimed that Cubans and Puerto Ricans were "very hot" because of their mixed "black blood" and "Latino blood." *

A new “golden age?”

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By Tim Redmond

The bloggers are having a bit of fun with The Chronicle’s front-page New Year’s Eve assertion that San Francisco’s Golden Age is here again. I have to agree with Beyond Chron — the story was an embarassment that quoted only conservative, wealthy San Franciscans and ignored much of the city.

Yeah, reporter Carl Nolte, who is a good guy (and my neighbor in Bernal Heights) made the point that there have always been problems in San Francisco, including today. But his overall theme — that all this new development and soaring housing costs are somehow good for the city — is a crock.

I’m always the optimist, and I think that 2006 was a great year for local politics. But a “Golden Age?” No: what’s happening in the local economy is that San Francisco is becoming a bedroom community for Silicon Valley. We are building housing for people who don’t live here, and destroying jobs for people who do.

I’ve argued in the past that in a boom-band-bust city, the busts are often better than the booms. That’s because the single greatest quality-of-life issue for most people (the non-rich) in San Francisco is the cost of housing. This boom is only golden for a very few.

New Year’s Eve ill

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› kimberly@sfbg.com

SONIC REDUCER You gotta love the Bay Area, which so often sweeps in the new year with the wet, wild kiss of stormy weather. Blecch — too much tongue. Still, I succumb to the call of fun: I can’t count how many times I’ve vaulted over gushing gutters, minced down streets that have morphed into streams, danced between the raindrops, hopped between soggy cardboard sheets in backyards that have turned into miasmas of mud, and jabbed firework gawkers with the bad end of an umbrella. Outta-hand winter waterworks seem somewhat fitting for our kooky, multitentacled, many-flavored assortment of New Year’s Eve entertainment offerings. So here’s a selected guide to live sounds for all persuasions, preferences, sizes, and sicknesses (we’re not even going to go into the sans pants warehouse show) — let’s see what’s out there on the blessed night all those in the so-called biz dub "amateur night," the evening when most everyone feels compelled to get out and brave the puddles pooling around their doorsteps.

ROCKING LIKE A HURRICANE


Don’t bother knockin’, because the yacht-rockin’ good times are sure to be had when Portland, Ore., one-man party machine Yacht meets Oakland one-man party machine Hawnay Troof at 21 Grand; Blevin Blectum, High Places, and Bronze tan it up too. Kid606 will be swinging from there to Rx Gallery, where he performs with French beat blurters DAT Politics, delay-pedal ditherers Lemonade, and Kontrol with Dirtybird. It’s not plus tard, ‘tards! After catching the LA band eves ago at the Make-Out Room and dancing our Khmers off, we’ve got a Dengue Fever for the flava of Cambodian garage rock — this year it’s at Rickshaw Stop (www.rickshawstop.com). The Lovemakers get busy with Honeycut at Great American Music Hall. At the Fillmore (www.ticketmaster.com), My Morning Jacket stoke the flames of Southern rock. Breakout ska punk critters the Aggrolites open for Hepcat at Slim’s (www.slims-sf.com). Harold Ray Live in Concert do unspeakable — and delightful — things to an organ at Annie’s Social Club (www.anniessocialclub.com). Balazo Gallery (www.balazogallery.com) finds Goldie faves Trainwreck Riders living it up with La Plebe. Birdmonster scare up the good times along with art-punk Boyskout at Bottom of the Hill (www.bottomofthehill.com). Crane your necks at the Stork Club (www.storkcluboakland.com) as bits of the Bobby Teens and Gravy Train!!!! come together and costume-ize for the customized Dinky Bits and the Lil Guys. Rube Waddell revamp their "Live at Leeds" — or shall we say "Sexy at Sketchers" — show at a wanton belly dancing, cabaret, and brass happening going down at Amnesia (www.amnesiathebar.com). And for those with hair that needs a band, there are LA Guns (playing with the curiosity-piquing Infamous Choke Chain) at Roosters Roadhouse, Alameda (groups.msn.com/roostersroadhouse). And why Y and T at Avalon, Santa Clara (www.nightclubavalon.com)? Y not?

TICK-TOCK, HIP-HOP


Zion I, Lyrics Born, and Crown City Rockers put together the rap show to beat at the Independent (www.theindependentsf.com), striking trepidation in the hearts of bouncers with no-holds-barred rhymes and an all-night open bar (line up the Henny, honey). But don’t count the Coup out: so soon after the group’s recent bus crash, in which they lost all their belongings and several members and tourmates were injured, the Bay Area band gets back onstage alongside Les Claypool and the New Orleans Social Club at Claypool’s New Year’s Eve Hatter’s Ball at Grace Pavilion, Sonoma County Fairgrounds, Santa Rosa (www.harmonyfestival.com/nye/nye.html). Also, booty, bass, and all the b’s will be bumpin’ back when Spank Rock boomerangs to 280 Seventh Street (upcoming.org/event/134159).

GROOVES AND ALL JAZZ HANDS ON DECK


Piano legend McCoy Tyner is the monster headliner at Yoshi’s (www.yoshis.com). Washing up on Anna’s Jazz Island, Berkeley (www.annasjazzisland.com), Yoruban priestess and Afro-Cuban soul stirrer Bobi Cespedes and her trio work their magic. Soul and funk trumpeter Oscar Myers blows out 2006 with Steppin’ at the Boom Boom Room (www.boomboomblues.com). Bimbo’s 365 Club (www.bimbos365club.com) wink-winks, nudge-nudges with the New Morty Show and Steve Lucky and the Rhumba Bums. Vocalist Kim McNalley urges you to party like it’s 1929 at her Jazz at Pearl’s (www.jazzatpearls.com); Jesus Diaz and his Bay Area Cuban All Stars light a fire under La Peña Cultural Center (www.lapena.org). And OK, everyone dug Eddie Murphy more in Dreamgirls — don’t x out Jamie Foxx; he attempts to fill Oracle Arena, Oakland, accompanied by Fantasia Barrino (www.ticketmaster.com).

A YEN FOR YUCKS


Our favorite unfunny funnyman, Neil Hamburger (and former SF storage container dweller, or so he says), throws pop culture on the grill, sweats profusely, and jubilantly rolls around in a trough of bad taste for two shows at the Hemlock Tavern (www.hemlocktavern.com); astrology nut Harvey Sid Fisher ushers in the ‘Burger meister. Patton Oswalt blew that whiny David Cross off the stage when he opened for him at Cobb’s way back when — now the prince of King of Queens headlines two rounds on New Year’s Eve (www.cobbscomedyclub.com).

Just remember, ya can’t stop the rain. Don’t fear the reaper. Stay metal, and be sure to strap yourself in for 2007 — because judging from the way we roll, it could be a bumpy ride. *

Cinema 2006

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CRAIG BALDWIN’S PRIZED CINEMATIC PEANUTS

Ever wonder why there’s an Automotive section in the newspaper every week … and perhaps consider that the Film section might also be driven by the same industry forces?

And so commercial cinema, dinosaurlike as it is, does continue to lumber along. ‘Tis built on the model of the automobile industry, and hey neighbor, why don’t you get yourself a moped (or an electric bike)?

For me, what’s most interesting in the motion picture arts and sciences is the move to molecularize — smaller, more intimate, even itinerant salons, installations, and interventions, bolstered not by (master-)narrative architectures of the cinema experience but by the satisfaction that the truly curious take in its dismantling, to analyze its history and process, and hell yeah, to repurpose its tropes for the contemporary moment.

Against this year’s model, this molecular filmwork acknowledges rather than erases what is resonant in film history, remediating the genre motifs as Menippean satire and inspired human-scale critical agency.

Speaking of scale, it was the six-inch-small twin girls named the Peanuts who paradoxically topped my list of ’06 epiphanies. While we were ensconced in the veritable bowels of the Artists’ Television Access basement for its life-saving fundraiser, David Cox’s nuanced, obsessively detailed three-hour deconstruction of kaiju — the Japanese rubber-monster idiom — demonstrated oh-so-marvelously how personal (and political) meaning can blossom from the Other-worldly visions of fantasy and exploitation film just like the aforementioned fairies, sprouting from the ferns of a lush jungle tableau. In Cox’s essay-cum-homage, here are dinosaurs (and giant moths, dragons, and smog monsters!) that we can use for allegory and imaginative play, not those that consume us in a vicious cycle of oil addiction and predatory foreign wars.

The Peanuts rhapsodize:

Mothra oh Mothra

The people have forgotten kindness

Their spirit falls to ruin

We shall pray for the people as we sing

This song of love

Craig Baldwin programs "Other Cinema" at the ATA and is the director of Spectres of the Spectrum, Sonic Outlaws, Tribulation 99: Alien Anomalies under America, and other movies.

BONG JOON-HO’S TOP EIGHT MOVIES

(1) Family Ties (Kim Tae-yong, South Korea)

(2) In Between Days (Kim So-yong, US/Canada/South Korea)

(3) Pan’s Labyrinth (Guillermo del Toro, Mexico/Spain/US)

(4) The Science of Sleep (Michel Gondry, France/Italy)

(5) The Departed (Martin Scorsese, US)

(6) Volver (Pedro Almodóvar, Spain)

(7) Woman on the Beach (Hong Sang-soo, South Korea)

(8) Yureru (Miwa Nishikawa, Japan)

Bong Joon-ho is the director of The Host, Memories of Murder, and Barking Dogs Never Bite.

BRYAN BOYCE’S TOP 10 SIGHTS

Au Bonheur des Dames (Julien Duvivier, France, 1930) at the SF Silent Film Festival on July 15.

The sauerkraut western Rancho Notorious (Fritz Lang, US, 1952).

Guy "King of the Q&A" Maddin presenting a program of his short films at the SF International Film Festival on April 25.

Rest in peace Shelley Winters, peerless in Larceny (George Sherman, US, 1948), at the Noir City Film Festival on Jan. 15.

Portrait #2: Trojan (Vanessa Renwick, US).

Sword of Doom (Kihachi Okamoto, Japan, 1966).

Not bad for a work-in-progress: Miranda July’s Things We Don’t Understand and Definitely Are Not Going to Talk About at SF Cinematheque on Oct. 23.

Stephen Colbert, White House Correspondents’ Dinner on April 29.

Il Posto (Ermanno Olmi, Italy, 1961).

Crispin Glover’s 1987 Late Night with David Letterman platform shoe karate kick demonstration, on YouTube.

Bryan Boyce is the director of America’s Biggest Dick, Rumsfeld Rules, and other movies.

MICHELLE DEVEREAUX’S 10 BEST AND 10 WORST

Best walkies: Helen Mirren, black labs, and corgis, The Queen (Stephen Frears, UK/France/Italy)

Best 1/8th mighty Choctaw: John Michael Higgins, For Your Consideration (Christopher Guest, US)

Best German whore: Cate Blanchett, The Good German (Steven Soderbergh, US)

Best Russian whore: Vera Farmiga, Breaking and Entering (Anthony Minghella, UK/US)

Best ex-junkie whore: Amy Sedaris, Strangers with Candy (Paul Dinello, US)

Best bloodsucking: Stockard Channing, 3 Needles (Thom Fitzgerald, Canada)

Best unnecessary invention: 3-D glasses for real life, The Science of Sleep (Michel Gondry, France/Italy)

Best western: The Proposition (John Hillcoat, Australia/UK)

Best meltdown: Frances McDormand, Friends with Money (Nicole Holofcener, US)

Best performance by the artist formerly known as Marky Mark: Mark Wahlberg, The Departed (Martin Scorsese, US)

Worst performance by the artist formerly known as Marky Mark: Mark Wahlberg, Invincible (Ericson Core, US)

Worst meltdown: polar ice caps, An Inconvenient Truth (Davis Guggenheim, US)

Worst nudity: Ken Davitian, Borat (Larry Charles, US)

Worst role model for Britney Spears (excluding Paris Hilton): Rinko Kikuchi, Babel (Alejandro González Iñárritu, US/Mexico)

Worst date movie: United 93 (Paul Greenglass, US/UK/France)

Worst love interest for Tom Cruise since Katie Holmes: Philip Seymour Hoffman, Mission: Impossible III (J.J. Abrams, US/Germany)

Worst stand-in for Margot Kidder: Kate Bosworth, Superman Returns (Bryan Singer, US/Australia)

Worst reason to become a vegetarian: Barnyard (Steve Oedekerk, US/Germany)

Worst emoter (someone give this man a lozenge): Djimon Hounsou, Blood Diamond (Edward Zwick, US)

Worst excuse for two upcoming sequels: Goal! The Dream Begins (Danny Cannon, US)

Michelle Devereaux is a Guardian contributing writer.

SARAH ENID HAGEY’S PRESCRIPTIVE LOOK AT THE CINEMATIC CRYSTAL BALL

Here is my prediction for the coming year of film. I know I may sound like a new age mumbo-jumboist, but I sense a return to mysticism and spirituality. The age of nihilism is really just some shortchange bullshit. The postmodern, amoral, canned reality period has proved its point and has been nothing more than a carbuncle. What, then, is my prescription? The surreal, detached from reality, psychedelic, hallucinogenic, optimistic fantasy film. In the words of my dear friend Chad Peterson, "Fantasy intoxicates only the strong mind. It is horror and humor, the twin children of their mother imagination, which open a sea chest of all memories, hanging above the heart an anchor and above the plow a star." Fantasy embraces the nostalgia and hope that we’ve spent our angsty years repressing. When you think all hope is lost but then that Giorgio Moroder track starts, you just weep like a very small child.

Sarah Enid Hagey’s short films include The Great Unknown and Lovelorn Domestic.

JESSE HAWTHORNE FICKS’S 10 PICKS*

(1) Old Joy (Kelly Reichardt, US).

(2) The New World (Terrence Malick, US).

(3) L’Enfant (Jean-Pierre and Luc Dardenne, Belgium/France). Be patient with this quiet cinematic poem — along with my first two picks, it will completely break your heart.

(4) Battlestar Galactica (created by Michael Rymer, US). I know, I know, it’s on the SciFi Channel. But seriously, this show is more thought-provoking than most feature films.

(5) A Scanner Darkly (Richard Linklater, US). Creatively hypnotizing and terrifyingly relevant.

(6) The Departed (Martin Scorsese, US). Best performance of the year, easily: Marky Mark.

(7) District B13 (Pierre Morel, France). The Transporter + John Carpenter’s politics = sheer bliss.

(8) Mutual Appreciation (Andrew Bujalski, US). It’s embarrassing to connect so strongly to these awkward hipsters attempting to figure themselves out.

(9) Hostel (Eli Roth, US). How satisfying is it to watch a bunch of sexist, homophobic, xenophobic Americans get horrifically sliced and diced? Try multiple viewings.

(10) BloodRayne (Uwe Bol, US/Germany). Another supersleazy, terrifically pathetic video game adaptation by the master of contemporary B-movies.

* Though he hasn’t seen David Lynch’s Inland Empire yet.

Jesse Hawthorne Ficks teaches film history at the Academy of Art University and programs "Midnites for Maniacs" at the Castro Theatre.

SAM GREEN’S TOP 10

(1) "The Tailenders," P.O.V. (Adele Horne, US)

(2) John and Jane (Ashim Ahluwalia, India)

(3) Portrait #2: Trojan (Vanessa Renwick, US)

(4) Old Joy (Kelly Reichardt, US)

(5) Reporter Zero (Carrie Lozano, US)

(6) Rap Dreams (Kevin Epps, US)

(7) "Lampoons and Eye-tunes," an evening of Bryan Boyce’s short films at the ATA on Oct. 7

(8) Workingman’s Death (Michael Glawogger, Austria/Germany)

(9) "War-Gaming in the New World Order," presentation by film critic Ed Halter at the ATA on Oct. 21

(10) American Blackout (Ian Inaba, US)

Sam Green is the director of The Weather Underground and Lot 63, Grave C.

DENNIS HARVEY’S 10 MOST ALARMING PORN TITLES (NO, HE DID NOT MAKE THESE UP)

Bareback Twink Squat

Hole Sweet Hole

Dirt Pipe Milkshakes

I Dig ‘Em in Pigtails 2

Boob Exam Scam 3

CSI: Cum Swappers Incorporated

Gorgeous Chloroformed Women!

A Little Cumster in the Dumpster

What Happens Between My Tits Stays Between My Tits

Ass Jazz 2

Dennis Harvey is a Guardian contributing writer and a reviewer for Variety.

RIAN JOHNSON ON THE TELEVISION RENAISSANCE OF 2006

I resisted for a long while. Even as the rising tide of TiVo-wielding friends and coworkers lapped at my doorstep, I stiff-armed them with the dismissive battle cry "I don’t really watch TV." I’m not sure what happened in the past year, but the levee has broken. Big-time. I have no shame. I pimp Lost like no one’s business. I spread box sets of 24 like some modern-day Johnny Appleseed. The scales have fallen from my eyes: any given episode of South Park contains more hilarious and incisive satire than American cinema has offered in decades. Freaks and Geeks is the most painfully true window into adolescence since the glory days of John Hughes. And the new Battlestar Galactica (I swear to God) stands shoulder to shoulder with the best cinematic sci-fi of the past century. So drop your burdens by the coaxial river, all ye high-cultured unbelievers, and join us. The water’s fine.

Rian Johnson is the writer-director of Brick.

JONATHAN L. KNAPP’S TOP 10 CINEMATIC RETURNS AND ARRIVALS

(1) The return of Big Edie and Little Edie, plus the Marble Faun (a.k.a. Jerry Torre), who accompanied the screenings of Grey Gardens (Albert and David Maysles, US, 1975) and The Beales of Grey Gardens (Albert and David Maysles, US) at the Castro on Nov. 22.

(2) The Up series: 49 Up (Michael Apted, UK) may not have been the most eventful chapter, but a new installment is always welcome.

(3) The Umbrellas of Cherbourg (Jacques Demy, France) at the Castro Theatre

(4) Scott Walker in the video for "Jesse" (Graham Wood, UK) plus various clips on YouTube.

(5) The Criterion Collection DVD of Young Mr. Lincoln (John Ford, US, 1939), a film that equals any of the director’s beloved westerns.

(6) The Wayward Cloud (Tsai Ming-liang, Taiwan), SF International Film Fest screening at the Castro Theatre on April 23.

(7) The Host (Bong Joon-ho, South Korea), opening night SF Animation Festival screening at the SF Museum of Modern Art on Oct. 12.

(8) Brick (Rian Johnson, US).

(9) The Descent (Neil Marshall, UK).

(10) Old Joy (Kelly Reichardt, US).

Jonathan L. Knapp is a Guardian contributing writer.

JOÃO PEDRO RODRIGUES’S MOST REVEALING MOVIE MOMENT

On Dec. 9 I saw John Ford’s The Searchers in the same theater where I had seen it for the first time when I was 15. It was a Saturday evening; 25 years ago, it had been a Thursday evening. Back then, I had never thought a western could be as moving as a Robert Bresson film.

This time the projectionist oddly forgot to put the VistaVision mask in the film projector, and I (and everybody else that was in the audience, even if nobody complained) saw a film "around" the film that continuously took me out of the tale of revenge happening below. Things that shouldn’t be seen, that usually remain hidden were revealed. I saw the lights, the microphones, the sets. I was outside the drama, but it was as if the film turned inside out in front of me.

How new can an old film be?

João Pedro Rodrigues is the director of Two Drifters and O Fantasma.

JOEL SHEPARD’S 11 FAVORITE FILMS (PLUS RUNNERS-UP AND MEMORABLE ODDITIES)

(1) I Don’t Want to Sleep Alone (Tsai Ming-liang, Taiwan/France/Austria).

(2) Saw III (Darren Lynn Bousman, US).

(3) Syndromes and a Century (Apichatpong Weerasethakul, Thailand/France/Austria).

(4) "The Dundies" and "A Benihana Christmas," The Office.

(5) Miami Vice (Michael Mann, US/Germany). Except for the lame part where they go to Cuba.

(6) Mutual Appreciation (Andrew Bujalski, US).

(7) The Departed (Martin Scorsese, US).

(8) Woman on the Beach (Hong Sang-soo, South Korea).

(9) United 93 (Paul Greengrass, US/UK/France).

(10) "A Time for Love" segment of Three Times (Hou Hsiao-hsien, France/Taiwan).

(11) Jackass Number Two (Jeff Tremaine, US).

RUNNERS-UP AND MEMORABLE ODDITIES:


Shadowboxer (Lee Daniels, US). What? Helen Mirren as a female assassin, Cuba Gooding Jr. as her lover, and lots of nudity and graphic sex? I am in awe of its stupidity.

Instructions for a Light and Sound Machine (Peter Tscherkassky, Austria).

The Death of Mr. Lazarescu (Cristi Puiu, Romania).

Same Day Nice Biscotts (Luther Price, US). Price takes 13 identical, abandoned 16mm film prints and turns them into one of the most emotionally wrenching shorts I’ve ever seen.

www.sexandsubmission.com. Um, isn’t this illegal?

Jack Smith and the Destruction of Atlantis (Mary Jordan, US).

The Great Ecstasy of Robert Carmichael (Thomas Clay, UK). Offensive, mean, juvenile garbage, and I’ve never seen a more pissed-off audience reaction at the Rotterdam Film Festival — no small feat against the unshockable Dutch.

For Your Consideration (Christopher Guest, US).

Sitting alone in a decrepit theater watching a triple feature of generic "pink" films in Beppu, Japan, feeling boredom and pain so intensely that I began to travel through time and space.

"The Last Wild Tigers," 60 Minutes, Nov. 19.

Gravedancers (Mike Mendez, US). Delightful old-fashioned horror, from "After Dark Horrorfest: Eight Films to Die For."

"Evelyn Lin," sigh.

Joel Shepard is film and video curator at Yerba Buena Center for the Arts.

SEAN UYEHARA’S COUNTDOWN OF THE 10 MOST OVERUSED DEVICES AND PLOT POINTS IN FILM FESTIVAL ENTRIES

(10) My pet is cute.

(9) To me, "experimental" means playing the same thing 412 times in a row. Crazy, huh?

(8) This old person is kind and sage. Listen to him/her. Or: these old people are kind and sage. Listen to them.

(7) Things are happening to these 10 people. Wait, they all know each other in different ways. Weird.

(6) Someone is following me. I know it because I can hear their echoey footsteps.

(5) I am a struggling writer/director/actor/painter/chef/mime/dancer/sculptor/other, and I smoke cigarettes, and I won’t compromise.

(4) There is a woman. She’s just like you and me, except that she is a prostitute/stripper — and she is so hot. Just watch her.

(4a) It’s hard out here for a pimp.

(3) Strange things keep happening to me. Additionally, I am somewhere where I don’t know where I am.

(2) God talks to me.

(1) You thought this was real? No way, this is a "mockumentary"!

Sean Uyehara is a programming associate at the San Francisco Film Society.

APICHATPONG WEERASETHAKUL’S 10 FILM-RELATED FAVORITES

(1) The Boy from Mars, film installation by Philippe Parreno.

(2) Hamaca Paraguaya (Paz Encina, Argentina/Paraguay/Netherlands/Austria/France/Germany).

(3) Los Angeles–based Festival Management no longer works for the Bangkok International Film Festival.

(4) Woman on the Beach (Hong Sang-soo, South Korea).

(5) www.brucebaillie.net.

(6) Quay Brothers — the Short Films 1979–2003 DVD (BFI).

(7) Tokyo Filmex.

(8) Nintendo Wii. It’s sort of new cinema.

(9) The Wave (Kumar Shahani, India, 1984).

(10) Instructions for a Light and Sound Machine (Peter Tscherkassky, Austria).

Apichatpong Weerasethakul is the director of Blissfully Yours, Tropical Malady, Syndromes and a Century, and other films.

PINKY AND D. ERIC BECKLES OF TV CARNAGE LOOK BACK AT A LITIGIOUS YEAR

For us, 2006 was the year of the entertainment lawyer. It’s not a year recognized by the Chinese calendar yet, probably because being born during the year of the entertainment lawyer would be the worst thing in the fucking world.

Our year in TV and film was made love to by the word vetting — the process by which people’s thoughts and ideas are raked over, much like hot hands raking over unsuspecting pubes. (Trust me on that one.) When lawyers start examining your phrases and intentions, existence enters another dimension. It’s beyond psychedelic; it’s an assault by litigious wizards on a naive concept of freedom of speech. No matter what your intentions are, they will be examined and altered to a level of incompetence that makes you embarrassed for even having parents who engaged in the intercourse that made you.

Lawyers make work for lawyers. No one is oblivious to this, but the times spent waiting for their responses are the golden moments or the reeking turds of life, depending on the situation.

In the case of a recent situation I was privy to, we waited in real time as lawyers in another city examined the use and placement of words in a sentence to such a horrific degree it was obscene. The problem is these guys and gals (I’m so open-minded I even realize women can be lawyers) are zingless word calculators. They have the comedic timing of a court stenographer reading back testimony. So when they finally rewrite something, it feels like you’re reading an autopsy report. They ruin everything with a fear of being sued that they use to make everyone paranoid so they can get as much money from your fear-induced wallet as they can.

TV Carnage’s videos include A Sore for Sighted Eyes and When Television Attacks.

Heavenly battles and broken skies

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In 2006 the global media blitz continued to focus on the three Mexican directors — Alfonso Cuarón, Guillermo del Toro, and Alejandro González Iñárritu — who’ve been lured by Hollywood. But a new generation of auteurs, whose approaches to filmmaking range from minimalistic to baroque, are redefining and reinvigorating film and generating debate about a genuinely new Mexican cinema.

Broken Sky (El Cielo Dividido, 2006) proves the Cooperativa Morelos filmmaking team, composed primarily of writer-director Julián Hernández and producer Roberto Fiesco (also a remarkable director of shorts), remains utterly faithful to its contemplative and pictorial film language. The filmmakers are equally dedicated to their die-hard romantic vision of the precipitous highs and lows of young mestizo men in love and lust amid the urban textures of Mexico City. Like their previous projects, Broken Sky — exquisitely shot in color by Alejandro Cantú — works against dominant representations of gay men in Mexican cinema, not to mention the banal, plastic boy-toy tales that dominate many US queer films.

If you can get past bad-boy provocateur Carlos Reygadas’s unsettling sexism and class politics, there is much to appreciate in his just-short-of-astounding urban epic, Battle in Heaven (Batalla en el Cielo, 2005). This audacious second film explores the calvary-like spiritual journey and ultimately futile quest for redemption of an ordinary plump mestizo chauffeur. A maverick, Reygadas again (as in his debut, 2002’s Japón) uses nonprofessional actors and a somewhat grotesque, naturalistic approach to eroticism. He is matched in the sheer irreverence of his perspective on Mexican national icons (from a pilgrimage to the Basilica of Guadalupe to the unfurling of a gigantic Mexican flag in the Zócalo of the National Palace) only by the likes of Arturo Ripstein and Alejandro Jodorowsky.

At the opposite end of the spectrum, in terms of both its bare-bones visual style — mostly static, head-on takes — and its simple narrative, is the deadpan black comedy Sangre (2005). The debut feature by Amat Escalante, assistant director to Reygadas on Battle in Heaven, Sangre is an absurdist tragicomedy about family ties.

Fernando Eimbcke’s multiaward-winning first film, Duck Season (Temporada de Patos, 2004), is also unexpectedly quirky. A self-conscious black-and-white homage to Jim Jarmusch’s Stranger Than Paradise, it is set in the historically charged (and massive) Tlatelolco housing complex, near downtown Mexico City. Favoring a minimalistic aesthetic, the film perfectly captures the rhythms of a Sunday afternoon in the lives of two 14-year-old boys, nicknamed Flama and Moko. Left alone by their divorced parents and armed with Nintendo, an extralarge pizza, and plenty of Coke, Flama and Moko are ready to play — until a power shortage and a sudden visitor derail their plans.

Both Duck Seasons‘s tight eight-hour narrative span and its confined space — all but three short sequences take place inside an apartment — remind me of Red Dawn (1989), the independently produced film that boldly inaugurated the current new Mexican cinema by taking on the notorious military massacre of student and civilian demonstrators on the eve of the 1968 summer Olympic Games. Duck Season is otherwise void of obvious political references, but Moko’s homo fantasy of his buddy Flama is endearing. Moko spells his nickname with a k, not a c, since the latter spelling means booger (bugger?). No matter how you spell it, the word still has the connotation of bodily secretions, sexual and otherwise — as does the pato of the original title.

Some other favorites:

Pink Punch (Puños Rosas, 2004). Beto Gómez’s campy Mexploitation flick packs plenty of fruity juice in a US-Mexico-border action-comedy involving gangsters, boxers, and prison. The delights include always fierce, don’t-fuck-with-me Isela Vega and a knockout performance by Roberto Espejo, again doing drag, as in Gómez’s Caiman’s Dream (El Sueño del Caimán, 2005).

A Wonderful World (Un Mundo Maravilloso, 2005). Luis Estrada’s excellent follow-up to his polemical Herod’s Law (La Ley de Herodes, 1999) arrived just in time to assess how well the National Action Party fared in bridging the abyss between rich and poor after 71 years of uninterrupted, ironfisted Institutional Revolutionary Party political rule.

The Citrillo’s Turns (Las Vueltas del Citrillo, 2005). Veteran Felipe Cazals returns to the abuse of power, this time with a tone of picaresque black comedy. Featuring stellar performances by the ever versatile Damián Alcázar, José María Yazpik, and Vanessa Bauche, it’s set circa 1903 and focuses on characters who indulge in alcoholic libations from a pulquería, which gives the film its title.

In the Pit (En el Hoyo, 2005). Director Juan Carlos Rulfo finally lets his famous father rest in peace while dynamically exploring his own voice. This documentary brings together on-site conversations with workers who constructed the second level of the highway where three million cars circulate daily through Mexico City.

Despite a significant increase in the annual number of feature-length works produced in Mexico since figures plummeted to unprecedented depths in the 1990s, it remains difficult to see Mexican films outside film festivals. Within Mexico, national film protection legislation mandating 10 percent of screen time be allocated to local work remains, to no one’s surprise, unenforced. In the United States, given the interest in Mexican movies since at least as far back as 1992’s Like Water for Chocolate (Como Agua para Chocolate, Alfonso Arau), it is perplexing why more films don’t get a commercial run — especially since French films get theatrical time even though they rarely earn much at the box office. Do I have an ax to grind about this? Hell yeah! *

Revolutions happen like refrains in a song …

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The term independent once meant something in Philippine cinema. It was reserved for such luminaries as Rox Lee (the great animator), Raymond Red (the great short-film maker), and in recent years, Lav Diaz (the great stubborn filmmaker). These were artists who had earned their stripes and garnered accolades but refused to sell out or cater to commercial demands, preferring to maintain control over their work rather than cash in and see their names in lights.

Today independent — and its many synonyms — has become a hot buzzword in the Philippines. Young filmmakers, students, festivals, even commercial studios are beginning to use the word, defiling the purity that was once associated with it.

When parties from the commercial industry, from the mainstream or establishment, begin to infiltrate and claim the underground for themselves, what is left for the true independent filmmaker to do? Stan Brakhage put it best:

So the money vendors have begun it again. To the catacombs then, or rather plant this seed deeper in the underground beyond false nourishing of sewage waters. Let it draw nourishment from hidden uprising springs channeled by gods … forget ideology, for film unborn as it is has no language and speaks like an aborigine — monotonous rhetoric…. Abandon aesthetics…. Negate techniques, for film, like America, has not been discovered yet, and mechanization, in the deepest possible sense of the word, traps both beyond measuring even chances…. Let film be. It is something … becoming.

It is in this spirit that the New Philippine Cinema, conceived in 2004, birthed in 2005, and now beginning to mature in 2006, is being forged. While it does encompass this false new independence, most of its best and brightest moments have been strong reactions against it.

To speak of ambition in regard to Raya Martin’s A Short Film about the Indio Nacional (or the Prolonged Sorrow of Filipinos) would be to speak of the obvious — the director was a 21-year-old college senior undertaking a feature film, silent with title cards, shot on 35mm, in black-and-white, set in the 1890s Spanish-era Philippines. The movie starts with a frustratingly slow 22-minute piece, shot in color, on digital video, with sound, that’s devoid of action for the first 17 minutes (before settling into a moving tale of nationalism). Martin’s A Short Film is an intensely personal work projecting the young director’s emotional impressions of the bygone era into the beginnings of the uprising, the stirrings of Philippine nationalism. Is Martin’s film accurate in its depiction? Does it represent a work evincing deep historical research that may be used as a text for young students to study in order to know more about the era? No — and that is both its strength and its weakness.

A Short Film focuses on minor and intimate moments, creating images that would otherwise be left out of major historical films (and were left out of the films shot at the time by the colonizers). How relevant is the film in the cultural geography of the Philippines? I daresay it is a very, very important work, one that will be looked at with as much perplexity now as admiration in the future. But the reasons for its importance, for its significance, will be (a) its audacity, (b) its aesthetic, and (c) the emotional impact it will have on maybe not an entire generation of average viewers, but at the very least this generation of filmmakers. A Short Film throws down the gauntlet — and with rude authority — for the heights of sophistication and beauty the Philippine aesthetic may reach.

John Torres is as personal a filmmaker as you can possibly meet. His short films and one feature (Todo Todo Teros) — all made for not more than the cost of a few mini-DV tapes and the opportunity cost of accepting other work (he runs a small editing house) — are heartbreaking works. They combine found and organized footage with text in a way that hasn’t been seen before in Philippine cinema. I go to Torres’s films for what I can learn from them. But I learn nothing a proper academic setting would find valuable, nothing of history, politics, or economics; not even anything about contemporary Philippine cinema. I learn something much, much more valuable to me in my life: I learn about the inner working of the heart. Torres’s films, the ideas behind them, the struggle to make them, teach me something I need to learn: humility, benevolence. They illustrate the beauty found in self-effacement, in touching your pain, admitting your faults, and at the same time learning to sacrifice face in the name of trust, in the name of solidarity with humanity and sharing everything that is close to you with the world in the hope that it will understand and sympathize with you as much as you are trying your hardest to understand and sympathize with it. Ultimately, they are tone poems, films that both espouse and offer compassion.

Lav Diaz’s works stand so off tangent that Evolution of a Filipino Family has had only six screenings in the Philippines. His Heremias, a labor of love and the first half of the last part of his Philippine trilogy, following Evolution and Batang West Side, was written, directed, produced, and edited by Diaz himself. The astonishing thing about his Philippine trilogy is how, while the films are radical in themselves, they’re also all so different — in time, space, and aesthetic. The five-hour West Side, about the Filipino experience abroad, is a 35mm color work shot and set in contemporary New Jersey. The 11-hour Evolution, a mix of 16mm and various forms of digital, is in black-and-white and is set just before, during, and after the martial law period in the Philippines. Mixing scenes of urban and rural life, it is astonishingly sophisticated in its use of both mise-en-scène and (intellectual) montage, a remarkable feat given its duration. The nine-hour Heremias, shot entirely on digital, is set in the present-day rural Philippines. It is the only film in the trilogy that is told linearly and focuses on a single character. This trilogy, when completed, should tower over contemporary Philippine cinema, over aspiring independent filmmakers as a paradigm of what it means to be uncompromising.

The new Philippine filmmaker does not fear experimentation but embraces it, knowing that, as Brakhage declared, film — or perhaps better put, cinema — is still something … becoming. While aboveground the death of Philippine cinema (or the industry) is proclaimed, in the deep underground lie the real artists, replenishing the soil with seeds of a new cinema. *

Alexis A. Tioseco is editor in chief at Criticine. A longer version of this piece can be found at www.criticine.com.

For Tioseco’s top five Southeast Asian features, short works, and older films seen for the first time, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

New generation, old joy

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Once upon a time movie men were expected to be all action — confidence, whether in the form of a swagger or saunter, being the mark of the leading man. Such virility was served up uncooked by method actors such as Marlon Brando and James Dean, but it wasn’t until the baby boom generation ushered in unlikely stars such as Dustin Hoffman and Jack Nicholson that the archetype really turned over. Realism was the new fantasy, and these actors went to great lengths to convey hurt. This tendency reached a peak during the indie cinema boom of the ’90s, with male leads wearing their wounds with newfound openness, flailing — or as writer-director Noah Baumbach would have it, kicking and screaming — at posteverything angst and political correctness. Several of this year’s most indelible male characters were racked with similar inaction but were also fleshed out with an altogether tougher skin than were their ’90s predecessors. They still struggled to come to terms with the present tense but in a more reserved, reflective kind of way.

Even with the Zach Braff vehicle The Last Kiss failing to stir Garden State fans, 2006 was a good year for boy-men. The fact that Keanu Reeves (A Scanner Darkly) continues to win parts is surely proof enough, but there were three American indies — Ryan Fleck’s Half Nelson, Andrew Bujalski’s Mutual Appreciation, and Kelly Reichardt’s Old Joy — that most poignantly located ambiguity (and cultural malaise) in the troubled expressions of their male leads. Is it telling that women had a major hand in making two of these films, with director Reichardt adapting Jon Raymond’s story for Old Joy and Anna Boden teaming with director Fleck to pen the script for Half Nelson? Probably so, especially when you consider that it’s the male-helmed Mutual Appreciation (written, directed, and costarring Bujalski) that most resembles the talky Generation X pictures made 10 years ago, albeit realized with a formal tact and thematic subtlety largely missing in those now-dated chronicles of ennui.

The fact that each of these films frames its character studies in a different way — Half Nelson is a social drama, Mutual Appreciation a relationship movie, and Old Joy the closest thing to lyric poetry we’re likely to get from American narrative cinema — makes their overlaps all the more striking. All the central characters are, to be sure, of the same milieu (Half Nelson and Mutual Appreciation even share a Brooklyn setting), and one imagines they would get along fine at the right party — a conclusion we can draw from their record collections. It’s clear enough from Half Nelson‘s Broken Social Scene soundtrack and Old Joy‘s Yo La Tengo score but even more embedded in the casting of Will Oldham in Old Joy and as-yet-unknown rocker Justin Rice in Mutual Appreciation: a nod to ’70s cinema, when art directors like Monte Hellman found muses in musician-actors like Kris Kristofferson, Warren Oates, and yup, James Taylor.

These singer-songwriters are known for suggesting emotion without resorting to histrionic literalism, so it’s natural that filmmakers aiming for opaque characterizations took an interest in them. If casting provides clay to mold (even Half Nelson‘s Ryan Gosling — an established actor — is enough of a blank slate for these purposes), it’s the filmmakers who supply the films’ crucial senses of diffusion and displacement. All these films are, at base, about characters fundamentally unsure of their place in the world, so it makes sense that they share a common focus on environment and mise-en-scène. Old Joy ‘s overcast Oregon woods function in much the same way as Mutual Appreciation‘s crummy, minimalist flats and protagonist Dan Dunne’s shut-in apartment in Half Nelson. The two estranged friends in Old Joy take a camping trip to get away from their lives but end up considerably more cloistered, with the trash-strewn, damp woods hanging over their heads as much as their past-tense relationship does. One especially lyrical shot shows the woods’ reflection rotating in their car’s window as they U-turn, lost in more than one sense. Meanwhile, in several of Mutual Appreciation‘s key scenes, the figures involved in the central ménage à trois listlessly rock back and forth, the thrift furniture and frameless mattresses an extension of their essential fear of commitment. And then there’s Half Nelson‘s Dan, an anguished hero split between a passion for teaching and a drug addiction, his shuttered, bookish flat betraying self-entrapment and lapsed idealism.

Lapses are another common denominator here — many of these films’ most affecting images are the silent beats in which we see the actors registering a sense of loss, be it nostalgia (the pause in Old Joy following Mark and Kurt’s conversation about a favorite record store going out of business) or regret (Dan’s hollowed expression when caught smoking crack by a knowing student). Mutual Appreciation‘s characters have hardly started their adult lives, but when rocker Alan looks at himself in the mirror, in drag after a drunken odyssey, the seed is already there; 10 years down the line, his problems will be Mark’s and Kurt’s. Politics hang in the air like weather (Mark listens to Air America with a blank expression; Dan is distant while his parents discuss their bygone activism) as if preemptively remembering the present. Kicking and screaming, no: instead, as Kurt’s Old Joy tag goes, "Sorrow is nothing but worn-out joy." It’s hardly a sentiment to stake a straightforward portrait of a generation on, but while these films probably lose something in box office terms for not having the cachet of Reality Bites or, for that matter, The Graduate, they more than make up for it with their uncloying characterizations. Even Brando might find the roles opaque, but for these films it would be a mistake to confuse ambiguity with aimlessness. *

MAX GOLDBERG’S 10 FAVORITE THEATRICAL RELEASES (WITH A TWIST)

Old Joy (Kelly Reichardt, US)

L’Enfant (Jean-Pierre and Luc Dardenne, Belgium/France)

Mutual Appreciation (Andrew Bujalski, US)

The Intruder (Claire Denis, France)

Iraq in Fragments (James Longley, US/Iraq)

Flags of Our Fathers/Letters from Iwo Jima (Clint Eastwood, US)

Half Nelson (Ryan Fleck, US)

The Proposition (John Hillcoat, Australia/UK)

Three Times (Hou Hsiao-hsien, France/Taiwan)

A Scanner Darkly (Richard Linklater, US)