Review

Endorsements 2010: San Francisco candidates

53

SUPERVISOR, DISTRICT 2


JANET REILLY


Frankly, we were a little surprised by the Janet Reilly who came in to give us her pitch as a District 2 supervisorial candidate. The last time we met with her, she was a strong progressive running for state Assembly as an advocate of single-payer health care. She was challenging Fiona Ma from the left, and easily won our endorsement.


Now she’s become a fiscal conservative — somewhat more in synch with her district, perhaps, but not an encouraging sign. Reilly seems to realize that there’s a $500 million budget deficit looming, but she won’t support any of the tax measures on the ballot. She’s against the hotel tax. She’s against the real estate transfer tax on high-end properties. She’s against the local car tax. She opposed Sup. David Chiu’s business tax plan that would have shifted the burden from small to larger businesses (even though it was clear from our interview that she didn’t understand it).


She talked about merging some of the nonprofits that get city money, about consolidating departments, and better management — solutions that might stem a tiny fraction of the red ink. But she wouldn’t even admit that the limited tax burden on the very rich was part of San Francisco’s budget problem.


Her main proposal for creating jobs is more tax credits for biotech, life sciences, and digital media and more public-private partnerships.


It’s too bad, because Reilly’s smart, and she’s far, far better than Mark Farrell, the candidate that the current incumbent, Michela Alioto-Pier, is backing. We wish she’d be realistic about the fiscal nightmare she would inherit as a supervisor.


On the positive side, she’s a strong supporter of public power and she has good connections to the progressive community. Unlike Alioto-Pier, she’d be accessible, open-minded, and willing to work with the progressive majority on the board. That would be a dramatic change, so we’ll give her the nod.


We were also impressed with Abraham Simmons, a federal prosecutor who has spent time researching city finance on the Civil Grand Jury. But he supports sit-lie, Prop. B and Prop. S, and opposes most new tax proposals and needs more political seasoning.


 


DISTRICT 4


NO ENDORSEMENT


We’ve always wanted to like Carmen Chu. She’s friendly, personable, intelligent, and well-spoken. But on the issues, she’s just awful. Indeed, we can’t think of a single significant vote on which she’s been anything but a call-up loyalist for Mayor Newsom. She even opposed the public power measure, Prop. H, that had the support of just about everyone in town except hardcore PG&E allies.


She’s running unopposed, and will be reelected. But we can’t endorse her.


 


DISTRICT 6


1. DEBRA WALKER


2. JANE KIM


3. GLENDON “ANNA CONDA” HYDE


CORRECTION: In our original version of this endorsement, we said that Jim Meko supports the sit-lie ordinance. That was an error, and it’s corrected below.


A year ago, this race was artist and activist Debra Walker’s to lose. Most of the progressive community was united behind her candidacy; she’d been working on district issues for a couple of decades, fighting the loft developers during the dot-com boom years and serving on the Building Inspection Commission. Then School Board member Jane Kim decided to enter the race, leaving the left divided, splitting resources that might have gone to other critical district races — and potentially helping to put the most pro-business downtown candidate, Theresa Sparks, in a better position to win.


Now we’ve got something of a mess — a fragmented and sometimes needlessly divisive progressive base in a district that’s key to holding progressive control of the board. And while neither of the two top progressive candidates is actively pursuing a credible ranked-choice voting strategy (Kim has, unbelievably, endorsed James Keys instead of Walker, and Walker has declined to endorse anyone else), we’re setting aside our concern over Kim’s ill-advised move and suggesting a strategy that is most likely to keep the seat Chris Daly has held for the past 10 years from falling to downtown control.


Walker is far and away our first choice. She understands land use and housing — the clear central issues in the district — and has well thought-out positions and proposals. She says that the current system of inclusionary housing — pressing market-rate developers to include a few units of below-market-rate housing with their high-end condos — simply doesn’t work. She supports an immediate affordable housing bond act and a long-term real estate transfer tax high enough to fund a steady supply of housing for the city’s workforce. She told us the city ought to be looking at planning issues from the perspective of what San Francisco needs, not what developers want to build. She’s in favor of progressive taxes and a push for local hiring. We’re happy to give her our first-place ranking.


Jane Kim has been a great SF School Board member and has always been part of the progressive community. But she only moved into District 6 a year and a half ago — about when she started talking about running for supervisor (and she told us in her endorsement interview that “D6 is a district you can run in without having lived there a long time.”) She still hasn’t been able to explain why she parachuted in to challenge an experienced progressive leader she has no substantive policy disagreements with.


That said, on the issues, Kim is consistently good. She is in favor of indexing affordable housing to market-rate housing and halting new condo development if the mix gets out of line. She’s for an affordable housing bond. She supports all the tax measures on this ballot. She’s a little softer on congestion pricing and extending parking-meter hours, but she’s open to the ideas. She supports police foot patrols not just as a law-enforcement strategy, but to encourage small businesses. She’d be a fine vote on the board. And while we’re sympathetic to the Walker supporters who would prefer that we not give Kim the credibility and exposure of an endorsement, the reality is that she’s one of two leading progressives and would be better on the board than the remaining candidates.


Hyde, a dynamic young drag queen performer, isn’t going to win. But he’s offered some great ideas and injected some fun and energy into the race. Hyde talks about creating safe injection sites for IV drug users to reduce the risk of overdoses and the spread of disease. He points out that a lot of young people age out of the foster-care system and wind up on the streets, and he’s for continuum housing that would let these young people transition to jobs or higher education. He talks about starting a co-op grocery in the Tenderloin. He proposes bus-only lanes throughout the district and wants to charge large vehicles a fee to come into the city. He’s a big advocate of nightlife and the arts. He lacks experience and needs more political seasoning, but we’re giving him the third-place nod to encourage his future involvement.


Progressives are concerned about Theresa Sparks, a transgender activist and former business executive who now runs the city’s Human Rights Commission. She did a (mostly) good job on the Police Commission. She’s experienced in city government and has good financial sense. But she’s just too conservative for what remains a very progressive district. Sparks isn’t a big fan of seeking new revenue for the city telling us that “I disagree that we’ve made all the cuts that we can” — even after four years of brutal, bloody, all-cuts budgets. She doesn’t support the hotel tax and said she couldn’t support Sup. David Chiu’s progressive business tax because it would lead to “replacing private sector jobs with public sector jobs” — even though the city’s own economic analysis shows that’s just not true. She supports Newsom’s sit-lie law.


Sparks is the candidate of the mayor and downtown, and would substantially shift the balance of power on the board. She’s also going to have huge amounts of money behind her. It’s important she be defeated.


Jim Meko, a longtime neighborhood and community activist, has good credentials and some solid ideas. He was a key player in the western SoMa planning project and helped come up with a truly progressive land-use program for the neighborhood. But he supports Prop. B and is awfully cranky about local bars and nightlife.


James Keys, who has the support of Sup. Chris Daly and was an intern in Daly’s office, has some intriguing (if not terribly practical) ideas, like combining the Sheriff’s Department and the Police Department and making Muni free). But in his interview, he demonstrated a lack of understanding of the issues facing the district and the city.


So we’re going with a ranked-choice strategy: Walker first, Kim second, Hyde third. And we hope Kim’s supporters ignore their candidate’s endorsement of Keys, put Walker as their second choice, and ensure that they don’t help elect Sparks.


 


DISTRICT 8


RAFAEL MANDELMAN


This is by far the clearest and most obvious choice on the local ballot. And it’s a critical one, a chance for progressives to reclaim the seat that once belonged to Harvey Milk and Harry Britt.


Mandelman, a former president of the Milk Club, is running as more than a queer candidate. He’s a supporter of tenants rights, immigrants’ rights, and economic and social justice. He also told us he believes “local government matters” — and that there are a lot of problems San Francisco can (and has to) solve on its own, without simply ducking and blaming Sacramento and Washington.


Mandelman argues that the public sector has been starved for years and needs more money. He agrees that there’s still a fair amount of bloat in the city budget — particularly management positions — but that even after cleaning out the waste, the city will still be far short of the money it needs to continue providing pubic services. He’s calling for a top-to-bottom review of how the city gets revenue, with the idea of creating a more progressive tax structure.


He’s an opponent of sit-lie and a supporter of the sanctuary city ordinance. He supports tenants rights and eviction protection. He’s had considerable experience (as a member of the Building Inspection Commission and Board of Appeals and as a lawyer who advises local government agencies) and would make an excellent supervisor.


Neither of the other two contenders make our endorsement cut. Rebecca Prozan is a deputy city attorney who told us she would be able to bring the warring factions on the board together. She has some interesting ideas — she’d like to see the city take over foreclosed properties and turn them into housing for teachers, cops, and firefighters — and she’s opposed to sit-lie. But she’s weak on tenant issues (she told us there’s nothing anyone can do to stop the conversion of rental housing into tenancies-in-common), doesn’t seem to grasp the need for substantial new revenues to prevent service cuts, and doesn’t support splitting the appointments to key commissions between the mayor and the supervisors.


Scott Wiener, a deputy city attorney, is a personable guy who always takes our phone calls and is honest and responsive. He’s done a lot of good work in the district. But he’s on the wrong side of many issues, and on some things would be to the right of the incumbent, Sup. Bevan Dufty.


He doesn’t support public power (which Dufty does). He says that a lot of the city’s budget problems can’t be solved until the state gets its own house in order (“we can’t tax our way out of this”) and favors a budget balanced largely by further cuts. In direct contrast to Mandelman, Wiener said San Franciscans “need to lower our expectations for government.” He wants broad-based reductions in almost all city agencies except Muni, “core” public health services, and public safety. He doesn’t support any further restrictions on condo conversions or TICs. And he has the support of the Small Property Owners Association — perhaps the most virulently anti-tenant and anti-rent control group in town.


This district once gave rise to queer political leaders who saw themselves and their struggles as part of a larger progressive movement. That’s drifted away of late — and with Mandelman, there’s a chance to bring it back.


 


DISTRICT 10


1. TONY KELLY


2. DEWITT LACY


3. CHRIS JACKSON


District 10 is the epicenter of new development in San Francisco, the place where city planners want to site as many as 40,000 new housing units, most of them high-end condos, at a cost of thousands of blue-collar jobs. The developers are salivating at the land-rush opportunities here — and the next supervisor not only needs to be an expert in land-use and development politics, but someone with the background and experience to thwart the bad ideas and direct and encourage the good ones.


There’s no shortage of candidates — 22 people are on the ballot, and at least half a dozen are serious contenders. Two — Steve Moss and Lynette Sweet — are very bad news. And one of the key priorities for progressives is defeating the big-money effort that downtown, the police, and the forces behind the Van Ness Avenue megahospital proposal are dumping into the district to elect Moss.


Our first choice is Tony Kelly, who operates Thick Description Theater and who for more than a decade has been directly involved in all the major neighborhood issues. He has a deep understanding of what the district is facing: 4,100 of the 5,300 acres in D10 have been rezoned or put under the Redevelopment Agency in the past 10 years. Planners envision as many as 100,000 new residents in the next 10 years. And the fees paid by developers will not even begin to cover the cost of the infrastructure and services needed to handle that growth.


And Kelly has solutions: The public sector will have to play a huge role in affordable housing and infrastructure, and that money should come from higher development fees — and from places like the University of California, which has a huge operation in the district and pays no property taxes. Kelly wants to set up a trigger so that if goals for affordable housing aren’t met by a set date, the market-rate development stops. He supports the revenue measures on the ballot but thinks we should go further. He opposes the pension-reform measure, Prop. B, but notes that 75 percent of the city’s pension problems come from police, fire, and management employees. He wants the supervisors to take over the Redevelopment Agency. He’s calling for a major expansion of open space and parkland in the district. And he thinks the city should direct some of the $3 billion in short-term accounts (now all with the Bank of America) to local credit unions or new municipal bank that could invest in affordable housing and small business. He’s a perfect fit for the job.


DeWitt Lacy is a civil-rights lawyer and a relative newcomer to neighborhood politics. He speaks passionately about the need for D10 to get its fair share of the city’s services and about a commitment to working-class people.


Lacy is calling for an immediate pilot program with police foot patrols in the high-crime areas of the district. He’s for increasing the requirements for developers to build affordable housing and wants to cut the payroll tax for local businesses that hire district residents.


Lacy’s vision for the future includes development that has mixed-use commuter hubs with shopping and grocery stores as well as housing. He supports the tax measures on the ballot and would be willing to extend parking meter hours — but not parking fines, which he calls an undue burden on low-income people.


He’s an outspoken foe of sit-lie and of gang injunctions, and with his background handling police abuse lawsuits, he would have a clear understanding of how to approach better law-enforcement without intimidating the community. He lacks Kelly’s history, experience, and knowledge in neighborhood issues, but he’s eminently qualified and would make a fine supervisor.


Chris Jackson, who worked at the San Francisco Labor Council and serves on the Community College Board, is our third choice. While it’s a bit unfortunate that Jackson is running for higher office only two years after getting elected to the college board, he’s got a track record and good positions on the issues. He talks of making sure that blue-collar jobs don’t get pushed out by housing, and suggested that the shipyard be used for ship repair. He wants to see the city mandate that landlords rent to people with Section 8 housing vouchers. He supports the tax measures on the ballot, but also argues that the city has 60 percent more managers than it had in 2000 and wants to bring that number down. He thinks the supervisors should take over Redevelopment, which should become “just a financing agency for affordable housing.” He wants to relocate the stinky sewage treatment plant near Third Street and Evans Avenue onto one of the piers and use the area for a transit hub. He’s still relatively unseasoned, but he has a bright political future.


Eric Smith, a biodiesel activist, is an impressive candidate too. But while his environmental credentials are good, he lacks the breadth of knowledge that our top three choices offer. But we’re glad he’s in the race and hope he stays active in community politics.


Malia Cohen has raised a lot of money and (to our astonishment) was endorsed No. 2 by the Democratic Party, but she’s by no means a progressive, particularly on tenant issues — she told us that limiting condo conversions is an infringement of property rights. And she’s way too vague on other issues.


Moss is the candidate of the big developers and the landlords, and the Chamber of Commerce is dumping tens of thousands of dollars into getting him elected. He’s got some good environmental and energy ideas — he argues that all major new developments should have their own energy distribution systems — but on the major issues, he’s either on the wrong side or (more often) can’t seem to take a stand. He said he is “still mulling over” his stand on sit-lie. He supports Sanctuary City in theory, but not the actual measure Sup. David Campos was pushing to make the policy work. He’s not sure if he likes gang injunctions or not. He only moved back to the district when he decided to run for supervisor. He’s way too conservative for the district and would be terrible on the board.


Lynette Sweet, a BART Board member, has tax problems (and problems explaining them) and wouldn’t even come to our office for an endorsement interview. The last thing D10 needs is a supervisor who’s not accountable and unwilling to talk to constituents and the press.


So we’re going with Kelly, Lacy, and Jackson as the best hope to keep D10 from becoming a district represented by a downtown landlord candidate.


 


SAN FRANCISCO BOARD OF EDUCATION


MARGARET BRODKIN


KIM-SHREE MAUFAS


HYDRA MENDOZA


Three seats are up on the School Board, and three people will get elected. And it’s a contested race, and in situations like that, we always try to endorse a full slate.


This fall, it was, to put it mildly, a challenge.


It’s disturbing that we don’t have three strong progressive candidates with experience and qualifications to oversee the San Francisco Unified School District. But it seems to be increasingly difficult to find people who want to — and can afford to — devote the time to what’s really a 40-hour-a-week position that pays $500 a month. The part-time school board is an anachronism, a creature of a very different economic and social era. With the future of the next generation of San Franciscans at stake, it’s time to make the School Board a full-time job and pay the members a decent salary so that more parents and progressive education advocates can get involved in one of the most important political jobs in the city.


That said, we’ve chosen the best of the available candidates. It’s a mixed group, made up of people who don’t support each other and aren’t part of anyone’s slate. But on balance, they offer the best choices for the job.


This is not a time when the board needs radical change. Under Superintendent Carlos Garcia, the local public schools are making huge strides. Test scores are up, enrollment is increasing, and San Francisco is, by any rational measure, the best big-city public school district in California. We give considerable credit for that to the progressives on the board who got rid of the irascible, secretive, and hostile former Superintendent Arlene Ackerman and replaced her with Garcia. He’s brought stability and improvement to the district, and is implementing a long-term plan to bring all the schools up to the highest levels and go after the stubborn achievement gap.


Yet any superintendent and any public agency needs effective oversight. One of the problems with the district under Ackerman was the blind support she got from school board members who hired her; it was almost as if her allies on the board were unable to see the damage she was doing and unable to hold her accountable.


Our choices reflect the need for stability — and independence. We are under no illusions — none of our candidates are perfect. But as a group, we believe they can work to preserve what the district is doing right and improve on policies that aren’t working.


Kim-Shree Maufas has been a staunch progressive on the board. She got into a little trouble last year when the San Francisco Chronicle reported that she’d been using a school district credit card for personal expenses. That’s not a great move, but she never actually took public money since she paid back the district. Maufas said she thought she could use the card as long as she reimbursed the district for her own expenses; the rules are now clear and she’s had no problems since. We don’t consider this a significant enough failure in judgment to prevent her from continuing to do what she’s been doing: serving as an advocate on the board for low-income kids and teachers.


Maufas is a big supporter of restorative justice and is working for ways to reduce suspensions and expulsions. She wants to make sure advanced placement and honors classes are open to anyone who can handle the coursework. She supports the new school assignment process (as do all the major candidates), although she acknowledges that there are some potential problems. She told us she thinks the district should go back to the voters for a parcel tax to supplement existing funding for the schools.


Margaret Brodkin is a lightening rod. In fact, much of the discussion around this election seems to focus on Brodkin. Since she entered the race, she’s eclipsed all the other issues, and there’s been a nasty whisper campaign designed to keep her off the board.


We’ve had our issues with Brodkin. When she worked for Mayor Newsom, she was part of a project that brought private nonprofits into city recreation centers to provide services — at a time when unionized public employees of the Recreation and Parks Department were losing their jobs. It struck us as a clear privatization effort by the Newsom administration, and it raised a flag that’s going to become increasingly important in the school district: there’s a coming clash between people who think private nonprofits can provide more services to the schools and union leaders who fear that low-paid nonprofit workers will wind up doing jobs now performed by unionized district staff. And Brodkin’s role in the Newsom administration — and her background in the nonprofit world — is certainly ground for some concern.


But Brodkin is also by far the most qualified person to run for San Francisco school board in years, maybe decades. She’s a political legend in the city, the person who is most responsible for making issues of children and youth a centerpiece of the progressive agenda. In her years as director of Coleman Advocates for Children and Youth, she tirelessly worked to make sure children weren’t overlooked in the budget process and was one of the authors of the initiative that created the Children’s Fund. She’s run a nonprofit, run a city department, and is now working on education issues.


She’s a feisty person who can be brusque and isn’t always conciliatory — but those characteristics aren’t always bad. Sup. Chris Daly used his anger and passion to push for social justice on the Board of Supervisors and, despite some drawbacks, he’s been an effective public official.


And Brodkin is full of good ideas. She talks about framing what a 21st century education looks like, about creating community schools, about aligning after-school and summer programs with the academic curriculum. She wants the next school bond act to include a central kitchen, so local kids can get locally produced meals (the current lunch fare is shipped in frozen from out of state).


Brodkin needs to remember that there’s a difference between being a bare-knuckles advocate and a member of a functioning school board. But given her skills, experience, and lifetime in progressive causes, we’re willing to give her a chance.


We also struggled over endorsing Hydra Mendoza. She works for Mayor Newsom as an education advisor — and that’s an out-front conflict of interest. She’s a fan of Obama’s Education Secretary, Arne Duncan, whose policies are regressive and dangerous.


On the other hand, she cares deeply about kids and public education. She’s not a big supporter of charter schools (“I’ve yet to see a charter school that offers anything we can’t do ourselves,” she told us) and while she was on the wrong side of a lot of issues (like JROTC) early in her tenure, over the past two years she’s been a good School Board member.


There are several other candidates worth mentioning. Bill Barnes, an aide to Michela Alioto-Pier, is a good guy, a decent progressive — but has no experience in or direct connection to the public schools. Natasha Hoehn is in the education nonprofit world and speaks with all the jargon of the educrat, but her proposals and her stands on issues are vague. Emily Murase is a strong parent advocate with some good ideas, but she struck us as a bit too conservative (particularly on JROTC and charter schools.) Jamie Wolfe teaches at a private school but lacks any real constituency or experience in local politics and the education community.


So given a weak field with limited alternatives, we’re going with Maufas, Brodkin and Mendoza.


 


SAN FRANCISCO COMMUNITY COLLEGE BOARD


JOHN RIZZO


The San Francisco Community College District has been a mess for years, and it’s only now starting to get back on track. That’s the result of the election of a few progressive reformers — Milton Marks, Chris Jackson, and John Rizzo, who now have enough clout on the seven-member board to drag along a fourth vote when they need it.


But the litany of disasters they’ve had to clean up is almost endless. A chancellor (who other incumbent board members supported until the end) is now under indictment. Public money that was supposed to go to the district wound up in a political campaign. An out-of-control semiprivate college foundation has been hiding its finances from the public. The college shifted bond money earmarked for an arts center into a gigantic, expensive gym with a pool that the college can’t even pay to operate, so it’s leased out to a private high school across the street.


And the tragedy is that all three incumbents — two of whom should have stepped down years ago — are running unopposed.


With all the attention on the School Board and district elections, not one progressive — in fact, not one candidate of any sort — has stepped forward to challenge Anita Grier and Lawrence Wong. So they’ll get another term, and the reformers will have to continue to struggle.


We’re endorsing only Rizzo, a Sierra Club staffer who has been in the lead in the reform bloc. He needs to end up as the top vote-getter, which would put him in position to be the board president. Rizzo has worked to get the district’s finances and foundation under control and he richly deserves reelection.


 


BART BOARD OF DIRECTORS, DISTRICT 8


BERT HILL


It’s about time somebody mounted a serious challenge to James Fang, the only elected Republican in San Francisco and a member of one of the most dysfunctional public agencies in California. The BART Board is a mess, spending a fortune on lines that are hardly ever used and unable to work effectively with other transit agencies or control a police force that has a history of brutality and senseless killing.


Fang supports the suburban extensions and Oakland Airport connector, which make no fiscal or transportation sense. He’s ignored problems with the BART Police for 20 years. It’s time for him to leave office.


Bert Hill is a strong challenger. A professional cost-management executive, he understands that BART is operating on an old paradigm of carrying people from the suburbs into the city. “Before we go on building any more extensions,” he told us, “we should take care of San Francisco.” He wants the agency to work closely with Muni and agrees there’s a need for a BART sunshine policy to make the notoriously secretive agency more open to public scrutiny. We strongly endorse him.


 


ASSESSOR-RECORDER


PHIL TING


San Francisco needs an aggressive assessor who looks for every last penny that big corporations are trying to duck paying — but this is also a job that presents an opportunity for challenging the current property tax laws. Phil Ting’s doing pretty well with the first part — and unlike past assessors, is actually stepping up to the plate on the second. He’s been pushing a statewide coalition to reform Prop. 13 — and while it’s an uphill battle, it’s good to see a tax assessor taking it on. Ting has little opposition and will be reelected easily.


 


PUBLIC DEFENDER


JEFF ADACHI


Adachi’s done a great job of running the office that represents indigent criminal defendants. He’s been outspoken on criminal justice issues. Until this year, he was often mentioned as a potential progressive candidate for mayor.


That’s over now. Because Adachi decided (for reasons we still can’t comprehend) to join the national attack on public employees and put Prop. B on the ballot, he’s lost any hope of getting support for higher office from the left. And since the moderate and conservative forces will never be comfortable with a public defender moving up in the political world, Adachi’s not going anywhere anytime soon.


Which is fine. He’s doing well at his day job. We wish he’d stuck to it and not taken on a divisive, expensive, and ill-conceived crusade to cut health care benefits for city employees.


 


SAN FRANCISCO SUPERIOR COURT


SEAT 15


MICHAEL NAVA


To hear some of the brahmins of the local bench and bar tell it, the stakes in this election are immense — the independence of the judiciary hangs in the balance. If a sitting judge who is considered eminently qualified for the job and has committed no ethical or legal breaches can be challenged by an outsider who is seeking more diversity on the bench, it will open the floodgates to partisan hacks taking on good judges — and force judicial candidates to raise money from lawyers and special interests, thus undermining the credibility of the judiciary.


We are well aware of the problems of judicial elections around the country. In some states, big corporations that want to influence judges raise and spend vast sums on trial and appellate court races — and typically get their way. In Iowa, three judges who were willing to stand on principle and Constitutional law and declare same-sex marriage legal are facing what amounts to a well-funded recall effort. California is not immune — in more conservative counties, liberal judges face getting knocked off the bench by law-and-order types.


It’s a serious issue. It’s worth a series of hearings in the state Legislature, and it might be worth Constitutional change. Maybe trial-court elections should be eliminated. Maybe all judicial elections should have public campaign financing. But right now, it’s an elected office — at least in theory.


In practice, the vast majority of the judicial slots in California are filled by appointment. Judges serve for four-year terms but tend to retire or step down in midterm, allowing the governor to fill the vacancy. Unless someone files specifically to challenge an incumbent, typically appointed judge, that race never even appears on the ballot.


The electoral process is messy and political, and raising money is unseemly for a judicial officer. But the appointment process is hardly pure, either — and governors in California have, over the past 30 years, appointed the vast majority of the judges from the ranks of big corporate law firms and district attorney’s offices.


There are, of course, exceptions, and Gov. Arnold Schwarzenegger has been better than his predecessor, Democrat Gray Davis. But overall, public interest lawyers, public defenders, and people with small community practices (and, of course, people who have no political strings to pull in Sacramento) have been frustrated. And it’s no surprise that some have sought to run against incumbents.


That’s what’s happening here. Michael Nava, a gay Latino who has been working as a research attorney for California Supreme Court Justice Carlos Moreno, was going to run for a rare open seat this year, but the field quickly got crowded. So Nava challenged Richard Ulmer, a corporate lawyer appointed by Schwarzenegger who has been on the bench a little more than a year.


We will stipulate, as the lawyers say: Ulmer has done nothing wrong. From all accounts, he’s a fine judge (and before taking the bench, he did some stellar pro bono work fighting for reforms in the juvenile detention system). So there are two questions here: Should Nava have even filed to run against Ulmer? And since he did, who is the better candidate?


It’s important to understand this isn’t a case of special interests and that big money wanting to oust a judge because of his politics or rulings. Nava isn’t backed by any wealthy interest. There’s no clear parallel to the situations in other areas and other states where the judiciary is being compromised by electoral politics. Nava had every right to run — and has mounted an honest campaign that discusses the need for diversity on the bench.


Ulmer’s supporters note — correctly — that the San Francisco courts have more ethnic and gender diversity than any county in the state. And we’re not going to try to come to a conclusion here about how much diversity is enough.


But we will say that life experience matters, and judges bring to the bench what they’ve lived. Nava, who is the grandson of Mexican immigrants and the first person in his family to go to college, may have a different perspective on how low-income people of color are treated in the courts than a former Republican who spent his professional career in big law firms.


We were impressed by Nava’s background and knowledge — and by his interest in opening up the courts. He supports cameras in the courtrooms and allowing reporters to record court proceedings. He told us the meetings judges hold on court administration should be open to the public.


We’re willing to discuss whether judicial elections make sense. Meanwhile, judges who don’t like the idea of challenges should encourage their colleagues not to retire in midterm. If all the judges left at the end of a four-year term, there would be plenty of open seats and fewer challenges. But for now, there’s nothing in this particular election that makes us fear for the independence of the courts. Vote for Nava.


 


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Music listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. 

WEDNESDAY 6

ROCK/BLUES/HIP-HOP

Aces Biscuits and Blues. 8 and 10pm, $15.

Caribou, Emeralds Regency Ballroom. 9:30pm, $22.

Child Abuse, Burmese, Death Sentence: Panda Elbo Room. 10pm, $7.

Continues, Felt Drawings, Bloody Snowman, Ssleeping DesiresS DNA Lounge. 9pm, $11.

Fences, Head and the Heart, Winter’s Fall Rickshaw Stop. 8pm, $10.

Fortune 500, Gem Tops, Barrel Riders Rock-It Room. 9pm, $8.

Lissie, Dylan LeBlanc Great American Music Hall. 8pm, $15.

Plastic Fantastic Lover, Jugtown Pirates, 21st Century Bottom of the Hill. 9pm, $8.

Raw Power, Irritones, Neon Maniacs, Corruptors Knockout. 9:30pm, $8.

Angus and Julia Stone, Bhi Bhiman Independent. 8pm, $16.

Hawksley Workman, Connie Lim, Sonia Rao Hotel Utah. 8pm, $10.

FOLK/WORLD/COUNTRY

Moh Alileche Yoshi’s San Francisco. 9pm, $7. With dance artist Rasa Vitalia.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

VG Plus Hemlock Tavern. 9pm, free. With DJ Skips N Pops and DJ Jessica B.

THURSDAY 7

ROCK/BLUES/HIP-HOP

Devotionals, Honeycombs Amnesia. 9pm, $3.

Ferocious Few, Oona Café Du Nord. 10pm, $10.

Flood, Cuzo, Glitter Wizard Eagle Tavern. 9:30pm, $6.

Glass Candy, Chromatics, DJ Mike Simonetti, Soft Metals, DJ Omar Rickshaw Stop. 9pm, $15.

Klaxons, Baby Monster Great American Music Hall. 9pm, $18.

Land of Talk, Besnard Lakes, Suuns Independent. 8pm, $15.

Aimee Mann Yoshi’s San Francisco. 8pm, $35.

Night Horse, Hot Lunch, Lecherous Gaze Hemlock Tavern. 9pm, $7.

Curtis Salgado Biscuits and Blues. 8 and 10pm, $18.

Tera Melos, Skinwalker, Glaciers Bottom of the Hill. 9pm, $10.

FOLK/WORLD/COUNTRY

Heather Combs, Ryan Auffenberg, Mike Gibbons, Walty Hotel Utah. 8pm, $8.

Dark Hollow Band Atlas Café. 8pm, free.

*Devotionals, David and Joanna Amnesia. 9pm, $8.

Grupo Fantasma Yoshi’s San Francisco. 10:30pm, $20.

Leni Stern Coda. 10pm, $10.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Studio SF Triple Crown. 9pm, $5. Keeping the Disco vibe alive with authentic 70’s, 80’s, and current disco with DJs White Girl Lust, Ken Vulsion, and Sergio.

FRIDAY 8

ROCK/BLUES/HIP-HOP

Abney Park, Vernian Process, Unextraordinary Gentlemen DNA Lounge. 9pm, $23.

Birdmonster, Nervous Wreckords, Kid Mud Café Du Nord. 9:30pm, $12.

Blank Tapes, Rad Cloud, Tall Tales and the Silver Lining, Ryan Parks Amnesia. 9pm, $5.

Bobby Joe Ebola and the Children McNuggits, Angel and Robot Show, Emily’s Army, Secretions Thee Parkside. 9:30pm, $8.

Dainty, Le Verita, Jon Bennett Brainwash Café, 1122 Folsom, SF; www.brainwash.com. 8pm, free.

Greg Dale, Stefan Grant, These Are Not My Ancestors Hotel Utah. 9pm, $10.

East Bay Grease, Switchbacks Hemlock Tavern. 10pm, $5.

*Fool’s Gold, Bitter Honeys, Soft White Sixties Rickshaw Stop. 8:30pm, $12.

Matt Hires, Drew Holcomb and the Neighbors, Cloud Nothings Bottom of the Hill. 10pm, $10.

Aimee Mann Yoshi’s San Francisco. 8pm, $35.

McCabe and Mrs. Miller, Bye Bye Blackbirds Make-Out Room. 7:30pm, $7.

Nighthawks Biscuits and Blues. 8 and 10pm, $20.

Sea Wolf, Sera Cahoone, Patrick Park Independent. 9pm, $15.

Tom Tom Club, Paul Ryder, Motion Potion Great American Music Hall. 9pm, $26.

JAZZ/NEW MUSIC

Amick Byram CEBC, 801 Silver, SF; www.eventbee.com/view/amickbyramsf. 8pm, free.

Marcus Shelby Orchestra’s MLK Jewish Community Center of San Francisco, 3200 California, SF; www.sfjazz.org. 8pm, $20-30.

Mike Dillon’s Go-Go Jungle, Earl and Mike Duo Coda. 10pm, $12.

Paula West with George Mesterhazy Quartet Herbst Theater, 401 Van Ness; www.sfperformances.org. 8pm, $30-50.

FOLK/WORLD/COUNTRY

Heather Ambler and Jim Goodkind Mercury Café, 201 Octavia, SF; (415) 252-7855. 7:30pm, free.

“Americana Jukebox” Slim’s. 8:30pm, $14. With Misisipi Rider, Whisky Richards, Belle Monroe and Her Brewglass Boys, and Bluegrass Revolution.

Meredith Axelrod and Craig Ventresco Amnesia. 7pm, free.

Grupo Fantasma Yoshi’s San Francisco. 10:30pm, $20.

World Percussion Arts Festival Dance Mission Theater, 3316 24th St., SF; (415) 826-4441. 8pm, $25.

DANCE CLUBS

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fo’ Sho! Fridays Madrone Art Bar. 10pm, $5. DJs Kung Fu Chris and Makossa spin rare grooves, soul, funk, and hip-hop classics.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Garden Triple Crown. 9pm, $8. With DJs Inland Knights, M3, and Deron Delgado.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Heartical Roots Bollywood Café. 9pm, $5. Recession friendly reggae.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Singapore 60’s The Knockout. 5:30pm, free. DJ Sid Presley spinning rare pop, garage, and freakbeat from Singapore and SE Asia.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Strictly Video 111 Minna. 9pm, $10. With VDJs Shortkut, Swift Rock, GoldenChyld, and Satva spinning rap, 80s, R&B, and Dancehall.

Treat Em Right Elbo Room. 10pm, $5. Hip-hop, funk, reggae, and more with DJs B. Cause, Vinnie Esparza, and guest Goldmyne.

SATURDAY 9

ROCK/BLUES/HIP-HOP

Awesome Party, Serpent Crown, Evil Survives, Spellcaster Hemlock Tavern. 9:30pm, $6.

Cowboy Junkies, Watson Twins Bimbo’s 365 Club. 9pm, $35.

Ruth Gerson Hotel Utah. 8pm, $10.

Griffin House, Tyler James Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

Hard Girls, Ivy and Erick Amnesia. 7pm. Part of LitQuake, with readings by Blag Dahlia, Eric Lyle, and more.

Bruce Katz Biscuits and Blues. 8 and 10pm, $15.

LoCura, Manicato, DJ Funk-C Slim’s. 9pm, $16.

Moon Duo, Lilac Amnesia. 10pm, $8.

Particle Great American Music Hall. 9pm, $20.

Proj, Psychology of Genocide, Beet, MC Lynn Breedlove Thee Parkside. 9pm, $6.

Scene of Action, Felsen, Bird By Bird, Kindness and Lies Bottom of the Hill. 8:30pm, $12.

Bob Schneider, Bascom Hill, Smile Smile Independent. 9pm, $20.

Toro Ramire, Ideomeneo, Flash Bastards Thee Parkside. 3pm, free.

Wires in the Walls, Tenderloins Hotel Utah. 9:30pm, $8.

Zoo Station Blackthorn Tavern, 834 Irving, SF; www.blackthornsf.com. 9pm, $10.

JAZZ/NEW MUSIC

Amick Byram CEBC, 801 Silver, SF; www.eventbee.com/view/amickbyramsf. 8pm, free.

Anat Cohen and Avishai Cohen Congregation Sherith Israel, 2266 California, SF; www.sfjazz.org. 8pm, $25-50.

Dead Kenny Gs, Black Frames, Earl and Mike Duo Coda. 10pm, $12.

“On the Edge of Dark” Simm Series, Musicians Union Hall, 116 Ninth St, Sf; www.outsound.org. 8pm, $8-10. With Vinny Golia, Rent Romus, and the Lords of Outland.

Lavay Smith and Her Red Hot Skillet Lickers Café Du Nord. 9pm, $15. Performing the music of Duke Ellington.

Nikki Yanofsky Florence Gould Theatre, Legion of Honor, 100 Legion of Honor Dr, SF; www.sfjazz.org. 2pm, $25.

FOLK/WORLD/COUNTRY

World Percussion Arts Festival Dance Mission Theater, 3316 24th St., SF; (415) 826-4441. 8pm, $25.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx. Bootie vs. Booty Call DNA Lounge. 9pm, $6-12. Mash-ups with VJ Brewski, Smash-Up Derby, Adrian and Mysterious D, and Dada.

Cockblock Rickshaw Stop. 10pm, $5-7. Queer dance party with DJ Nuxx and friends.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Industry Mighty. 10pm, $25. With DJ Dave Aude and Jamie J Sanchez celebrating Fleet Week.

Lacquer! Milk Bar. 10pm, $5. With DJ Mario Muse vs. DJs Blondie K and subOctave spinning indie dance, electro, new wave, and disco.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormenta Tropical Elbo Room. 10pm, $15. Electro-cumbia with DJs El Guincho, El Hijo de la Cumbia, and DJs Disco Shawn and Oro 11.

SUNDAY 10

ROCK/BLUES/HIP-HOP

Anberlin, Crash Kings, Civil Twilight Regency Ballroom. 8pm, $20.

Frightened Rabbit, Plants and Animals, Bad Veins Fillmore. 8pm, $22.50.

Terry Hanck Biscuits and Blues. 8 and 10pm, $15.

Liz Phair Independent. 8pm, $25.

Rangers, Universal Studios Florida, Radiant Husk Hemlock Tavern. 8pm, $6.

“SF Bike Coalition Presents: Kestral Sound Review, Volume 2: Battle of the One-Man Bands” Café Du Nord. 8pm, $10. With A Magic Whistle, Mallard, Ricky Lee Robinson, Hanalei.

Slow Motion Cowboys, Virgil Shaw and the New Mid-City Band, Domestic Electrics Make-Out Room. 8pm, $7.

*Mark Sultan, Hunx and His Punx, Shannon and the Clams Rickshaw Stop. 8pm, $12.

Wannabe Texans, Mae McCoy and the Neon Stars Bottom of the Hill. 3pm, $10.

JAZZ/NEW MUSIC

Frank Jackson, Larry Vuckovich Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

“3rd Annual San Francisco Filipino American Jazz Festival” Yoshi’s San Francisco. 6pm, $45.

“On the Edge of Dark” Simm Series, Musicians Union Hall, 116 Ninth St, Sf; www.outsound.org. 7:30pm, $8-10. With Vinny Golia, Rent Romus, and the Lords of Outland.

FOLK/WORLD/COUNTRY

Meredith Axelrod and Craig Ventresco Atlas Café. 4pm, free.

Garett Brennan Bazaar Café, 5927 California, SF; (415) 831-5620. 6pm.

Calliope Amnesia. 7pm, free.

Quinn Deveaux Amnesia. 9pm, $7-$10.

Silver Threads, Merle Jagger Thee Parkside. 4pm, free.

World Percussion Arts Festival Dance Mission Theater, 3316 24th St., SF; (415) 826-4441. 6pm, $25.

DANCE CLUBS

Autobahn Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9pm, free. With DJs Shawn Ryan and Pat Les Stache and host Tristes Tropiques.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. International dub summit with Subatomic Sound System vs. Dubblestandart, featuring Emch and Paul Zasky, plus Devon D and DJ Sep.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Fresh Ruby Skye. 6pm, $25. A Columbus Day weekend T-dance with DJ Paul Goodyear.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Mini Non Stop Bhangra Rickshaw Stop. Noon-3pm, $5-10. Kid-friendly world music dance party.

Out Loud Festival Wrap Party Thee Parkside. 12:30pm, $6. With DJs Brown Amy and Carnita.

Pachanga Coda. 5pm, $10. Salsa dance party with DJs Fab Fred and Antonio and Orquestra La Moderna Tradición.

Religion Bar on Church. 3pm. With DJ Nikita.

Remember the White Party Disco Glas Kat, 520 4th St., SF; (415) 495-6620. 6pm, $25. With DJ Jerry Bonham spinning Trocadero Transfer classics.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 11

ROCK/BLUES/HIP-HOP

Capsula, Blammos Elbo Room. 9pm, $6.

Corin Tucker Band Great American Music Hall. 8pm, $17.

Eels Fillmore. 8pm, $27.50.

James, Ed Harcourt Regency Ballroom. 8pm, $28.

Remy Zero, Sanders Bohlke Café Du Nord. 8pm, $15.

*Valient Thorr, Red Fang, FlexXBronco Bottom of the Hill. 9pm, $12.

Brad Wilson and Rhythm Drivers Biscuits and Blues. 8pm, $12.

FOLK/WORLD/COUNTRY

Toshio Hirano Amnesia. 8:30pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with DJs Decay, Joe Radio, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 12

ROCK/BLUES/HIP-HOP

All That Remains, Asking Alexandria, Unearth, And She Whispered Regency Ballroom. 7:30pm, $24.

Bettie Serveert, Foxtail Somersault Café Du Nord. 9:30pm, $15.

El Ten Eleven, Baths, Sister Crayon Bottom of the Hill. 9pm, $12.

Fat Tuesday Band Biscuits and Blues. 8 and 10pm, $15.

Audrey Howard, Kate Kilbane, Meredith Axelrod Club Waziema, 543 Divisadero, SF; (415) 346-6641. 8pm.

Passenger and Pilot, Drew Victor, Pirate Radio Viracocha, 998 Valencia, SF; (415) 374-7048. 8pm.

Platinum Live SF Coda. 9pm, $10.

PS I Love You, Gold Medalists, Downer Party Hemlock Tavern. 9pm, $7.

Teenage Fanclub, Radar Brothers Fillmore. 8pm, $26.50.

Devin Townsend, Project Tesseract Slim’s. 8pm, $16.

DANCE CLUBS

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

 

Who’s trying to fast-track Parkmerced?

At a Sept. 30 Planning Commission meeting, several commissioners and community members raised concerns that project approval for Parkmerced, a development that will add thousands of new housing units to an existing residential complex, had been scheduled before anyone was really prepared to discuss it. It’s since been pushed back, but the attempt to rush it through drew fire nonetheless.

Land use attorney Sue Hestor said she’d discovered the day before the Planning Commission meeting that a final project EIR would be made available Oct. 7, with an approval hearing scheduled just two weeks later, on Oct. 21. That came as a surprise even to Hestor, who closely monitors development projects. “You cannot just drop a complex legal document on people two weeks before the hearing and say that is sufficient,” Hestor said. “Two weeks for a staff report for this project is insulting.” Prior to this notice, the hearing on Parkmerced was widely expected later in the year.

Christina Olague, vice-president of the Planning Commission, said during the meeting that the accelerated timeline was highly unusual. “I was hearing that we were going to be attempting to initiate this project on the 7th of October with an approval calendared for the following week,” she said. “And I was concerned that it felt, at that point, that it was a little bit out of the hands of the planning commission. When it comes to projects of this size, I just felt like that was too much of a rush to get it through, especially given that we are in the middle of CPMC with comments due the 19th of October.”

Olague said the process made her uncomfortable. “I felt a lot of our say was being removed from our realm and there were outside forces … other departments in the city that were kind of influencing it in a way that didn’t feel comfortable to me,” she said. “Also, historically … we have never done it that way. Usually we calendar an item for one week and then there’s a 20-day noticing period that allows members of the public to digest the information and review the information.” She added, “I just didn’t want the public to get the impression that we were favoring one project over other projects.”

Calvin Welch, an affordable housing activist, noted that Parkmerced developers have a laudable goal of preserving onsite rent-controlled units at the housing complex — but he had yet to see a draft of a development agreement outlining the details of that plan. The planning commissioners hadn’t seen that document, either. Welch suggested more time was needed to review the terms of the agreement.

If the Planning Commission had approved Parkmerced on this accelerated schedule, it might have gone to the Board of Supervisors for approval before the end of the year, so the votes would’ve easier to count than if the project went before a new class of Supes in 2011.

The Guardian reported earlier this month that Mayor Gavin Newsom received a $1,000 campaign contribution for his bid for lieutenant governor from Craig Hartman, a design partner for Parkmerced, plus $2,000 from two executives associated with the project. AECOM, which is completing technical studies for the project, gave him campaign donations totaling $13,000.

Speaking to a crowd of real-estate professionals and representives from the business community a couple weeks ago, Newsom urged them to get involved in district elections in order to avoid “a dramatic shift” that would occur if the wrong people get elected to local office in November.

Did the mayor’s office lean on the planning department to rush the approval of Parkmerced in order to ensure a more predictable outcome? We emailed Newsom’s press secretary, Tony Winnicker, with questions, and we’ll be sure to post a response if we receive one.

 

Dollars or sense?

28

rebeccab@sfbg.com

It’s no secret that San Francisco is a particularly costly place to live. It consistently ranks in the top 10 most expensive cities nationwide, and it isn’t uncommon to see people renting out their walk-in closets as makeshift bedrooms to make ends meet.

There’s ample evidence that the city’s market-rate housing is out of reach for many families, middle-class workers, and low-income populations, particularly during the recession. Yet the shortage of affordable housing is a problem that is going largely unaddressed at City Hall.

The city’s General Plan estimates that a full 61 percent of new housing would have to be affordable to satisfy the housing needs of city residents, but even the most demanding development standards fall far short, producing only about half that amount. And while most new affordable housing is built for low-income people, a sizable portion is intended for first-time homebuyers with salaries at the highest threshold of affordability. In recent years, about one-third of new “affordable housing” was built to sell to people with “moderate” incomes.

So as big plans are mapped out for new residential developments composed of mostly market-rate units, what’s the strategy for addressing the underlying affordability gap? And will it ever be enough to keep from further turning San Francisco into a city of rich people while its workers are forced to live elsewhere?

This map, which appears in San Francisco’s Five-Year Consolidated Plan, charts concentrations of low- and moderate-income households in the city using HUD 2000 income data. Under federal guidelines, people with low and moderate income could be eligible for affordable housing.

A San Francisco Unified School District proposal to create new housing for San Francisco teachers underscores just how mismatched housing prices are to income. The National Low Income Housing Coalition (NLIHC) estimates that San Francisco renters paying market rate in 2010 would have to earn $56,240 to afford rent a one-bedroom apartment, $70,400 for a two-bedroom unit, and $94,000 for a three-bedroom unit, assuming they spend no more than about one-third of their income on housing.

A starting teacher’s salary in San Francisco is $50,000, so early-career educators may feel the squeeze. A survey of teachers conducted for the proposal found that 81 percent of respondents were renters, most living with unrelated roommates. More than half had plans to relocate in five years to a city where they could afford to be homeowners.

Housing was a hot-button issue at the Sept. 16 Planning Commission hearing on the environmental impact review for a hospital and housing complex that California Pacific Medical Center wants to build near Van Ness Avenue.

“The CPMC EIR fails miserably to analyze the income of the CPMC work force, and where it’s supposed to be housed,” affordable housing advocate Calvin Welch told the Guardian. “It’s a profoundly important question. If they are [providing] jobs that produce incomes that are insufficient to pay for average market-rate housing in San Francisco, who’s responsibility is it going to be to build housing for that workforce?”

 

WHO CAN AFFORD IT?

San Francisco has a reputation as a diverse, politically engaged hub that supports emerging artists, independent thinkers, and advocates for youth, workers’ rights, healthy ecosystems, protections for the most vulnerable segments of society, and hundreds of other causes. Without economic diversity — which is only possible when housing is available to people with a range of incomes — it might be a different place.

NLIHC estimates that 65 percent of San Francisco households are renters, and a significant number are what the Mayor’s Office of Housing (MOH) calls “cost-burdened,” shelling out more than a third of their incomes on rent. To get by, tenants have been known to cram roommates in like sardines, or cling tenaciously to a rent-controlled unit.

In a thick report outlining affordable housing goals for 2010–14, MOH and two other city agencies clearly articulate the housing challenges facing low-income renters. For one thing, the report says rents are going up despite the economic recession and declining home prices. And most people’s salaries don’t stretch far enough to cover those high prices. Even though there are 16 billionaires and some fabulously wealthy CEOs residing in San Francisco, the majority of people work in more mundane occupations like waiting tables, retail, office work, nonprofit jobs, teaching, health care, or public service.

The MOH report notes that despite the city’s relatively high median income, there’s a widening gap between top earners and people on the lower end of the spectrum, so few households actually wind up in that middle zone. “In fact, over a quarter of San Francisco’s population earns under 50 percent of [area median income],” the report states. For individuals in 2010, this translates to one in four people earning $34,800 or less. Compounding that problem are recent unemployment figures indicating that nearly one in 10 is jobless.

About one half of San Francisco’s population is considered low- or moderate-income, the housing report notes, using the standards used to formulate affordable housing prices. MOH uses a tiered income matrix, calculated using federal guidelines, to determine who could qualify for housing below the market rate. If you make $20,900 or less, you’re counted as “extremely low income.” You’re “very low income” if you make between $21,000 and $34,800, “low income” if you earn between $35,496 and $55,700, and if you make between $56,376 and $83,500, you count as “moderate income.” Even these figures are skewed higher because they include data from wealthy Marin County. As a point of comparison, U.S. Census data estimates that the median income for American workers was $29,530 over the last several years.

Most of the new affordable housing constructed in San Francisco is aimed toward people in the lowest ranges, but in recent years one-third was built for those with moderate incomes, which could gentrify some parts of the city. “Supervisorial Districts 3, 6 and 10 had rates of more than 40 percent extremely low and low-income,” the MOH report notes. “These three districts make up the entire eastern part of the city.”

A Guardian analysis of Bureau of Labor Statistics occupational and wage estimates for 2009 suggests that about 71 percent of people who work in San Francisco (many commute from less expensive places) earned less than that highest “moderate” salary limit of $83,500. It suggests that the vast majority of the workforce could not afford market-rate housing unless they sought it in pairs or groups.

“A big issue is the inability of San Francisco’s employment market to produce jobs that pay people enough to afford housing,” Welch says. “There’s a mismatch between market-rate income and market-rate housing costs. We’re housing somebody else’s workforce.”

Another stab at assessing the affordable housing need gazes into the future. The Housing Element of the San Francisco General Plan includes an estimate for the city’s future housing needs for the better part of the decade. The city should build 31,200 new housing units to meet its need, the General Plan says, and “at least 39 percent of these new units must be affordable to very low and low-income households. Another 22 percent should be affordable to households with moderate incomes.”

What this adds up to is a full 61 percent of new residential development in San Francisco ought to be dedicated to some form of affordable housing. The calculation reveals a lot about the condition San Francisco is in, but it might as well be chalked up as a hollow academic exercise. Indeed, the report deems this goal “unrealistic.” The reality of the market and chronic government deficits ensures that there will not even be an attempt to meet it.

 

IF YOU BUILD IT

The trouble with affordable housing is that developers won’t build it unless there is a financial incentive. “The only way it works is not in the marketplace,” Welch said. “There’s no such thing as affordable land, affordable sheetrock, affordable architects, or affordable engineers. The profound condition … is that the market cannot produce affordable housing.” As long as developers can make higher profits building market-rate, they will.

That’s why government steps in to subsidize or mandate new affordable housing construction or preserve existing stock. Under the Inclusionary Housing Ordinance, if developers decide not to build the required 15 percent of affordable units, they must pay an in-lieu fee that gets funneled into an affordable housing fund.

In a good year, MOH Executive Director Douglas Shoemaker told the Guardian, the city receives $10 to $15 million from these fees, which is used in partnership with developers to build affordable projects. That system hasn’t worked so well lately. Last year funds for affordable housing were depleted instead of bolstered. Developers who paid their fees in anticipation of building new projects requested refunds after their projects were stalled, Shoemaker told the Guardian, so MOH gave back up to $12 million to developers instead of using that money to build new affordable housing.

This year, Mayor Gavin Newsom introduced what he called an “economic stimulus” program that allowed developers to defer payment of in-lieu fees. This guarantees that it will be a long, long time before new affordable housing can be built using those funds. So as it stands, the inclusionary housing law isn’t so effective at producing new affordable housing.

Projects done in conjunction with the San Francisco Redevelopment Agency, meanwhile, do include higher portions of affordable housing. With all of the planned Redevelopment projects combined — Treasure Island, the Hunter’s Point shipyard, and others — the city can expect to see perhaps 7,000 new affordable housing units in coming years, a portion of which will be condos meant for people in the “moderate” income range. It may well be better than other cities have offered, but it doesn’t begin to address the true need for more than 19,000 units outlined in the General Plan.

Shoemaker noted that San Francisco is a cut above the rest when it comes to affordable-housing requirements. “I just don’t think you could find a city that has more aggressive goals,” he said, noting that in major redevelopment areas, “We’re getting like 30 percent of homes to be affordable on some level.” Yet Shoemaker acknowledged, “the need is intense,” and “there’s more people we would like to serve.”

Olson Lee, deputy executive director of the San Francisco Redevelopment Agency, also described San Francisco as taking a very aggressive stance on affordable housing. Redevelopment devotes 50 percent of its tax-increment financing to affordable housing, where the state requires just 20 percent, Lee said. And some Redevelopment project areas include twice as much affordable housing as is required by state law, he added. “The city has done a tremendous amount of affordable housing,” he said. However, “the fact of the matter is, there’s a greater demand for affordable housing than the number of units.”

From 2005 to 2009, there were 3,607 new affordable housing units constructed, mostly for people at the lowest end of the pay scale, MOH reports. But in that same time frame, 3,465 rental units were converted to condominiums. One could argue that the city essentially broke even with its affordable housing stock in a decade where housing prices almost doubled. As San Francisco housing prices skyrocketed, the city’s 170,000 rent-controlled units served as the saving grace for the majority who couldn’t afford market-rate, and condo conversions continue to threaten the erosion of that very significant housing stock.

Debra Walker, a candidate for District 6 and a tenant representative on the Building Inspection Commission, told the Guardian that she believes a new financing system is needed for affordable housing. “The argument for development is that we get affordable housing money out of it,” she said, but “the inclusionary doesn’t get us enough housing. We cannot include affordable in those high-rises, because they’re so expensive to build.”

She has talked up the idea of a real estate transfer tax that would create a dedicated fund that could then be used in partnerships with affordable-housing developers. Shoemaker, for his part, noted that having a dedicated revenue stream for affordable housing would be very helpful. A committee comprised of the San Francisco Planning and Urban Research Association, Welch, developer Oz Erickson, and Shoemaker was formed earlier this year and actually arrived at a deal, but Newsom ultimately rejected it. Other creative solutions, Walker says, might include reusing shuttered commercial properties or building cheaper by design using different building materials. “It’s about looking at what it is we need,” she said, “and realizing people are in a pinch.”

The greatest complicating factor of the current system, in which the city relies on market-rate development to get new affordable housing, is that even though there a some 40,000 new residential units in the pipeline, developers can’t secure financing to start building them. For now, in the down economy, they only exist on paper.

“They’ll never get built,” Welch predicts, and as long as Newsom continues to extend entitlements for those planned projects in hopes that the market will get a jump, “it’s freezing September 2008 conditions, evidently forever,” limiting opportunities to build something more reasonable.

“They’re zombies,” Welch added. “Who the fuck is going to pay $2 million for a new condo when they can buy a $4 million building for $1 million in foreclosure?” But if the need for affordable housing began to be addressed, he said, something might start to happen. “If you converted half the pipeline units to rental,” he theorized, “they might get built.”

Needed: a public health master plan

1

California Pacific Medical Center’s plan to build a massive new regional hospital on Van Ness shouldn’t be under the jurisdiction of the Planning Commission

EDITORIAL More than 100 people showed up at the Planning Commission Sept. 23 to oppose California Pacific Medical Center’s plan to build a massive new regional hospital on Van Ness Avenue. Most were neighborhood residents who raised an excellent point: what, exactly, would the shiny new $2.5 billion hospital offer for low-income people in the Tenderloin?

And that’s just the starting point for discussion. The new project is a piece of a much larger plan: CPMC wants to shut down part of its Laurel Heights campus, reduce the number of beds and the scope of service at St. Luke’s, turn Ralph K. Davis into a specialty facility, and reshape the way health care is provided in San Francisco.

That’s a huge deal — but right now, the city is looking at the projects piecemeal. That’s poor public health policy and poor land-use planning. In fact, there’s no real way to evaluate the Van Ness hospital in its proper context — the Planning Commission, which will rule on the development issues, is hardly the best venue in which to discuss the future of health care in San Francisco.

So new legislation by Sup. David Campos is critical to injecting some sanity into this, and the larger, health facilities debate. The Campos legislation would mandate a citywide Health Care Services Master Plan and would require that all new hospital development, public or private, be consistent with that plan. It’s a pretty basic concept, and it’s hard to imagine that nobody’s suggested this before.

San Francisco has a large, complex network of facilities providing health care — a big public hospital, a university hospital system (University of California San Francisco), a series of public and nonprofit community clinics, half a dozen private hospitals run by two competing chains (CPMC and Catholic Healthcare West), and one health maintenance organization (Kaiser). Some provide unique services, some provide competitive services — and there are some critical services that are hard to find anywhere.

It’s hard to say whether the city needs what CPMC is proposing — a gigantic medical center that some have described as the Mayo Clinic of the West, designed to attract patients from all over the region — without any sort of overall plan. How would the new facility and the CPMC restructuring affect services at St. Luke’s, a critical part of the health care infrastructure in the Mission? Where would patients who rely on Davies for emergency and clinical care in the Castro district wind up? How about all the medical office buildings and doctors’ offices situated near hospitals that are about to change?

How will CPMC’s moves affect low-income-patient care? How does the project fit in with the new Obama health care policies and the city’s own Healthy San Francisco program? Will a new hospital on Van Ness increase access to primary and emergency care for residents of the Tenderloin — or will they be shuttled somewhere else while the high-end facility caters to better-off patients seeking expensive specialty procedures?

Those aren’t land-use decisions — and while some Cathedral Hill residents argue that the new hospital will cause traffic problems, the biggest issues go beyond the scope and expertise of the city Planning Department.

Under the Campos bill, the Public Health Department would develop a master plan (which public health director Mitch Katz says can be done with existing resources), the Health Commission would review that plan, hold public hearings, and sign off on it — and city planners and health officials would have to make sure that new health-related development met existing and future public needs.

The supervisors should pass the bill and get the process going as quickly as possible. And they should refuse to sign off on any final version of the hospital plan until there’s a city framework in place — or at the very least, until CPMC can demonstrate that its citywide infrastructure plans are designed to meet public health needs. *

 

Needed: a public health master plan

0

EDITORIAL More than 100 people showed up at the Planning Commission Sept. 23 to oppose California Pacific Medical Center’s plan to build a massive new regional hospital on Van Ness Avenue. Most were neighborhood residents who raised an excellent point: what, exactly, would the shiny new $2.5 billion hospital offer for low-income people in the Tenderloin?

And that’s just the starting point for discussion. The new project is a piece of a much larger plan: CPMC wants to shut down part of its Laurel Heights campus, reduce the number of beds and the scope of service at St. Luke’s, turn Ralph K. Davis into a specialty facility, and reshape the way health care is provided in San Francisco.

That’s a huge deal — but right now, the city is looking at the projects piecemeal. That’s poor public health policy and poor land-use planning. In fact, there’s no real way to evaluate the Van Ness hospital in its proper context — the Planning Commission, which will rule on the development issues, is hardly the best venue in which to discuss the future of health care in San Francisco.

So new legislation by Sup. David Campos is critical to injecting some sanity into this, and the larger, health facilities debate. The Campos legislation would mandate a citywide Health Care Services Master Plan and would require that all new hospital development, public or private, be consistent with that plan. It’s a pretty basic concept, and it’s hard to imagine that nobody’s suggested this before.

San Francisco has a large, complex network of facilities providing health care — a big public hospital, a university hospital system (University of California San Francisco), a series of public and nonprofit community clinics, half a dozen private hospitals run by two competing chains (CPMC and Catholic Healthcare West), and one health maintenance organization (Kaiser). Some provide unique services, some provide competitive services — and there are some critical services that are hard to find anywhere.

It’s hard to say whether the city needs what CPMC is proposing — a gigantic medical center that some have described as the Mayo Clinic of the West, designed to attract patients from all over the region — without any sort of overall plan. How would the new facility and the CPMC restructuring affect services at St. Luke’s, a critical part of the health care infrastructure in the Mission? Where would patients who rely on Davies for emergency and clinical care in the Castro district wind up? How about all the medical office buildings and doctors’ offices situated near hospitals that are about to change?

How will CPMC’s moves affect low-income-patient care? How does the project fit in with the new Obama health care policies and the city’s own Healthy San Francisco program? Will a new hospital on Van Ness increase access to primary and emergency care for residents of the Tenderloin — or will they be shuttled somewhere else while the high-end facility caters to better-off patients seeking expensive specialty procedures?

Those aren’t land-use decisions — and while some Cathedral Hill residents argue that the new hospital will cause traffic problems, the biggest issues go beyond the scope and expertise of the city Planning Department.

Under the Campos bill, the Public Health Department would develop a master plan (which public health director Mitch Katz says can be done with existing resources), the Health Commission would review that plan, hold public hearings, and sign off on it — and city planners and health officials would have to make sure that new health-related development met existing and future public needs.

The supervisors should pass the bill and get the process going as quickly as possible. And they should refuse to sign off on any final version of the hospital plan until there’s a city framework in place — or at the very least, until CPMC can demonstrate that its citywide infrastructure plans are designed to meet public health needs.

Redevelopment throws Arc Ecology under the bus

3

No one was really surprised when the Redevelopment Commission voted 4-0 not to renew Arc Ecology’s contract to provide environmental information services regarding remediation plans at Hunters Point Shipyard and award it to Circle Point.

Sad and disgusted, yes. But surprised, no. That’s because everyone expected that Commissioners Leroy King, Darshan Singh, Rick Swig and Francee Covington, who are all appointees of Mayor Gavin Newsom, would throw Arc under the bus as payback for Arc’s decision to comment on the EIR for Lennar’s Candlestick Point/shipyard redevelopment plan and oppose the giving away of state parklands so Lennar could build luxury condos.

“The message was that we shouldn’t have commented ” Arc’s executive director Saul Bloom told the Guardian after the Commission vote went down. “But this you’re-either-on-our-side-or-out-of-a- contract attitude is completely bogus. It’s tactics that Republicans use against Democrats.”

And with the exception of Al Norman (who had the bad manners to burst out laughing when Arc got voted out) and Circle Point staffers, who obviously wanted the contract, those who attended the Commission’s September 21 meeting agreed that the outcome symbolized everything that’s wrong with Redevelopment’s current model of governance, in which political appointees, not elected officials, make decisions that majorly impact the city’s land use.

Thor Kaslofsky, Redevelopment’s shipyard project manager, kicked off the Commission’s contract discussions by explaining why Redevelopment Agency staff were recommending that the Commission award the contract to Arc Ecology.
As Kaslofsky explained, Circle Point received 0.2 points more than Arc from the Agency’s scoring panel, “making it difficult for the panel to determine who is the most qualified.”

Kaslofsky noted that there had been “concerns about Arc Ecology’s multiple roles in the community.”
This was a reference to the fact that, besides, providing independent assessments on the Navy’s clean-up plans, Arc produced “Alternatives For Study,” a report that studied alternatives to a plan that Lennar and the city refused to change–a public-private stubbornness that most recently resulted in a lawsuit from the Sierra Club and the Golden Gate Audubon Society.

“But the panel voted for Arc as the most qualified firm,” Kaslofsky concluded, noting that there were “concerns about Circle Point’s ability to ramp up”—a reference to the fact that though Circle Point has offices in Sacramento and downtown San Francisco, it doesn’t have a presence in the Bayview and little-to-no experience of the military base clean-up process.

Bloom then talked about how Arc has been active in the Bayview for decades.

“We’ve been in the Bayview for 25 years,” Bloom told the Commission. “We’ve read every environmental document that’s been produced. And our office is on Third Street,”
Bloom noted that after Arc scored the highest for Redevelopment’s environmental services contract in 2009, the Agency withdrew its request for proposals (RFP) leaving the community without Arc’s services—and without the services of the Navy’s community-based Restoration Advisory Board—at a time when the Navy was pushing clean-up plans that favor capping the shipyard’s heavily polluted Parcel E-2, rather than digging and hauling out the contamination.

As Bloom noted, the Agency’s contract RFP switcheroo, “caused significant costs to the community because we were unable to provide services at the same time the Navy’s RAB was closed down.”

After Bloom spoke, a stream of Bayview advocates testified in support of Arc.

“Arc is more knowledgeable about clean-up issues than most government regulators,” said Scott Madison, a member of the shipyard’s citizen advisory committee.
“The community asked for—and you granted—an independent contractor, a watch dog, not a lap dog,” Madison continued. “Circle Point may be technically qualified, but they are strangers to the Bayview. The Commission should have the courage to hire a watchdog, even at the risk of a nip at the heels.”

Michael Lynes, conservation director with the Golden Gate Audubon Society, which recently joined the Sierra Club in suing to block the city’s EIR on Lennar’s Candlestick/ shipyard plans, told the Commission that he found “the value provided by Arc to be absolutely essential.”

D10 candidate Eric Smith, a member of the Navy’s now defunct RAB, praised Arc for, “being fantastic in sharing the information.”
“There is no other organization that has their history, has done the work they’ve done, and has the relationship with the community,” Smith said, “With the loss of the RAB, Arc was the only place to go.”

Jackie Phillips of ACCE (Alliance of Californians for Community Empowerment) noted that how a lot of organizations come to the Bayview, but unlike Arc, few stay the course.
“I’ve gone to their workshops,” Phillips said. “They sat us down, they’ve taken us on tours, they’ve taken us to the toxic sites, they have shown us what these changes will mean.”

Phillips also expounded on the difficulty of winning the trust of the Bayview community.
“In the Bayview, we don’t know who to trust, because there have been a lot of broken promises,” Phillips said. “Arc did not try to hide things from us. They have a relationship with the community.”

Next up was Claude Eberhart, who said ordinarily he’d be happy to see Circle Point get the contract, because he likes their staff.
“But by rights, I can’t recommend that,” Eberhart said. “The issue is trust.”
Noting that he has worked with Arc since 1987 when he and Bloom fought plans to homeport the USS Missouri at the shipyard, Eberhart said that in terms of getting “clear, concise and correct information,” Arc is “one environmental organization we can rely on.”

Eberhart also noted that last year, when there was pressure to take a large chunk out of the Candlestick Point State Recreation Area so that the city/Lennar could build luxury condos on state parklands, “Arc stepped forward and provided the information we needed to achieve a community consensus and have the Sierra Club come up with the final deal that allowed for an exchange [of state parklands].”

John Eller, an organizer with ACCE, which co-signed the community benefits agreement that the Labor Council negotiated with Lennar to secure living wages and higher levels of affordable housing, noted that Commission President Rick Swig had spoken earlier in the meeting about how Cohen, Newsom’s former economic advisor, was a consensus builder.

“And that’s exactly what Arc has done over the years,” Eller said.

Kate Kelley, director of the Sierra Club’s San Francisco Bay Chapter, praised Arc’s integrity.
“The information it provided was balanced, responsive and certainly technically competent,” she said.

“This is not a baseball game,” Kelley continued, referring to Circle Point’s understandable claim that it rightfully won the contract based on the Agency’s scoring process. “This is about relationships and trust—and I trust Arc Ecology to do the right thing.”

Al Norman, who heads the Bayview Merchants Association, was the sole dissenter among Bayview residents who spoke at the meeting.
Norman claimed that Arc’s critique of the city’s EIR was somehow “a conflict of interest.”

But instead of providing evidence to support his claims, Norman launched into a personal attack.
“[Bloom] went against this agency and the community, concerning his alternative plan, when we already had a plan in place,” Norman said. “I think Circle Point deserves a chance.”

The son of the late Jesse Mason, who worked for Arc until he died this summer, spoke in support of Arc and Bloom.
“My father believed in Arc, he trusted Arc,” Mason said.

And Christine Johnson, secretary of the shipyard’s Citizen Advisory Committee, spoke of the pressing need in the Bayview for independent review of technical environmental documents.
“We feel it’s imperative to get immediate advice and expert opinion and to properly assimilate information,” Johnson said, referring to the Navy’s shipyard clean-up plans.
‘We’ve been without that advice for nearly a year.”

Terry Ander, whose organization is a member of the Southeast Jobs Coalition, which includes Brightline, Inner City Youth, Visitacion Valley Community Development Coalition and Young Community Developers, spoke highly of Arc.
“Arc Ecology deserves this contract,” Anders said, noting that the Bayview community has been part of “enough neglect and B.S. to last for ten life times.”

And D10 candidate Kristine Enea, a former member of the Navy’s RaB, urged the Commission to “support Arc and focus on the community’s need for information.”

Bayview community advocate Espanola Jackson stressed the need for accurate information from a trusted source, as opposed to politically comfortable lip service.
“We need the correct information and not the lies and the politics that have been played upon my community,” Jackson said.

After 17 folks spoke in favor of Arc, many of them registering surprise that there was talk of taking the contract away from a small Bayview-based non-profit, Bloom sought to correct any misinformation that had been spread about his organization.
Noting that Arc’s Alternative for Studies “was an attempt to do some problem solving,” Bloom observed how, “Instead, we got painted as an opponent to a bridge. We are a strong supporter of the development and we have put 300 people to work in the Bayview.”

But all this support and clarification was not enough to save Arc from being thrown under the bus.

Commissioners Leroy King, Francee Covington and Darshan Singh joined Commission President Rick Swig in calling for Arc’s ouster. And along the way, they variously accused Bloom of disloyalty, dishonesty and expectations of winning the contract. (The latter accusation was a tad ironic given that there are currently no term limits for Redevelopment commissioners, as evidenced by King who has sat on the commission for decades and has just been renominated by Mayor Gavin Newsom to serve yet another term.)

“I’m opposed to giving the contract to Arc,” Commissioner King said. “Each time, [Bloom] spoke opposed to Redevelopment,” King continued, without proffering any details to support his claims, but giving a disturbing insight into how he thinks organizations that contract with Redevelopment for $282,000 a year (the amount Circle Point will be paid for four years for the environmental services contract) should position themselves on all Agency-related issues.

“[Lennar’s] Kofi Bonner called me and said. ‘Will you chance your vote? We need him’” King said, acknowledging that he didn’t want to award the contract to Arc, when it first applied, four years ago.  “But every time [Bloom] was opposed to basic things to fill that shipyard. He talks against Lennar.”

Commissioner Covington confused the audience by pulling out a copy of the city’s response to comments on its EIR for Lennar’s redevelopment plans, even though the Redevelopment contract in question concerns assessing the environmental issues related to the Navy’s shipyard clean-up plans.

Covington then pointed to, but did not identify, letters that she claimed were from individuals who alleged their names were falsely included in a letter supporting Arc’s EIR comments.

Covington then told the audience that the Agency’s 50 percent small business enterprise standard in contract awards “ is a goal but does not apply to non-profits”.

And Commission President Swig, a hotel and tourism industry consultant, sought to frame Arc, which is respected as an independent non-profit, as an ungrateful consultant.
“As a consultant myself, I don’t agree with all my customers, but I don’t bite the hand that feeds me,” Swig said.

And then the Commission voted 4-0 to reject Arc—and award the contract to Circle Point.

Outside the meeting, a black mood reigned.
“It was political payback,” Scott Madison said. “I think the Commission made a bad choice.”

Mike McGowan. Arc’s senior scientist, noted that public support was 17-3 in favor of Arc.
“But I guess only four votes counted,” he observed. “It seemed that Redevelopment’s staff was in favor of Arc, as was the community except for a few voices, but the Commission kept harping on incidental issues. The truth is that there are no holes in our qualifications.”

McGowan noted that the environmental services contract relates primarily to Navy clean-up.
“Arc never got in the way of the development,” McGowan said. “What it did was participate more fully in the EIR process, and, as I understand, Lennar incorporated some of Arc’s suggestions into their design. But by Arc not having its contract for the last 18 months, a lot of misinformation floated to the top.”

McGowan noted that the spirit of the Agency’s policy on small business enterprises is to foster the development of small firms that are disadvantaged and local.
“And Arc definitely is smaller, less advantaged and based in the Bayview, but it seemed like a lot of personal animosity came up,” he said.

Bloom acknowledged that the loss of this contract is a serious economic blow for Arc.
“They screwed a local small non-profit in the face of a multi-million dollar organization that swathed itself in a couple of small Bayview businesses,” Bloom continued, referring to Circle Point’s inclusion of three local SBEs as sub-contractors in its contract proposal.

Others, speaking off the record for fear of political reprisal, told the Guardian that the Commission’s treatment of Arc—and its refusal to listen to community members and community-based organizations that represent many thousands of local residents—calls into question the need for Redevelopment to exist in its present configuration, if the Commission believes its priority is to fire contractors that disagree with its plans in other arenas.

“The Board can eliminate the Redevelopment Agency and/or change its governance,” a Bayview resident said. “The Bayview is the last frontier of the eastern side of San Francisco. It’s a historically neglected neighborhood that many folks in City Hall now see as the next potential gold mine.”

Death. In living color

6

The press coverage of the new execution chamber at San Quentin has been astonishing. Check out Kevn Fagan in the Chron:


The spacious $853,000 center has three brightly lit witness viewing rooms, and each gives a considerably better view than the cramped gas chamber’s lone, poorly illuminated viewing room.


It’s like a damn real-estate review. A bright, well-lit place with a great view. And in Marin County, no less. A bargain at the $800,000 the taxpayers coughed up for this construction job.


KTVU news last night wasn’t much better. Scott Shafer on KQED was a little more reasonable; at least he noted that “On some level it’s hard to imagine an execution being humane.” 


Folks, please: This is a room where people are going to be killed. Human beings. Strapped to a gurney, hooked up to an IV line and injected with poison. It’s ghastly, it’s disgraceful, it’s something that puts the United States far out of synch with the rest of the civilized world.


It’s also, by the way, insanely expensive; California pays more than $100 million a year to keep its death row operating, and according to the L.A. Times, it costs $250 million every time we kill someone.


It would have been nice to see a little perspective when the California Department of Corrections does a dog and pony show to present its latest killing machine.



 

The District 8 dilemma

13

tredmond@sfbg.com

Gabriel Haaland, a longtime queer labor activist, was talking to a friend from District 8 the other day, chatting about the race for a supervisor to fill the shoes of Harvey Milk, Harry Britt, Mark Leno, and Bevan Dufty. “She told me that she didn’t know who to vote for,” Haaland said, “because she didn’t know who the progressive was in the race.”

For supporters of Rafael Mandelman, that’s a serious challenge. “The polls are very consistent,” Haaland said. “Most of the voters in D-8 would prefer a progressive over a moderate, and when they know who the progressive is, they support that candidate.”

But oddly enough, although District 8 — the Castro, Noe Valley, and parts of the Mission — is one of the most politically active parts of the city, where voter turnout is consistently high, the supervisorial race is getting only limited media attention. The neighborhood and queer papers are doing a good job of covering the race, but for the rest of the media, it’s as if nothing’s happening. And that’s left voters confused about what ought to be a very clear choice.

The San Francisco Chronicle featured the District 6 race on the front page Sept. 19, with a long story about how demographic changes in the South of Market area would affect the successor to Sup. Chris Daly. District 10, with the mad political scrum of 22 candidates, no clear front runner and endorsements all over the map, has received considerable media attention.

Yet D–8 — which offers by far the most striking distinctions between candidates and the sharpest divisions over issues — has been flying under the radar.

Three major candidates are in the race, two gay men and a lesbian. All of them, for what it’s worth, are lawyers. Rafael Mandelman, who works for a firm that advises cities and counties, has the support of the vast majority of progressive leaders and organizations. Rebecca Prozan, a deputy district attorney, and Scott Wiener, a deputy city attorney, are very much on the moderate-centrist (some would say, by San Francisco standards, conservative) side of the political spectrum.

“As Barbara Boxer has said in her ads, the choice is clear,” Aaron Peskin, chair of the local Democratic Party and a Mandelman backer, told us. “Not to exaggerate, but this is like Boxer v. Carly Fiornia, and Rafael is our Boxer.”

Yet by almost all accounts, Wiener is ahead in the race.

 

ON THE ISSUES

The San Francisco Board of Supervisors has been roughly divided in the past decade between the progressive camp and moderate camp. And while those labels are hard to define (the Chronicle won’t even use the term “progressive,” preferring “ultraliberal”), most observers have a basic grip on the differences.

The moderates, who tend to support Mayor Gavin Newsom, are social liberals but fiscal conservatives. They talk about the city surviving budget red ink without major tax increases. They talk about controlling government spending and increasing public safety. The progressives generally see local government as underfunded after four years of brutal cuts and support the idea of raising new revenue to fill the gap. They support tenants over landlords, seek stronger protections for affordable housing, support Sanctuary City, and oppose sit-lie.

Certainly with Wiener and Mandelman, it’s abundantly clear where the candidates fall. The two agree on some things (they both oppose Prop. B, the pension-reform measure that would reduce health care payments for the children of city employees) and they both support nightlife. But overall, they take very different political stands.

Wiener told us, for example, that the city’s structural budget problems won’t be solved without cuts. “We’re not going to able to tax our way out of this,” he said in an endorsement interview. “We have to lower our expectations for government.”

Other than Muni, public safety, and core public health services, cuts “will have to be across the board,” he said. “What are the things we really can’t do without?”

Wiener supports the sit-lie proposal, saying that he doesn’t think the local police have the tools they need to get poorly behaving people off the streets. He doesn’t support Sup. Ross Mirkarimi’s measure mandating foot patrols because, he told us, he doesn’t think the supervisors should micromanage the Police Department.

Sup. Bevan Dufty, who currently holds the D–8 seat, has voted with the progressives occasionally — but almost never on tenant issues. And Wiener, who has the support of the rabidly anti-tenant Small Property Owners of San Francisco, is likely to follow that approach. Although he told us he supports rent control (which just about everyone in local politics agrees on at this point), he’s not a fan of additional protections against evictions and condo conversions. “I’m not prepared to go beyond what we have now” on eviction protections, he said. He supported Newsom’s plan to allow people to buy their way out of the waiting list and lottery for condo conversions.

And when it comes to public power, he’s to the right of the incumbent: Dufty has said repeatedly that he supports the city taking over Pacific Gas and Electric Co.’s infrastructure and putting the city in control of a full-scale public power system. Wiener says he supports community choice aggregation (CCA), but not full-scale public power.

Mandelman is a big supporter of local government and says, without hesitation, that the city needs more revenue. “The public sector is dramatically underfunded,” he told us in a recent interview. “There’s great wealth in the city and it needs to be tapped to preserve public services.” Mandelman said he’s not “tax happy,” but told us that the structure of how the city raises revenue is a mess. He supports a top-to-bottom review of the city’s revenue base with the goal of making taxation more progressive — and bringing in enough money to fund crucial services.

Mandelman is a foe of sit-lie, which he sees as punitive and ineffective. He opposes gang injunctions and supports Sanctuary City. And he’s a strong advocate for tenants, supporting stronger eviction protections and limits on condo conversions that take away affordable rental stock.

“You have to look at the candidates and ask what their priorities are,” he said. “Are the displacement of long-time residents critically important or something that’s not on the top of the list? Do you believe we need to rebuild the safety net? Or is queer politics all about property values?”

Prozan told us that she’s the one who can “bring the two sides together” and said that, like Dufty, she is “right up the middle.” She supports the hotel tax and the vehicle license fee and opposes sit-lie, but also thinks gang injunctions are a useful tool for law enforcement. She doesn’t see any reason to split appointments between the mayor and the supervisors for the board that oversees Muni or the Redevelopment Agency. She doesn’t think the city can or should do anything more about the conversion of rental property to tenancies in common, but supports the idea of taking over foreclosed properties to create housing for teachers, cops, and firefighters. So it’s safe to say the Prozan would probably be similar to the incumbent — with the progressives on a few things, against them on others.

 

UNDER THE RADAR?

Wiener and Mandelman agree on two basic points: there are stark differences between the candidates — and the city’s major media outlets aren’t paying enough attention. That’s probably because the relatively tame politics doesn’t compare to the sort of wild excitement you see in Districts 6 and 10.

“There’s less chaos than some of the other districts,” Wiener said. “The three major candidates are all hard-working, respected people who have all lived in the district a while.”

He also agreed that he and Mandelman have “very different visions” for the district and the city, and that there are sharp contrasts and divisions between the two candidates.

Prozan also argued that the political differences on issues aren’t going to be the only — or even the deciding — factor for many voters. “I think they’re looking for who’s got the courage and independence to do what’s right,” she told us.

But Mandelman told us there’s a crucial story here that needs to be told: “It’s a definitional fight about what the queer community is about in 2010. As goes D–8, so goes San Francisco.”

PG&E’s secret pipeline map

9

news@sfbg.com

>>CLICK HERE TO VIEW THE FULL-SIZE PG&E SECRET PIPELINE MAP (PDF)

It’s been nearly two weeks since the pipeline in San Bruno exploded and killed four people, injuring many more and destroying 37 homes. And it’s left a lot of people in San Francisco wondering: could it happen here?

Of course it could. PG&E has more than 200 miles of major gas pipelines under the city streets that are scheduled to be replaced — and that means they’re reaching the end of their useful life. Just like the pipe that blew up in San Bruno.

Are any running under your home or business? PG&E isn’t going to tell you.

That’s bad. “The public has a right to this information,” City Attorney Dennis Herrera told us. And Sup. Ross Mirkarimi has introduced a resolution calling on PG&E to make the locations of its pipelines, electric lines, and other potentially parts of the company’s infrastructure public.

But here’s what worse: even the city’s public safety departments — the ones that would have to respond to a catastrophic event involving a gas main break — don’t know where those lines are.

“I’m still looking for that map myself,” said Lt. Mindy Talmadge, a spokesperson for the Fire Department.

The city’s Public Utilities Commission, which, among other things, digs its own trenches to install and repair water pipes, doesn’t have the PG&E map. Neither does the the California PUC, which regulates PG&E.

It might also make sense for the City Planning Department to have the map; after all, zoning an area for the future development of dense housing that sits on top of an explosive gas main might be an issue. “People need to start holding PG&E accountable,” Planning Commission member Christina Olague told us. “Why shouldn’t PG&E release [the map] given the recent tragedy?”

PG&E insists that the exact location of the gas mains should remain secret because someone might want to use the information for a terrorist attack. But if the San Francisco Fire Department and Department of Emergency Services can’t get the map of the pipelines, something is very wrong. Even Sup. Sean Elsbernd, who has been allied with PG&E against public power issues, agreed that “the public safety agencies should certainly have that information.”

The Mirkarimi resolution urges PG&E “to cooperate with the city’s request for infrastructure information.” Mayor Gavin Newsom has already appointed the fire chief and city administrator to conduct a utility infrastructure safety review that would evaluate the location, age, and maintenance history of every pipeline underneath city streets.

Not every state allows utilities to keep this information secret. In both Washington and Texas, maps of underground pipelines are easily accessible, said Carl Weimer, executive director of the Bellingham, Washington-based nonprofit Pipeline Safety Trust. Texas even has an online system, he said.

But in California, PG&E keeps even essential safety agencies in the dark. If a fire came near where a PG&E pipeline was buried — or if an earthquake fractured some of the lines and gas started to leak — Talmadge said the San Francisco Fire Department wouldn’t be able to do anything about the explosive gas except call PG&E. Only the private utility can shut off the gas, which is under high pressure in the main lines.

“We radio to our dispatch center and request PG&E to respond … They would contact PG&E and have them respond,” she explained.

The department doesn’t prepare specifically for that sort of event. “We do not have a specific gas leak training … it would be more of a hazardous material training,” Talmadge said.

The remarkable thing is that much of the data the city doesn’t have — and PG&E won’t give up — can be pulled together from publicly accessible data. The major news media, particularly The Bay Citizen, have been pursuing the story and have run pieces of the map. Several newspapers and websites have published rough maps outlining where the major underground pipes are.

But as far as we know, nobody’s done a full-scale look at what the existing public records show.

Using information that the U.S. Department of Transportation has put on the Web, we’ve managed to put together a pretty good approximation of the secret map PG&E doesn’t want you to see.

We took a map from the DOT’s Pipeline and Hazardous Materials Safety Administration and layered it over a map of San Francisco. The maps of the southeast part of the city are more accurate; the information on gas mains going through the north and west side of town are sketchier. But the lines appear to run parallel to major streets, and we’ve put together a guide that at the very least can tell you if there’s a potentially explosive gas line in your neighborhood — and maybe even under your street.

Obviously, every house or business that has natural gas service — and that’s most of San Francisco — is hooked up to a gas pipe, and those feeder pipes run under almost every street. But the gas in those lines is under much lower pressure than the gas in the 30-inch main lines shown on this map, where pressure can reach 200 pounds per square inch. It was a main pipe that blew up under San Bruno.

It’s not surprising that the southeast — traditionally the dumping ground for dangerous and toxic materials — would have the most gas mains, and the most running through residential areas. One line, for example, snakes up Ray Street and jogs over to Delta Street on the edge of McLaren Park and near a playground. It continues under Hamilton and Felton streets, under the Highway 280 and onto Thornton Street before heading into the more industrial areas near Evans Avenue.

Another main line goes under the south side of Bernal Heights, running below Banks Street, around the park, then down Alabama Street to Precita Street, where it connects with 25th Street. That line then heads to Potrero Hill, where it follows Rhode Island Street to 20th Street.

Research assistance by Nichole Dial.

 

Tender is the ‘Loin

0

arts@sfbg.com

STAGE The sexes — more or less all of them — were at the heart of much of my first 48 hours at the San Francisco Fringe Festival, Exit Theatre’s 19th annual uncurated gamut-gamble. There, too, were the power trips, the pity fests, the nonsense, the reverence, and the dark-carnival mayhem that trails in all of its wake. Men solo, women on women, persons of uncertain gender in ensemble dances, L.A. cabbies driving down mammary lane, men in lab coats burning women at the stake — all of them were sources of grim or delirious laughter, vividly etched characters, a legit existential truth or two, and the occasional horrible theatrical misstep. Just what we go to the Tenderloin for.

In VITCH Slapped, Starr Ahrens, Nancy Kissam, and Diana Yanez of Los Angeles–based troupe The Gay Mafia lob a volley of comic sketches on the subject of, for want of a better term, women’s issues. It’s about harmony (of voices, of visions, of menstrual cycles) and breakdown (of patriarchy, sexual orientation, nervous and social conditions). Hence songs to the goddess-moon-mother from three loving sisters in paganism — or two loving "life partners" and one disgruntled ex–life partner. Hence a jack-booted lesbian speaking impeccable German with an audible whip-crack to each (surprisingly) meaningful morsel. Hence a vlog by two determined liberators of the female bod on a nude road trip across America, always one step ahead of propriety and in stride with the best of bad taste. This and more, in a show that makes up for only fitfully inspired material with focused performances and contagious exuberance.

In the same venue — namely, the Exit’s brand new, nicely appointed Studio Theater — man gets his retort in L.A.-based writer-performer James Schneider’s Man on Sex. But this solo outing is not up to the task. The promise in its title of frank truth-telling from a male perspective leads instead to a disappointing meander down a rather passive-aggressive lane, taken by a man frustrated that his wife has stopped having sex with him. Shallowly assuming the air of an innocent victim of some unnatural disaster, Schneider presents a monologue that lacks honesty as well as cohesiveness. It’s punched up (if not quite elevated) by a pseudo-Elizabethan rap called the "PeniFesto" and about half-dozen original songs that the actor sings to his own keyboard accompaniment. These range from the maudlin ("If Only I Liked Strippers") to the boorishly jaunty ("Tranny in a Tree"). The music conveys some dexterity and imagination, but the schmaltzy pop style, like the show’s overarching theme, often feels strained and misplaced.

Meanwhile, just down the hall in the Exit’s cozy Stage Left, The Burnings smacks its female subjects and the audience around. Writer-director Lili Weckler’s macabre poetry spins a sinuous narrative about three exploited laborers (Rebecca Kanengiser, Carla Pauli, and Lauren Spencer, all wild-eyed and draped in sack cloth mended with duct tape). Their stories are coaxed from them on pain of death, then capitalized on by an opportunist doctor (Pete Frontiera), aided by his willful henchman, The Interpreter. There’s energy and attitude right out of the box, but the play takes a while to heat up and never quite scorches, despite committed performances and lively staging. Beginning like something staged in a neighbor’s haunted house, The Burnings gains depth in its mixing of medieval misogyny with the more subtly sadistic, flagrantly commercial gestures of the therapeutic age. The music along the way — each actor plucks or strikes or squeezes sound from some little something — is sparely composed but well done. This is especially true of the resonant vocal harmonies.

Accomplished actor Dominic Hoffman’s solo show Last Fare will likely rank among the best within the 12-day festival. Beginning at the funeral of a Hollywood man who was mysteriously murdered, the story follows a noir-like path through interviews with several people acquainted to one degree or another with the victim. Hoffman imbues the half-dozen or so characters in his beautifully written play with palpable life — life slightly larger-than, in fact, in keeping with one cab driver’s observation that in Hollywood everyone thinks he or she is a movie star. Suffused with alternately wry and raucous humor, affecting but understated emotion, and flashes of genuine insight and wisdom, Last Fare lures us to the fateful site of apartment 609, only to meet us with surfaces so crystalline in their appearance, and solid in their depth, that they become as much mirror as doorway.

One show not seen in time for review but worth flagging for consideration is San Francisco–based writer-actor David Jacobson’s Theme Park. A hysterically funny and sharp excerpt at the San Francisco Theater Festival had phrases like "powerhouse," "Best of Fringe," and "creatively disturbed" written all over it. Also promising is The Burroughs and Kookie Show: Late Night in the Interzone. The title alone appeals, but knowing this RIPE Theater coproduction is the brainchild of writer-performer Christopher Kuckenbaker (whose recent performance credits include Beowulf: A Thousand Years of Baggage) seals the deal.

SAN FRANCISCO FRINGE FESTIVAL

Through Sept 19, $10–$12.99 ($45 for 5 shows; $75 for 10)

Various locations, SF

(800) 838-3006

Music listings

0

Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 15

ROCK/BLUES/HIP-HOP

Chapin Sisters, Rachel Efron Café Du Nord. 8pm, $12.

Honey, Gratitillium, Pow! Hemlock Tavern. 9pm, $6.

Jaguares, Los Cenzontles Fillmore. 9pm, $49.50.

James Colley Show, Allen Stone, Jo Henley, Joe Gil Hotel Utah. 8pm, $8.

Jeff the Brotherhood, Ty Segall, Tropical Sleep Rickshaw Stop. 8pm, $12.

*K.Flay Harlot, 46 Minna, SF; (415) 777-1077. 9pm, $5. Featuring special guests and DJs Kid Chris and Brother Bently spinning old school, hip hop, and soul.

Kim Lenz and the Jaguars, Quarter Mile Combo Verdi Club, 2424 Mariposa, SF; www.kimlenz.com. 9pm, $12.

Majesty, Parties, DJs Dirty Dishes and English Steve Knockout. 9pm, $5.

Marina and the Diamonds, Young the Giant Independent. 8pm, $15.

Menomena, Suckers, Tu Fawning Great American Music Hall. 8pm, $18.

Reaction, Crime Wave, Yes Go’s Bottom of the Hill. 9pm, $8.

*Tamaryn, Weekend, oOoOO, Nako and Omar Elbo Room. 9pm, $8.

Zoo, Swanifant, Clouds El Rio. 8pm, $3-5.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Breezin Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. With DJs Amy A and Brynnie Mac spinning yacht rock od smooth 70s.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 16

ROCK/BLUES/HIP-HOP

Bobby Radcliff Trio Biscuits and Blues. 8 and 10pm, $15.

Bonnie Doom, Real Nasty, Misisipi Rider Hotel Utah. 9pm, $6.

Jimmy Edgar, Loose Shus, Boys IV Men Rickshaw Stop. 9pm, $12.

Fucking Buckaroos, Baltic Cousins, Annie Bacon and Her Oshen Knockout. 10pm, $5.

Guella, Soda Pop Junkies, For the Kings Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 10pm, $10.

Hooray for the Riff Raff, Guilded Books Amnesia. 9pm, $5.

*Langhorne Slim, Or The Whale Independent. 8pm, $15.

Mission Players Coda. 9pm, $7.

Mike Posner Fillmore. 8pm, $30.

Release, Oola Rocksteady, Swoon, Amaya Slim’s. 9pm, $14.

Society of Rockets, Invisible Cities, Amores Vigilantes Bottom of the Hill. 9pm, $8.

*Tyvek, Nodzzz, Art Museums Hemlock Tavern. 9pm, $6.

White Barons, Space Vacation Thee Parkside. 9pm, $6. With Altercation Punk Comedy Tour’s JT Habersaat, Lisa Root, and Kleveland.

JAZZ/NEW MUSIC

Mercury Falls, Dave Mihaly’s Shimmering Leaves Ensemble Make-Out Room. 9:30pm, $12.

FOLK/WORLD/COUNTRY

Septeto Nacional de Cuba Yoshi’s San Francisco. 8 and 10pm, $18-26.

Somi, Sparlha Swa Café Du Nord. 8pm, $17.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz, plus guests Dunklebunt and Santero, spin Afrobeat, Tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

FRIDAY 17

ROCK/BLUES/HIP-HOP

Black Pacific, Static Thought, Stagger and Fall Bottom of the Hill. 9pm, $14.

Blisses B, Tyler Matthew Smith, Bryn Loosley Hotel Utah. 9pm, $8.

Bonerama, Sol Driven Train Red Devil Lounge. 8pm, $15.

Quinn Deveaux and the Blue Beat Review, Jugtown Pirates Independent. 9pm, $14.

Hostility, Almost Dead, Hysteria, Kingdom Fail Slim’s. 9pm, $14.

James Lanman and the Good Hurt, Horde and the Harem, Dylan Cannon Café Du Nord. 9:30pm, $10.

KK Martin Union Room at Biscuits and Blues. 8:30pm, $10.

Mist and Mast, Sands, Yeltsin Hemlock Tavern. 9:30pm, $7.

Pride and Joy Bimbo’s 365 Club. 9pm, $22.

Ratatat, Dom Warfield. 9pm, $32.

Lavay Smith and Her Red Hot Skillet Lickers Biscuits and Blues. 8 and 10pm, $20.

Venomous Concept, Kill the Client, Murder Construct, Population Reduction, DJ Rob Metal Thee Parkside. 9pm, $12-15.

FOLK/WORLD/COUNTRY

Meredith Axelrod and Craig Ventresco Amnesia. 6pm.

Benise Palace of Fine Arts, 3301 Lyon, SF; (415) 567-6642. 8pm, $48-58.

Freddy Clarke’s Wobbly World Rrazz Room. 7pm, $25.

Los Rakas, 40 Love, Yung Mars Project Elbo Room. 10pm, $8-10.

JAZZ/NEW MUSIC

Equinox Trio Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Fazz Enrico’s, 504 Broadway, SF; (415) 982-6223. 8pm.

Primavera Latin Jazz Band Savanna Jazz. 7:30pm, $8.

Sadao Watanabe Yoshi’s San Francisco. 8 and 10pm, $24-30.

DANCE CLUBS

Alcoholocaust Presents Riptide Tavern. 9pm, free. DJ What’s His Fuck spins old school punk rock and other gems.

Club Dragon Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. A gay Asian paradise. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Oldies Night Knockout. 9pm, $2-4. Doo-wop and one-hit wonders with DJs Primo, Daniel, and Lost Cat.

Radioactivity 222 Hyde, SF; (415) 440-0222. 6pm. Synth sounds of the cold war era.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa "Samoa Boy" spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Singapore 60s Happy Hour Knockout. 5:30-9pm, free. DJ Sid Presley spins rare pop and garage from SE Asia, crica 1964-72.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Summer Climax 1015 Folsom. 10pm, $25. Featuring a live band performance by Lena Katina of t.A.T.u. and DJs Aykut, Frenchy le Freak, Trevor Simpson, and more.

Three Kings of Stupid Rickshaw Stop. 9pm, $10. DJs BAS and Brother Grimm spin an eclectic mix.

SATURDAY 18

ROCK/BLUES/HIP-HOP

Tab Benoit Great American Music Hall. 9pm, $20.

Bonerama, Lubriphonic Red Devil Lounge. 8pm, $15.

John Lee Hooker Jr. Biscuits and Blues. 8 and 10pm, $22.

Kele, Does It Offend You Yeah?, Innerpartysystem, Aaron Axelsen, Miles Mezzanine. 9pm, $20.

Mother Hips Fillmore. 9pm, $20.

LB Muzac Enrico’s, 504 Broadway, SF; (415) 982-6223. 8pm, free.

New Up, Hundred Days, Moanin’ Dove Café Du Nord. 9:30pm, $15.

*No Means No, Bar Feeders, Ezee Tiger Bottom of the Hill. 10pm, $15.

Pantha du Prince, Sight Below Independent. 9pm, $15.

Religious Girls, Clipd Beaks, Grand Lake, Casy and Brian, Dashing Suns, Siddhartha, Color Chasm Thee Parkside. 4pm, $10-20.

Robot Hustle, CLAWS, Global Warming, Mr. Saturday, DJs Chris Orr and Beaner Amnesia. 9pm, $5.

Savage Republic, Carta Hemlock Tavern. 9:30pm, $8.

Swamees, Felsen, Jay Trainer Band El Rio. 3pm, $8.

JAZZ/NEW MUSIC

Denise Perrier and the Swing Fever Band Rrazz Room. 7pm, $30.

Suzanna Smith Quintet Savanna Jazz. 7:30pm, $8.

Sadao Watanabe Yoshi’s San Francisco. 8 and 10pm, $30.

FOLK/WORLD/COUNTRY

Benise Palace of Fine Arts, 3301 Lyon, SF; (415) 567-6642. 7pm, $48-58.

En Vivo, Tony Lindsay, Gladiators of Rock Slim’s. 8pm, $16.

Octomutt and friends Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Booty Bassment Knockout. 10pm, $5. Hip-hop with DJs Ryan Poulsen and Dimitri Dickenson.

Cock Fight Underground SF. 9pm, $7. Gay locker room antics galore with electro-spinning DJ Earworm, MyKill, and Dcnstrct.

Fire Corner Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

Fringe Madrone Art Bar. 9pm, $5. With DJs Blondie K and subOctave spinning indie music videos.

Full House Gravity, 3505 Scott, SF; (415) 776-1928. 9pm, $10. With DJs Roost Uno and Pony P spinning dirty hip hop.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Non Stop Bhangra Rickshaw Stop. 9pm, $15. Live dhol rhythms, DJs, and dance performances by Dholrythms Dance Troupe.

Prince vs. Michael Madrone Art Bar. 8pm, $5. With DJs Dave Paul and Jeff Harris battling it out on the turntables with album cuts, remixes, rare tracks, and classics.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Saturday Night Soul Party Elbo Room. 10pm-2am, $5. DJs Lucky, Paul Paul, and Phengren Oswald spin butt-shakin’ ’60s soul on 45.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 19

ROCK/BLUES/HIP-HOP

Airborne Toxic Event, Calder Quartet Regency Ballroom. 8pm, $22-30.

"Bay for the Bayou Benefit" Bimbo’s 365 Club. 7pm, $75-150. With Anders Osborne, George Porter Jr., Ivan Neville, Zigaboo Modeliste, and more.

Karen Bein, Chris Cotton, John Henry and Dorothy Wood Hotel Utah. 8pm, $10.

Cult, Black Ryder Warfield. 8pm, $38.50-100.

Epidemia Rickshaw Stop. 7pm, free.

Grand Lake, Hosannas, Laura Stevenson and the Cans Hemlock Tavern. 8pm, $6.

*Hellbeard, Floating Goat, Gritter, Hashashin, DJ Rob Metal Thee Parkside. 8pm, $8.

Human Condition, Slow Motion Cowboys, Brothers Comatose Bottom of the Hill. 5pm, $8.

Lyfe Jennings Independent. 8pm, $27.

Jim Jones Revue, Bare Wires, Coasting Great American Music Hall. 8pm, $14.

*Melvins, Totimoshi Slim’s. 9pm, $21.

Peter Rowan, Elizabeth Cook Café Du Nord. 8pm, $20.

Tim Hockenberry Band Rrazz Room. 7:30pm, $25.

FOLK/WORLD/COUNTRY

Hipwaders Park Chalet, 1000 Great Highway, SF; (415) 386-8439. 3pm, free.

Jesus Diaz Latin Ensemble Coda. 8pm, $10.

DANCE CLUBS

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

Culture Profetica Mezzanine. 7pm, $27.50. With Toy Selectah, Manicato, and DJ Walt Digz.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. DJ Sep, Ludichris, and J Boogie spin dub, roots, and classic dancehall.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 20

ROCK/BLUES/HIP-HOP

Charlatans UK, Giant Drag, DJs Aaron and Omar Bimbo’s 365 Club. 8pm, $25.

Efterklang, Buke and Gass, Silian Rail Bottom of the Hill. 9pm, $12.

Frankie and the Outs, Hunx and His Punx, Lilac, Wax Idols, DJ Primo Rickshaw Stop. 7:30pm, $12.

Hanson, A Rocket to the Moon, Red Light Circuit Great American Music Hall. 7:30pm, $35.

David Landon Biscuits and Blues. 8 and 10pm, $15.

Peck the Town Crier, Roy G Biv Elbo Room. 9pm, $8.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 21

ROCK/BLUES/HIP-HOP

Cloud Cult, Mimicking Birds Independent. 8pm, $15.

Do, El Olio Wolof, Please Do Not Fight Bottom of the Hill. 9pm, $15.

Electric Sister, Mendozza, Hexe Hemlock Tavern. 9pm, $7.

Hanson, A Rocket to the Moon, Motel Drive Great American Music Hall. 7:30pm, $35.

Lightning Swords of Death, Pathology, Deafheaven, Cyanic, DJ Rob Metal Thee Parkside. 8pm, $8-10.

Lion Riding Horses, Greenflash Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 7pm, free.

Joanne Shaw Taylor Biscuits and Blues. 8 and 10pm, $15.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJs Heiko and What’s His Fuck.

Brazilian Wax Elbo Room. 9pm, $7. Samba with DJs Carioca and Fausto Sousa and guests Mucho Axe and Borucoe.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Play at work, or more at play?

8

rebeccab@sfbg.com

There’s a long-standing perception in San Francisco that certain development firms are treated more favorably than others thanks to insider politics. And while supporters of Mayor Gavin Newsom say he’s cleaned up the pay-to-play culture, a look at the list of contributors to Newsom’s run for lieutenant governor at the very least raises questions.

For example, according to campaign filings, Newsom received $6,500 from a business called 706 Mission Street Co. LLC, which was formed to construct a condo high-rise at Yerba Buena Center. The building would also be a new permanent home for the city’s Mexican Museum. The 706 Mission project, which has been in the works for several years, is a joint venture between developer Millennium Partners and JMA Ventures, a San Francisco-based real estate investment firm. JMA Ventures contributed $5,000 to Newsom, campaign finance records show, and the firm’s president and CEO, Todd Chapman, also made a generous donation of $1,000. Effectively, Newsom’s campaign received a total of $12,500 from individuals or firms associated with 706 Mission.

The project has been under the jurisdiction of the San Francisco Redevelopment Agency since 2008, when the Redevelopment Commission authorized an exclusive negotiations agreement with the developer for the mixed-use high-rise and museum, to be partially constructed on a parcel owned by Redevelopment and later included plans to integrate the landmark Mercantile Building. The project went dormant in the face of the economic downturn, but it’s now moving forward again, and the environmental review of the proposed 600-foot tower falls under the purview of the city’s Planning Department. On Sept. 1, Newsom mentioned 706 Mission, a “new, world-class facility,” in a press release announcing a new director for the Mexican Museum.

“The Redevelopment Agency and the city are fully committed to the public/private/nonprofit partnership that will eventually bring the Mexican Museum to a new home in the heart of Yerba Buena Center, San Francisco’s premier cultural district,” Redevelopment Agency executive director Fred Blackwell proclaimed.

Another contributor that demonstrated strong financial support for Newsom’s bid is a global technical firm that has a hand in several major infrastructure and development projects throughout San Francisco. AECOM contributed $13,000 to Newsom’s campaign, and a handful of people who work for AECOM chipped in smaller amounts totaling $3,600, according to campaign-finance records. In an April 15 news release for investors, AECOM noted that it had been awarded a $26 million contract for construction management of the San Francisco Public Utilities Commission’s Water Improvement Infrastructure Project. As the San Francisco Chronicle reported in May, the firm was also awarded a five-year, $147 million contract with the San Francisco Metropolitan Transportation Agency for construction management on the Central Subway project. AECOM is also playing a role in a number of major developments currently under review in city planning. It is the prime environmental impact report consultant for the California Pacific Medical Center proposal for a giant new hospital on Van Ness Avenue. It’s also completing a traffic corridor analysis for 19th Avenue on behalf of the developers of Parkmerced, a renovation and in-fill project on track to be one of the largest new residential developments in the city.

 

A $2 MILLION BONUS

The Parkmerced developers have helped Newsom’s campaign along too. Craig Hartman, an internationally renowned architect with Skidmore, Owings & Merrill who is a design partner for the project, dropped $1,000 into Newsom’s hat. Two executives associated with Parkmerced each pitched in another $1,000.

A smaller project that has been in the works for years also seems close to home for Newsom. Michael Yarne, of the Mayor’s Office of Economic and Workforce Development, is a former director of development of the Martin Building Co., the lead developer on mixed-use residential project located in Central Waterfront at 2235 Third St. The project has commendable features such as a reuse of an existing industrial building, proximity to transit, and 39 below-market-rate units — and the project developer managed to secure an incredible deal with the city.

This past April, the Planning Commission approved an unprecedented in-kind agreement with Martin Building Co. that waived nearly $2 million in development fees, including about $1.2 million for 2235 Third St. and the rest for a second Martin Building Co. project on Townsend Street, in exchange for the developer’s commitment to construct a space for a day-care facility on the Third Street site and lease that portion of the property to a childcare provider for free for 55 years. The provider would have to operate the facility without profit and would be required to have low-income child-care slots, so this bargain would serve to create affordable day care.

Yarne’s close ties to the mayor and the developer — plus a $2,000 campaign contribution to Newsom from the head of the project’s general contractor, a building company called Nibbi Bros. — could raise a few eyebrows in light of this unprecedented deal, especially given the city’s gaping deficit and the question of how else that $2 million might have been put to use. The project was also awarded more than $1.6 million in American Recovery and Reinvestment Act funds to excavate lead-contaminated soil from the property and transport it away for off-site disposal. The project, which has already been approved and moved to the Department of Building Inspection phase, also incorporates a City CarShare space. Yarne’s on the board of City CarShare, too.

It’s always possible that there is no connection between Newsom’s campaign contributions, his personal staff, and contributors’ connections to the myriad development projects in the hopper — but that doesn’t stop observers from asking questions. Developers who are anxious about the economic downturn may be motivated do everything in their power to speed a project along, and it’s possible that throwing money at a political campaign is just one tool among many.

Or maybe they just think Newsom would make a great lieutenant governor.

 

PLANNERS COMPLAIN

Nonetheless, the perception that certain developers get special treatment is shared by at least two former planners in the city’s Planning Department — one of whom is facing termination in the wake of a recent investigation surrounding porn email.

Following an internal shake-up at the planning department triggered by the discovery that some staffers shared pornographic e-mails, messages started flying about what was behind the crackdown. “Porn is not the real story,” Lois Scott, a retired planner and former president of International Federation of Professional and Technical Engineers Local 21 wrote in an e-mail to the Guardian.

After the porn scandal broke, the hammer came down. Five people were terminated effective this past May, and another 20 or more reportedly faced some form of disciplinary action.

Some have interpreted the move as a signal that Planning Director John Rahaim, a Newsom appointee, won’t stand for inappropriate conduct on his watch. At the same time, others have contacted the Guardian to voice concerns that the firings and internal shakeup were connected to something deeper than dirty emails.

Although speculative theories abound and there is a paucity of official comments on the firings due to privacy laws, one point is abundantly clear. In a city where powerful developers will go to great lengths to secure approval for lucrative projects, there’s a great deal of wariness surrounding city planning. San Francisco is host to leagues of developers, real estate investment groups, prestigious law firms specializing in land use, technical consultants, and politically powerful associations of residential builders, building owners, and building-trade unions — all with a huge financial stake in seeing projects make it past the approval finish line and onto groundbreaking.

When it comes to a major project that will transform a city block in San Francisco, the planning department (which relies on development fees to pay the bills) inevitably encounters pressure from two sides: well-connected development teams with economic interests on the one hand, and neighborhood groups or historic preservationists who aren’t shy about hurling criticism on the other.

So it’s no surprise than anything affecting the planning staff in a major way would not pass quietly.

One of the planners affected by the firings told the Guardian that the porn investigation went on for months. There were one-on-one interviews, and some 70 staff members were called in and questioned, some two or three times. Contents of computer hard drives and city e-mail accounts were analyzed. Later, huge posters went up, displaying questions like, “How Are You Going to Make a Better Planning Department?”

“It was bizarre,” the former planner said.

According to Leigh Kienker — a former planner who recently retired and was not implicated in the computer misuse investigation — the result of all this was to create a sort of chilling effect on the planning staff, especially since she said two of the five individuals who lost their jobs had been more likely to question management and speak up when they didn’t think a project was being handled properly. When it comes to ensuring that projects conform to the planning code, “We need to be able to speak up,” she said. “This is our expertise.”

Jim Miller, who had been with the department for more than 32 years and is regarded by his peers as very outspoken, discussed his own termination in an e-mail to a number of supporters. “I was given a loose-leaf binder indicating the reasons for the firing,” he wrote. “The information contained therein was decidedly very thin. This, plus the fact that others who had a greater role in the ‘wrongdoing’ received job suspension rather than termination, leads me to believe that there is some other reason for the action taken. This reason is heretofore unbeknownst to me.”

Cynthia Servetnick, shop steward for IFPTE Local 21 planner’s chapter and a historic preservation advocate, voiced concerns about how the department dealt with the porn problem in an e-mail to Rahaim. “Frankly, the firing of so many senior Planning Department staff members not only seems like a ‘witch hunt,’ but smacks of age discrimination against a class of union-represented employees for the purpose of shoring-up budget deficits and intimidating less senior employees,” she charged. In response, Rahaim dismissed her comments as baseless accusations.

 

BADINER GETS $82,500

At a Feb. 18 Planning Commission meeting, when the department’s proposed budget came under review, commissioners noted that Rahaim was in the unenviable position of having to lay off four to six staffers in order to balance the budget. Noting that a great deal of effort had gone into attracting fresh talent and hiring younger planners, several commissioners expressed hope that they wouldn’t be the first to go. Rahaim responded that, given the union’s seniority rules, his hands were tied to an extent. In light of that conversation, Servetnick suggested that the porn e-mails presented a convenient solution for a director faced with a thinly stretched budget. All of the five who were fired were 50 or older.

At the same time, others who closely follow city planning rejected the idea of any ulterior motive. Sue Hestor, a land-use attorney who seems to have her finger firmly on the pulse of San Francisco development, told the Guardian that she’d heard plenty of rumors, but wasn’t necessarily buying the hype. Charles Marsteller, a former director of Common Cause and a keen observer of the planning process, said he had little reason to suspect that what had happened was anything more than responding to inappropriate conduct.

Zoning Administrator Larry Badiner, a 28-year veteran of the department who critics say was friendly to high-end developers, was fired in the wake of the porn investigation along with three lower-level staffers — but he appeared to walk away with a better deal than his subordinates.

A Guardian sunshine request revealed that Badiner received a six-month severance package amounting to $82,500, plus benefits he was eligible for that could have amounted to more than $57,000 (but may be significantly less). In exchange, he agreed not to sue the city. None of the other planning staffers who were terminated appear to have received such a payout.

Meanwhile, Badiner may not have been the highest-ranking city employee to be snagged in the porn investigation. An e-mail address of dlmacris[at]aol.com was included on an e-mail provided to the Guardian that contained a rather tame pornographic image.

The planner who sent the e-mail was fired after the porn investigation, and so were three of the recipients. Former Planning Director Dean Macris, who more recently served as a special advisor to Newsom, stopped working for the city around the same time Badiner and the others were terminated. Mayoral spokesperson Tony Winnicker told the Guardian he could not discuss anything related to how or why Macris left city service.

Rahaim said he had no choice in the Badiner severance. “The issue with Larry Badiner was required as part of a MEA labor contract. It requires a payout in any situation where a person is terminated or laid off.” He added that the firings were “strictly because of inappropriate use of city resources and also because of the type of material” that was being viewed. There was “absolutely no other reason.”

And he insisted that no developers get favoritism: “I have no idea who’s contributing to whose campaign.”

At least one response to the rash of firings commended the planning director for taking action. “I applaud your efforts to address hostile working conditions related to gender and sexual preference, which have long existed in the Planning Department,” a retired senior planner wrote to Rahaim shortly after the firings. “There is, perhaps as you have realized, a deep undercurrent of unresolved and unpleasant practices which perhaps finally led to the present complaints.”

Does the planning department shake-up indicate a move away from the bad old days of quid pro quo dealings and hostile working conditions, thanks to a director who’s standing strong against inappropriate conduct — or is it a move to consolidate power in a department led by a mayoral appointee at a time when the development community is particularly hungry to move new projects forward? Given the knock-down, drag-out fights that have unfolded over planning in the city’s history, and the high sums of money that are gushing into project proposals and campaign coffers, it’s no wonder the question is being posed.

“The bottom line is, the public is not being served,” Servetnick said. “Developers shouldn’t be able to come in and say, ‘Just for me!’ If everybody who pays to play gets away with that, we’re going to end up with a really ugly city.”

Film listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide. Due to the Labor Day holiday, theater information was incomplete at presstime.

OPENING

*The Agony and the Ecstasy of Phil Spector See “Agony Uncle.” (1:42) Roxie, Smith Rafael.

Bran Nue Dae An energetic screen translation of a 1990 Australian stage musical, Rachel Perkins’ film is tourist cliché spun into crowd-pleasing slop, like a Down Under Riverdance. Young Aboriginal Willie (Rockie McKenzie) escapes the “corrective” environ of a 1969 Perth Catholic boarding school and flees homeward, only to be pursued by mercilessly hammy Geoffrey Wright’s racist priest baddie. The crude humor, generic tunes, and hectically shot and dance-poor numbers have about as much to do with Aussie abo culture as The Lion King does with “Africa” — it’s prefab feel-good pap posing as multicultural representation. (1:28) Sundance Kabuki. (Harvey)

Change of Plans Emmanuelle Seigner stars in this ensemble comedy revolving around a dysfunctional Parisian dinner party. (1:40) Sundance Kabuki.

I’m Still Here Casey Affleck’s long-awaited Joaquin Phoenix documentary follows the maybe-crazy actor during his mountain man-bearded hip-hop phase. (1:48)

*Mademoiselle Chambon See “Mellow Noir.” (1:41)

Resident Evil: Afterlife Milla Jovovich picks up her guns again, this time to fight zombies in 3D. (1:30)

*White Wedding Every culture’s gotta have its own version of the wacky road-trip movie, in which a series of snafus (mechanical failure, miscommunication, booze, rednecks, farm animals, etc.) sidetrack hapless travelers en route to their (inevitably very important) destination. If the basic structure of Jann Turner’s White Wedding feels rather familiar, at least this South African import has its share of original charm. Groom-to-be Elvis (Kenneth Nkosi) misses a bus at the beginning of the film (we know he’s a nice guy, because he misses it helping a lost child), setting in motion a series of mostly comical disasters en route to his Johannesburg wedding. While his beloved, Ayanda (Zandile Msutwana), clashes with her mother over her choice of wedding (she wants a modern, sophisticated affair; mom wants a more traditional party) — and fends off the advances of a suave ex — Elvis and best friend Tumi (Rapulana Seiphemo, who co-wrote with Turner and Nkosi) attempt to cross miles of countryside despite fate throwing every kind of theoretical and metaphorical roadblock in their paths. One happy distraction is Rose (Jodie Whittaker), an English doctor grappling with travel woes of her own. There’s never any real doubt that Elvis and Ayanda will get hitched at film’s end, but White Wedding‘s journey, which is mostly featherlight despite some eye-opening insights into South Africa’s post-apartheid culture, is worth taking. (1:33) (Eddy)

A Woman, a Gun and a Noodle Shop Zhang Yimou remakes (kind of) the Coen Brothers’ 1984 Blood Simple. (1:35)

ONGOING

*The American George Clooney caught in a moodily paranoid, yet exquisitely photographed, ’70s-style suspense-arthouse death-trap? Belmondo and Beatty could empathize. Nonetheless, veteran rock photographer and Control (2007) director Anton Corbijn suffuses the chilly proceedings with a fresh, wintry beauty, the carefully balanced sense of highly charged tension and silky smoothness that a gunsmith would appreciate, and a resonance that feels personal. How else would an ex-rock shooter like Corbijn, who’s made iconic images of the Clash, U2, and others, connect with this tale of an assassin masquerading as a photographer, one who’s constantly glancing behind and around himself — justifiably wary of being caught in another killer’s sights — and seemingly just as wary of the director’s, and audience’s, gaze? A character who wouldn’t be out of place in a Camus novella or a Melville brooder, Jack/Edward, or more accurately “the American,” (Clooney) is in exile after a bad collision with a girlfriend and hitmen in Sweden and hiding out in a picturesque Italian village, conspicuously the more-cold-than-cool outsider and doing one immaculate job for a gorgeous mysterious woman (Thekla Reuten). Is he a good or bad guy? The local priest (Paolo Bonacelli), who knows and sees all like a great eye in the sky, is trying to find out, as is the most beautiful prostitute in town (Violante Placido). The answers are nowhere near as clear or as plainly painted as a Sergio Leone Western, although Corbijn nods to the maestro when stone-cold killer Henry Fonda, then playing shockingly against type, appears on a cafe TV screen in Once Upon a Time in the West (1968). But the director’s care and attention to beauty — as well as the lines carved in the face of Clooney’s lean, mean-looking American, a whore like any other — say more than words. (1:43) (Chun)

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) (Chun)

Avatar: Special Edition (2:51)

Cairo Time (1:29)

*Centurion Neil Marshall is the kind of filmmaker who inspires glee among horror and action junkies, but indifference among mainstream moviegoers. Centurion isn’t likely to change this. It’s the second century, and Romans are invading what’s now the Scottish Highlands, much to the displeasure of the Picts, the tribal people who’re already living there. Enter Quintus Dias (Michael Fassbender), a Roman soldier who becomes the de facto leader of an ever-shrinking group of men trapped behind enemy lines after their general (The Wire‘s Dominic West) is captured. Devotees of Marshall (2002’s Dog Soldiers, 2005’s The Descent, 2008’s Doomsday) will recognize certain elements: an ensemble cast, a military setting, the presence of a fierce female (Bond heroine Olga Kurylenko, who makes Pict warrior drag both spooky and sexy). Unlike his earlier films, though, there’s no supernatural twist; it’s just good old battlefield guts and gore. Sure, the romantic subplot feels a little forced, but this is genre filmmaking in its purest form, to be celebrated with gusto by those who appreciate grisly decapitations and the like. (Read my interview with Marshall at www.sfbg.com/pixel_vision.) (1:39) (Eddy)

The Concert (1:47)

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) (Chun)

Dinner for Schmucks When he attracts favorable notice and a possible promotion from his corporate boss, Tim (Paul Rudd) is invited to an annual affair in which executives compete to see who can dig up the freakiest loser dweeb for everyone to snicker at. He literally runs into the perfect candidate: Barry (Steve Carrell), an IRS employee whose hobby is making elaborate tableaux with stuffed dead nice in tiny human clothes. He’s also the sort of person who, in trying to be helpful, inevitably wreaks havoc on the unlucky person being helped. Which means the 24 hours or so before the “Biggest Idiot” contest provide plenty of time for well-intentioned Barry to nearly destroy Tim’s relationship with a girlfriend (Stephanie Szostak), reunite him with Crazy Stalker Chick (Lucy Punch), and imperil his wooing of a multimillion-dollar account. Director Jay Roach (of the Austin Powers and Meet the Fockers series) has a full load of comedy talent on board here. So why are the results so tepid? This remake softens the bite of Francis Veber’s 1998 original French The Dinner Game by making Tim not a yuppie scumbag but a nice guy who just happens to have a jerk’s job (his company seizes ailing firms and liquidates them), and who doesn’t really want to expose hapless Barry to humiliation. But even with that satirical angle removed and a wider streak of sentimentality, it should cough up more laughs than it does. (1:50) (Harvey)

Dogtooth A man, his wife, and their three children live in a country house with a swimming pool and a huge yard enclosed by a high fence. So far, so good. But the kids, who don’t have names, appear to be in their 20s. They’ve never left the property, and they won’t, Dad (Christos Stergioglou) says, until they lose a “dogtooth,” at which time they’ll be mature enough to deal with the terrors of the outside world. In the meantime, they’re trapped in the only world they’ve ever known, carefully constructed by their domineering father. Greek writer-director Yorgos Lanthimos, who picked up the Prize Un Certain Regard at Cannes for this slice of disturbing domesticity, offers little explanation for Dad’s motives, or why Mom (Michelle Valley) goes along with his plan. The only hint comes from one of few scenes set outside the family’s compound, in which Dad goes to check on the progress of the family’s soon-to-be new dog. “Dogs are like clay, and our job here is to mold them,” the trainer explains. “Every dog is waiting for us to show it how to behave.” Indeed. It’s pretty clear Dad — master of his own private North Korea — is aware of that concept. Though Dogtooth‘s main themes enfold cruelty and child abuse, it also deploys the kind of black humor and button-pushing that fans of shock-trader Harmony Korine would appreciate. There is casual violence, extreme animal cruelty, full-frontal nudity, several disturbing sex scenes, and maybe the most alarming dance routine ever captured on film. (1:36) (Eddy)

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and “the art of doing nothing.” India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) (Eddy)

The Extra Man The polar opposite of buddy cop action flicks and spoofs a la The Other Guys, with only a faint resemblance to the bromances of Judd Apatow, Adam McKay, Will Ferrell, Seth Rogen, and so on, The Extra Man is a gently weird throwback to another era, much like its title character, Henry Harrison (Kevin Kline). Sweet, cross-dressing-curious teacher and would-be writer Louis Ives (Paul Dano) is drifting though life passively when he stumbles on eccentric playwright Harrison’s room-for-let and his oddball realm of hangers-on. A blustery, prickly, proudly misogynistic collector of Christmas balls, given to spasms of improvisational dancing, Harrison relishes his role as an escort to aged socialites, crankily shucking and jiving to score invites to fancy dinner parties and vacation homes in Florida. When Ives isn’t courting environmental magazine editor Mary (Katie Holmes) or hiding from the fearsome-looking wooly recluse Gershon (John C. Reilly), the mentor-able young man turns out to be more adept at the role than Harrison ever imagined. And like fossilized grande dames in Chanel, literate audiences also might be charmed by director-writer Shari Springer Berman’s unassuming, crushed-out bon mot, based on the novel by Jonathan Ames, to a few mannered, less-than-examined, happily twisted New York City subcultures. (1:45) (Chun)

Flipped I’m sure a “he said/she said” film exists that makes good on the premise, but Rob Reiner’s Flipped doesn’t quite cut it. Nestled safely in 1960s small-town America, the film is first narrated by Bryce, an eighth grader who’s spent the past four years rebuking the advances of Juli, the girl who lives across the street. Bryce is a pretty typical boy, bumbling and unsure of just what he wants, but soon the story “flips” and we see the same events narrated from Juli’s POV. Juli is drawn to Bryce’s “sparkling eyes,” yes, but with a poor family and an annoyingly sincere love for life, she has problems outside of lusting for Bryce. Based on a tween-hit novel by author Wendelin Van Draanen, the story’s familiarity perhaps stems from the source material — in my experience those sorts of novels rarely invite readers older than high school — and similarly in the case of Flipped, I think this might be something we should leave to the kids. (1:30) (Galvin)

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) (Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Smith Rafael. (Peitzman)

Going the Distance If you live in San Francisco, don’t try to date someone in New York. It’s just not worth the hassle. But hey, maybe you’re as adorable as Drew Barrymore, and your boyfriend’s as charming as Justin Long — you can’t be expected to let a little geographical complication get in the way. That’s the driving force behind Going the Distance, a romcom that stars real-life couple Barrymore and Long as Erin and Garrett, two crazy kids trying to make it work cross-country. In many ways, the film is your standard boy-meets-girl story, but it’s cute enough that the predictability factor doesn’t really matter. The cast is universally strong, with bonus points to the standouts: It’s Always Sunny in Philadelphia‘s Charlie Day as Garrett’s embarrassing roommate, and Christina Applegate as Erin’s germaphobe sister. The humor is surprisingly sharp — and raunchy, which earned Going the Distance an R-rating. I’m not going to say Long’s bare ass is worth the price of admission, but it’s certainly a selling point. (1:43) (Peitzman)

Highwater The latest from the first family of surf movies comes courtesy of Dana Brown (2003’s Step Into Liquid), son of Bruce (1964’s The Endless Summer) and father of Wes (an up-and-comer who co-edited Highwater). The film focuses on Oahu’s legendary North Shore — “the one path all surfers must take,” per Dana’s occasionally woo-woo narration — and the annual big-wave contests held there each year. Though the majority of screen time is (of course) taken up by sweeping, slo-mo shots of pros tangling with looming walls of water, Highwater reaches out to civilian audiences with sidebars on the North Shore’s eccentric local culture, the science behind the 10-mile beach’s massive waves, and profiles of the sport’s more colorful characters. Brown is also careful to highlight the growing amount of women in the sport, who surf the exact same breaks as the men but earn far less prize money for it. Diehards might notice events in the film feel a bit dated, and indeed, Highwater was shot in 2005. But since surfers operate under the assumption that “one wave can make a person’s career” (especially if it’s captured on film), there’s presumably no sell-by date violation here. (1:30) (Eddy)

Inception As my movie going companion pointed out, “Christopher Nolan must’ve shit a brick when he saw Shutter Island.” In Nolan’s Inception, as in Shutter Island, Leonardo DiCaprio is a troubled soul trapped in a world of mind-fuckery, with a tragic-vengeful wife (here, Marion Cotillard) and even some long-lost kids looming in his thoughts at all times. But Inception, about a team of corporate spies who infiltrate dreams to steal information and implant ideas, owes just as much to The Matrix (1999), Eternal Sunshine of the Spotless Mind (2004), and probably a James Bond flick or two. Familiar though it may feel, at least Inception is based on a creative idea — how many movies, much less summer blockbusters, actually require viewer brain power? If its complex house-of-cards plot (dreams within dreams within dreams) can’t quite withstand nit-picking, its action sequences are confidently staged and expertly directed, including a standout sequence involving a zero-gravity fist fight and elevator ride. Though it’s hardly genius — and Leo-recycle aside — Inception is worth it, if you don’t mind your puzzle missing a few pieces. (2:30) (Eddy)

Jean-Michel Basquiat: The Radiant Child In 1986, filmmaker Tamra Davis was six years away from her breakthrough (1992’s Guncrazy; she also made 1998’s Half Baked and 2002 Britney Spears misfire Crossroads, and is married to one of the Beastie Boys). But she was already friends with artist Jean-Michel Basquiat, then at the height of his career. He died two years later of a heroin overdose, equally shaken by close friend Andy Warhol’s death and the pressures of his own skyrocketing fame. This tender doc weaves Davis’ 1986 interview with a low-key Basquiat (shot in a Beverly Hills hotel room) with recollections from his New York City circle (girlfriends, gallery owners, fellow artists, art critics). Though his art-world rise was breathtaking — he went from graffiti-scrawling kid to a hip painter whose works sold for hundreds of thousands (and now, multi-millions) — Davis’ doc suggests it was too much, too soon, creating distractions that first interfered with his creativity, then his well-being. Even if you don’t care for his art, Radiant Child is a compelling, insidery look at the dark side of celebrity. (1:34) (Eddy)

*Joan Rivers: A Piece of Work Whether you’re a fan of its subject or not, Ricki Stern and Annie Sundberg’s documentary is an absorbing look at the business of entertainment, a demanding treadmill that fame doesn’t really make any easier. At 75, comedian Rivers has four decades in the spotlight behind her. Yet despite a high Q rating she finds it difficult to get the top-ranked gigs, no matter that as a workaholic who’ll take anything she could scarcely be more available. Funny onstage (and a lot ruder than on TV), she’s very, very focused off-, dismissive of being called a “trailblazer” when she’s still actively competing with those whose women comics trail she blazed for today’s hot TV guest spot or whatever. Anyone seeking a thorough career overview will have to look elsewhere; this vérité year-in-the-life portrait is, like the lady herself, entertainingly and quite fiercely focused on the here-and-now. (1:24) (Harvey)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father (“the sperm donor,” played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) (Peitzman)

The Last Exorcism Latest in a long line of Louisiana preachers, genial extrovert Cotton Marcus (Patrick Fabian) isn’t even sure he believes in God anymore — but it’s the family business, and it’s a living. He definitely doesn’t believe in demonic possession, yet has presided over many an “exorcism” if only to fool the psychologically damaged into thinking they’re “cured” of delusional ails. But now he’s decided such hijinks might be more harmful than helpful. So to debunk the whole idea, he takes a documentary filmmaking crew on one last “soul-saving” trek, answering a desperate letter from a widowed farmer (Louis Herthum) whose 16-year-old daughter (Ashley Bell) is believed possessed. Cotton deploys theatrical tricks to rig an alleged purging of Satan’s minion. And it works … but this wouldn’t be a horror movie if that rationalist triumph didn’t turn out to be a false finish, followed by all kinds of inexplicable WTF. German director Daniel Stamm’s first English-language feature (written by Huck Botko and Andrew Gurland) is being positioned by Lionsgate as the next viral word-of-mouth horror sensation a la prior faux-docs The Blair Witch Project (1999) and Paranormal Activity (2007). But the “reality” illusion is more transparent here. Despite some clever buildup tactics, okay twists, and a handful of scares, this ultimately disappoints — a preview audience’s catcalls at its underwhelming fadeout suggested there will be no Last Exorcism 2. (1:27) (Harvey)

Lebanon Das Boot in a tank” has been the thumbnail summary of writer-director Samuel Maoz’s film in its festival travels to date, during which it’s picked up various prizes including a Venice Golden Lion. On the first day of Israel’s 1982 invasion (which Maoz fought in), an Israeli army tank with a crew of three fairly green 20-somethings — soon joined by a fourth with even less battle experience — crosses the border, enters a city already halfway reduced to rubble, and promptly gets its inhabitants in the worst possible fix, stranded without backup. Highly visceral and, needless to say, claustrophobic (there are almost no exterior shots), Lebanon may for some echo The Hurt Locker (2009) in its intense focus on physical peril. It also echoes that film’s lack of equally gripping character development. But taken on its own willfully narrow terms, this is a potent exercise in squirmy combat you-are-thereness. (1:33) Smith Rafael. (Harvey)

The Life and Times of Allen Ginsberg Here’s your chance to get to know the late poet before he’s portrayed by non-doppelgänger James Franco in the upcoming Howl. Whereas Howl, title drawn from his most famous and controversial creation, focuses on Ginsberg’s 1957 obscenity trial, Jerry Aronson’s 1994 doc offers a more sweeping take on his life. Friends and relatives (in both new and archival interviews), home-movie footage and photographs, talk show excerpts (William F. Buckley: so not down with the counterculture), and the man himself (reading his work, powerfully) help piece together what was undeniably a passionate and remarkable existence. (1:22) Roxie. (Eddy)

Lottery Ticket (1:39)

*Machete Probably the first movie that was initially conceived solely as a fake-movie trailer (as part of Quentin Tarantino and Robert Rodriguez’s 2007 Grindhouse), Rodriguez’s Machete emerges in full-length form to take on everyone’s sky-high expectations. I mean, the trailer promised motorcycles soaring through flames, a gun-toting priest, and the line “You just fucked with the wrong Mexican.” Fortunately, Machete the film does Machete the trailer proud; its deliberately silly revenge plot is both spot-on vintage homage and semi-serious commentary on America’s ongoing immigration debate. In addition, it features more severed limbs, gunshots to the head, irresponsible sex, and smirking Steven Seagal close-ups than any other movie in recent memory. Frequent Rodriguez supporting player Danny Trejo pretty much kills it as the title badass — but then, you already knew he would. (1:45) (Eddy)

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to “the nice parts.”) Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) (Harvey)

*Mesrine: Killer Instinct This first half of a two-part film about notorious French bank robber Jacques Mesrine examines the early life of its subject, before he was a flamboyant, headline-grabbing folk hero. The very first scene uses 70s-style split-screens to revel Mesrine’s violent 1979 death; writer-director Jean-François Richet (2005’s Assault on Precinct 13) then jumps back 15 or so years for a glimpse of our (anti-) hero’s soldiering days in Algeria. Before long, “Jacky” (an outstanding Vincent Cassel, in a César-winning performance) is back in Paris, horrifying his upper-class parents and young wife by choosing the underworld over conventional pencil-pushing. (A near-unrecognizable Gérard Depardieu appears as a mob boss.) Killer Instinct, which is adapted from Mesrine’s own prison-penned autobiography, suffers from some standard biopic problems — it tries to cram in too much, and feels mighty rushed at times. But there’s still plenty of bad, bad behavior to enjoy, including the film’s spectacular last act, a breakneck recreation of one of the daring prison escapes that helped make Mesrine a legend. Continuation Mesrine: Public Enemy No. 1, which beings where this film ends, is now playing. (1:53) (Eddy)

*Mesrine: Public Enemy No. 1 If you see writer-director Jean-François Richet’s Mesrine: Killer Instinct (review below), you’re pretty much obligated to see this sequel, especially since the earlier film beings with the main character’s death, then flashes back and never catches up to it. This installment was actually filmed first, allowing star Vincent Cassell to pack on nearly 50 pounds to play the oldier, portlier version of the legendary French bank robber. Mesrine’s prowess as an escape artist allows him to spend much of this film on the lam with partner François (Mathieu Amalric) and girlfriend Sylvia (Ludivine Sagnier). Along the way, the headline-hungry crook declares himself a revolutionary, poses for Paris Match, kidnaps a billionaire, spends his ill-gotten money on diamonds and BMWs, tortures a journalist, and does as much as he can to further the Myth of Mesrine. The foreknowledge of Mesrine’s ultimate end lends a sense of ticking-clock doom; the first time we see it, in Killer Instinct, it’s from the point of view of Mesrine and Sylvia. Richet films the death scene here from the perspective of the police who tracked him, with increasing frustration, for years. Clever twists like this make it preferable to watch both films back-to-back, though Cassell’s commanding performance makes each a worthwhile stand-alone. (2:14) (Eddy)

Nanny McPhee Returns Emma Thompson is back as the titular Mary Poppins type who’s far from practically perfect, her extreme case of the uglies lessening whenever children in her charge learn a “lesson.” The family in need this time belongs to harried Isabel Green (Maggie Gyllenhaal, trying a little too hard like everyone here), who’s got way more than she can handle raising three unruly children and running an English farm while her husband’s away fighting World War II. Making matters worse is the arrival of a horribly bratty nephew and niece fleeing the London Blitz, not to mention the constant pestering of a brother-in-law (Rhys Ifans) who wants the farm sold to cover his secret gambling debts. Enter guess who, restoring order and civility with the thump of her magic walking stick. The first Nanny McPhee (2005) movie, adapted from Christianna Brand’s children’s books by Thompson and directed by Kirk Jones, was an old-fashioned delight adults could thoroughly enjoy. This sequel, again written by Thomson though directed by Susanna White, is roughly what Babe: Pig in the City (1998) was to the original Babe (1995): something endearingly simple and charming turned shrill, overproduced, and charmless, with way too many CGI animals doing stupid things (like porcine synchronized swimming). It’s bad enough that Ralph Fiennes and Ewan McGregor — no doubt beguiled by the earlier film — chose to do thankless cameos in such dross. But it’s pretty unforgivable that Dame Maggie Smith should suffer a career nadir as a senile old dear who at one point happily plops down on a big pat of cow shit. (1:48) (Harvey)

The Other Guys Will Ferrell and Adam McKay can do no wrong in some bro-medy aficionados’ eyes, but The Other Guys is no Talladega Nights: The Ballad of Ricky Bobby (2006) or Anchorman: The Legend of Ron Burgundy (2004). The other two Ferrell-McKay team-ups made short work of men’s jobs, in addition to genre filmmaking tropes, with crisper, cut-to-the-gag punchiness. And despite its laugh-out-loud first quarter — and some surprising TLC references by Michael Keaton, of all people, The Other Guys is about half a genuinely hilarious film that pokes fun at masculinity, as well as, interestingly, whiteness and beyond-the-pale, big-bucks white-collar crime. This lampoon of action buddy-cop flicks is dealt a semi-fatal blow when excess-loving, damage-dealing supercops Samuel Jackson and Dwayne Johnson exit, manically chewing scenery as they go. Two forgotten desktop jocks, forensic accounting investigator-with-a-past Allen (Ferrell) and ragaholic screwup Terry (Mark Wahlberg), must step it up when the dynamic duo dissipates, and go after crooked financier David Ershon (Steve Coogan). The second half of The Other Guys could have used some of the dramatic tension budding between buddy team Jackson-Johnson and reluctant cohorts Ferrell-Wahlberg, especially when Wahlberg begins to get bogged down in single-gear disbelief. But perhaps we should just be grateful for what few yuks we can glean from the atrocities of Great Recession-era robber barons. (1:47) (Chun)

The People I’ve Slept With Legions of walk-ons lay claim to the title role in the latest from Quentin Lee (1997’s Shopping for Fangs). The People I’ve Slept With‘s heroine, late-twentysomething L.A. dweller Angela (Karin Anna Cheung), leads a life of qualm-free sexual rapaciousness. That is, until the day when she finds herself — whether owing to a drunken bout of bad judgment or a breakdown in latex technology — pregnant, perplexed in regard to the issue of paternity, and forced to consult the thick stack of homemade baseball-style trading cards with which she documents her sexploits, using descriptive monikers and salient stats. Is Daddy dildo-lovin’ Mr. Hottie from down the hall? The smarmy gent with whom she briefly exchanged intimacies in the bathroom of a bar, a.k.a. Five-Second-Guy? Or the most appealing and least absurd contender, a local politico dubbed Mystery Man? Nothing in Angela’s track record suggests that the answer should matter as much as the location of the nearest Planned Parenthood clinic, but as in Knocked Up (2007), if it was less inexplicable, it would be a much shorter film. Instead, Angela, with the help of her snarky, romantically challenged gay BFF Gabriel (Wilson Cruz), sets off in pursuit of DNA samples from the likeliest candidates and, with slightly unhinged optimism, starts planning her nuptials. These events offer some very mild comedy and the occasional gross-out gag; the film’s maneuverings as Angela fumbles toward a position on motherhood, slutdom, and constructing the perfect life are sweet, earnest, and a little clumsy. (1:29) Viz Cinema. (Rapoport)

Piranha 3D (1:29)

Salt Angelina Jolie channels the existential crisis of Jason Bourne and the DIY spirit of MacGyver in a film positing that America’s most pressing concern is extant Russian cold warriors, who are plotting to reestablish their country’s pre-glasnost glory via nuclear holocaust and a Dark Angel–style army of spy kids. Jolie plays CIA agent Evelyn Salt, a woman who can stymie the top-shelf surveillance system at work using her undergarments and fashion a shoulder-mounted rocket out of interrogation-room furniture and cleaning supplies. These talents surface after Salt is accused of being a Russian operative in league with the aforementioned disturbers of the new world order and takes flight, with her agency coworkers (Liev Schreiber and Chiwetel Ejiofor) in hot pursuit. What ensues is a vicious and confounding assault on the highest levels of the U.S. government, most known rules of logic, and the viewer’s patience and powers of suspending disbelief. Salt’s off-the-ranch maneuverings are moderately engaging, particularly in the first leg of the chase, but clunky expository flashbacks, B-movie-grade dialogue, and an absurd plotline slow the momentum considerably. (1:31) (Rapoport)

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) (Sam Stander)

Soul Kitchen Director Fatih Akin (2004’s Head-On) offers a tribute to the German Heimat (“homeland”) film, as well as to his own hometown, Hamburg, with this gritty comedy set in a restaurant dubbed Soul Kitchen. Star Adam Bousdoukos, who co-wrote the script with Akin, really did own a similar greasy spoon, and his knowledge of what makes an eatery soar or fail is exaggerated here to humorous and occasionally surreal effect. Bousdoukos’ character, the scruffy Zinos, loves funk music; he’s also in an existential funk, having just seen his girlfriend move to Shanghai. What’s worse, he’s just injured his back, necessitating the hiring of snooty chef Shayn (Head-On‘s Birol Ünel); his ne’er-do-well brother (Moritz Bleibtreu) is freshly out of jail; and he owes big bucks to the local tax board. Also, an old childhood pal turned sleazy businessman (Wotan Wilke Möhring) is circling his property with sharky hunger. Will everything that can possibly go wrong, go wrong, with a side of ketchup and mayonnaise? Of course it will. Stylish direction and a game cast, including winning newcomer Anna Bederke as Zinos’ shot-gulping waitress, make Soul Kitchen a fun if non-essential diversion. (1:33) Smith Rafael. (Eddy)

Step Up 3D The third installment of the Step Up enterprise graduates performing arts high school and moves to the sidewalks, rooftops, and warehouses of New York City, as well as the occasional venue — part underground club, part ad-plastered sports arena — where packs of street dancers battle and mop up the floor with their rivals, employing only the weaponry of a fierce routine. That, and the fast-forward button in the editing suite — beyond drop kicks and droplets of water coming out of the screen at your face, Step Up 3D unabashedly adopts the choreographed F/X of contemporary action films, manipulating footage to make the dancers look like nimble, ferocious, supernatural creatures with a youthful disdain for gravity and the space-time continuum. There is a plot of sorts, involving a crew called the Pirates; their fearless leader Luke (Rick Malambri); his mysterious lady friend Natalie (Sharni Vinson); an NYU freshman named Moose (Adam Sevani of 2008’s Step Up 2: The Streets), who was, in Luke’s oft-repeated words, “born from a boombox” (or BFAB); and the warehouse wonderland where the Pirates live and train, amid a decor of tape-deck-womb walls and galleries of limited-edition sneakers. It’s best, though, not to follow along too closely on the rare occasions when director Jon Chu (Step Up 2) mistakenly lets more than four lines of earnest dialogue stack up without a dance-scene intervention. The near-continuous wave of choreographed outbursts is like eye candy injected with multiple shots of 5-Hour Energy drink, but those who flinch at the idea of Auto-Tuning dance performance may want to stay home and rent 2000’s Center Stage. (1:46) (Rapoport)

*The Switch Has any hard-working actor ever made as many mediocre, albeit vigorously marketed, movies as Jennifer Aniston? It seems like an age since her last good one, Nicole Holofcener’s Friends with Money (2006), though some might go as far back as 2002’s The Good Girl, her dramatic and cinematic breakthrough. Perhaps that dry spell seems extra long due to Aniston’s tabloid overexposure, or maybe it’s just the feeble conceits (a la 2009’s Love Happens) that Aniston allows herself to get roped into. In any case, armed with a sharp script based on a Jeffrey Eugenides short story and a less-than-perfect but comically well-equipped everyman foil in Jason Bateman, The Switch turns out to be a refreshing break from Aniston’s run of predictability: it’s actually good, girl (if a bit far-fetched that even a neurotic, successful financial whiz could be so emotionally constipated). Heeding her biological alarm clock over the objections of best friend Wally (Bateman), Kassie (Aniston) decides to get artificially inseminated by handsome, smart, and charming donor Roland (Patrick Wilson), but nothing goes according to plan when Wally gets wasted at her insemination party and — no use crying over spilled semen — woozily decides to substitute his own emissions for Roland’s. Funny, tender, heart-strings-tugging shenanigans ensue when Kassie returns to NYC after seven years with her adorable, neurotic mini-Wally Sebastian (Thomas Robinson). Bateman is as reliably excellent as ever. Blades of Glory (2007) directors Will Speak and Josh Gordon put care into the details — from the lighting, to the scene-swiping cameos by Juliette Lewis and Jeff Goldblum, to the on-point yet relatively realistic dialogue, and it shows, making this, along with The Kids Are All Right, a, ahem, seminal year for donor-coms. (1:56) (Chun)

*Takers Likely the best movie to be advertised on billboards all over Oakland in a while, Takers is one of those likeable, smart, and faintly ludicrous genre flicks — a gangsta B with a hip-hop heart, centered on a cadre of high-style, Rat Pack-like bank robbers — that redeems its playas all around. It gives T.I., in both starring and executive producer roles and tellingly emerging from the clink in his first scene, a career beyond the rap game and the pen: he’s a snottily charmismatic Little Caesar here, a slight, serpentine mini-Snoop. It gives the formidable Idris Elba (The Wire) as the group’s leader something to wrap his sonorous Cockney around as he plays off crack ‘ho sister (Marianne Jean-Baptiste) as if they were English-accented castaways on island L.A. It gives Paul Walker, the second-banana princeling of the urban action flick, something to do: namely function as Elba’s lieutenant. And it gives the benighted Chris Brown, who gets his share of fast-stepping glory via a nice, meaty chase scene, a way to recast and strive toward redeeming himself on the silver screen — while giving the little-girls-who-love-bad-boys something to scream about. See, something for everyone (except maybe Zoe Saldana, who gets saddled with the arm candy role). (1:57) (Chun)

*The Tillman Story To what extent is our government prepared to lie to us? Not just on a policy level, but a personal level, perverting actual instances of heroic self-sacrifice into propagandistic pablum? The answer during our prior White House administration was clearly: as far as possible, until caught. Perhaps the most egregious such instance was the case of Pat Tillman, who gave up a lucrative NFL contract, becoming a U.S. Army Ranger enlistee in a burst of genuine patriotic fervor post-9/11. He was subsequently killed in Afghanistan — but the “friendly fire” circumstances of that death, and its apparent cover-up, scandalized not only his military superiors but a command chain of deliberate disinformation stretching all the way to the White House. Amir Bar-Lev’s The Tillman Story is a documentary expose of unusual immediacy, narrative thrust, and outrage, which may partly stem from its being such a Bay Area story. The deceased subject’s South Bay family were diehard liberals dedicated to values that might be considered eccentric anywhere else. The mistake authorities made in casting Tillman’s death as a battlefield martyrdom — a scenario amply undermined by footage and testimony here — lay in underestimating the well-educated skepticism and doggedness of his blood relations, most notably mom, Mary. While other families might have simply accepted an official scenario, the Tillmans found logistical gaps, then pushed, and pushed. The Tillman Story is a journey toward justice (if not nearly enough). It’s engrossing, appalling, heartrending, and enraging, the nonfiction equivalent to last year’s underseen body bag drama The Messenger. (1:34) (Harvey)

Vampires Suck (1:40)

The Wildest Dream: Conquest of Everest The Everest documentary has, by now, become a genre unto itself. It’s got its own tropes (sweeping shots of the mountain’s face, somber voice-over philosophizing about the human struggle with nature) and its own canon (topped, perhaps, by the harrowing 1998 IMAX hit Everest). The latest entry into this field is National Geographic Entertainment’s The Wildest Dream, which chronicles early-20th century explorer George Mallory’s lifelong — and ultimately life-ending — quest to reach Everest’s summit, and modern mountaineer Conrad Anker’s attempt to recreate his predecessor’s final climb. Director Anthony Geffen unfolds his tale in standard adventure-doc fashion. We get a lot of scratchy footage from Mallory’s climbs, a few risibly awkward dramatic re-creations, and quite a lot of portentous voiceover work. These are worn techniques, to be sure, but that doesn’t make the story told any less compelling. Mallory himself emerges as a particularly fascinating figure — a talented and charming scholar, a devoted husband, and an irresponsible, borderline suicidal obsessive. It’s a shame that we’re only able to observe him at a century’s distance. (1:33) (Zach Ritter)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit. Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) (Eddy)

ICE suggests SF Secure-Comm opt-out possible

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U.S. Immigration and Customs Enforcement (ICE) spokesperson Lori K. Haley sent the Guardian a statement today that suggests that ICE might change the city’s Secure-Communities activation status, after all.
“Once ICE receives the correspondence from the San Francisco County Sheriff, we will review the request and convene a meeting with the other agencies involved, including the California Department of Justice, to discuss the Sheriff’s specific issues and concerns.  Based upon those discussions, ICE and its partners will examine the options and seek a feasible resolution, which may include changing the jurisdiction’s activation status,” ICE stated.

ICE’s statement came in the wake of a conference call from SF Sheriff Mike Hennessey and SF Police Commissioner Angela Chan, who have been leading the charge to opt-out of a program that is supposed to be voluntary.

“Secure-Comm is not a federal law, it’s a program and it’s voluntary,” Chan told the Guardian.

Chan says she considers ICE’s statement a positive sign, but she insists that San Francisco be at the negotiating table, moving forward.
 “I think it’s important that ICE does not simply meet again with Attorney General Jerry Brown and not include San Francisco. Sheriff Mike Hennessey needs to be at the table,” Chan said.

ICE notes that since Secure-Comm’s activation in San Francisco in early June, the program has resulted in ICE taking custody of “89 potentially removable aliens, including 25 individuals with prior convictions for serious or violent offenses.”

“Secure Communities continues to be a vital tool for identifying potentially removable criminal aliens who’ve come into local law enforcement custody and expediting their removal from the United States,” ICE stated. “It’s a major step forward in ICE’s ongoing efforts to work with local law enforcement to prevent potentially dangerous criminal aliens from being released to our streets.”

But Chan points to an article in Bay City News, in which Hennessey clarifies that he does not have a problem with cooperating with ICE around serious criminal offenders.
“I am not unwilling to cooperate with ICE with regard to serious [offenders] charged with felonies,” Hennessey reportedly said  during today’s conference call with ICE. He also clarified that he had reported felony suspects believed to be in the country without paperwork before Secure-Comm was implemented and will continue to do so under SF’s sanctuary ordinance.

SecureComm is currently in effect in 35 California counties, including all nine Bay Area counties, Los Angeles and San Diego. Under the program, California Attorney General Jerry Brown’s Justice Department shares fingerprints of anyone booked into jail after an arrest, be it for felony or misdemeanor charges, with ICE’s databases to determine if that person is here legally.

In May, when Brown rejected Hennessey’s initial opt-out request, San Francisco Mayor Gavin Newsom backed Brown up, but police Chief George Gascon has reportedly indicated that he would like to see those arrested for minor crimes be exempted.

Today, Hennessey reminded reporters that he has already taken all the steps that ICE is recommending today to try to opt out, but that he was told in that previous go-around–by phone, no less–that opting-out was not an option.
“No meeting was held, no meeting was called, and they did not give me the courtesy of a written response,” Hennessey said.

ICE statistics’ also show that of the ten people already deported from San Francisco under Secure-Comm, only one had been convicted of a serious crime, and six had non-criminal backgrounds.
ICE’s Virginia Kice reportedly told BCN those with non-criminal histories may have had “extensive” histories of immigration-related arrests, which are typically handled administratively.

But Chan says that ICE’s latest statistics seem to prove that the program should be renamed Insecure Communities.
“This actually hurts public safety,” Chan said
      

 
 

Film listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

OPENING

*The American George Clooney caught in a moodily paranoid, yet exquisitely photographed, ’70s-style suspense-arthouse death-trap? Belmondo and Beatty could empathize. Nonetheless, veteran rock photographer and Control (2007) director Anton Corbijn suffuses the chilly proceedings with a fresh, wintry beauty, the carefully balanced sense of highly charged tension and silky smoothness that a gunsmith would appreciate, and a resonance that feels personal. How else would an ex-rock shooter like Corbijn, who’s made iconic images of the Clash, U2, and others, connect with this tale of an assassin masquerading as a photographer, one who’s constantly glancing behind and around himself — justifiably wary of being caught in another killer’s sights — and seemingly just as wary of the director’s, and audience’s, gaze? A character who wouldn’t be out of place in a Camus novella or a Melville brooder, Jack/Edward, or more accurately "the American," (Clooney) is in exile after a bad collision with a girlfriend and hitmen in Sweden and hiding out in a picturesque Italian village, conspicuously the more-cold-than-cool outsider and doing one immaculate job for a gorgeous mysterious woman (Thekla Reuten). Is he a good or bad guy? The local priest (Paolo Bonacelli), who knows and sees all like a great eye in the sky, is trying to find out, as is the most beautiful prostitute in town (Violante Placido). The answers are nowhere near as clear or as plainly painted as a Sergio Leone Western, although Corbijn nods to the maestro when stone-cold killer Henry Fonda, then playing shockingly against type, appears on a cafe TV screen in Once Upon a Time in the West (1968). But the director’s care and attention to beauty — as well as the lines carved in the face of Clooney’s lean, mean-looking American, a whore like any other — say more than words. (1:43) Cerrito, Presidio. (Chun)

Dogtooth See "Father Knows Best." (1:36) Sundance Kabuki.

Going the Distance If you live in San Francisco, don’t try to date someone in New York. It’s just not worth the hassle. But hey, maybe you’re as adorable as Drew Barrymore, and your boyfriend’s as charming as Justin Long — you can’t be expected to let a little geographical complication get in the way. That’s the driving force behind Going the Distance, a romcom that stars real-life couple Barrymore and Long as Erin and Garrett, two crazy kids trying to make it work cross-country. In many ways, the film is your standard boy-meets-girl story, but it’s cute enough that the predictability factor doesn’t really matter. The cast is universally strong, with bonus points to the standouts: It’s Always Sunny in Philadelphia‘s Charlie Day as Garrett’s embarrassing roommate, and Christina Applegate as Erin’s germaphobe sister. The humor is surprisingly sharp — and raunchy, which earned Going the Distance an R-rating. I’m not going to say Long’s bare ass is worth the price of admission, but it’s certainly a selling point. (1:43) California, Marina. (Peitzman)

Highwater The latest from the first family of surf movies comes courtesy of Dana Brown (2003’s Step Into Liquid), son of Bruce (1964’s The Endless Summer) and father of Wes (an up-and-comer who co-edited Highwater). The film focuses on Oahu’s legendary North Shore — "the one path all surfers must take," per Dana’s occasionally woo-woo narration — and the annual big-wave contests held there each year. Though the majority of screen time is (of course) taken up by sweeping, slo-mo shots of pros tangling with looming walls of water, Highwater reaches out to civilian audiences with sidebars on the North Shore’s eccentric local culture, the science behind the 10-mile beach’s massive waves, and profiles of the sport’s more colorful characters. Brown is also careful to highlight the growing amount of women in the sport, who surf the exact same breaks as the men but earn far less prize money for it. Diehards might notice events in the film feel a bit dated, and indeed, Highwater was shot in 2005. But since surfers operate under the assumption that "one wave can make a person’s career" (especially if it’s captured on film), there’s presumably no sell-by date violation here. (1:30) Metreon. (Eddy)

Jean-Michel Basquiat: The Radiant Child Director Tamra Davis, a personal friend of Basquiat’s, draws on her insider knowledge for this doc about the late artist. (1:34) Lumiere, Shattuck.

The Life and Times of Allen Ginsberg Here’s your chance to get to know the late poet before he’s portrayed by non-doppelgänger James Franco in the upcoming Howl. Whereas Howl, title drawn from his most famous and controversial creation, focuses on Ginsberg’s 1957 obscenity trial, Jerry Aronson’s 1994 doc offers a more sweeping take on his life. Friends and relatives (in both new and archival interviews), home-movie footage and photographs, talk show excerpts (William F. Buckley: so not down with the counterculture), and the man himself (reading his work, powerfully) help piece together what was undeniably a passionate and remarkable existence. (1:22) Roxie. (Eddy)

*Machete Probably the first movie that was initially conceived solely as a fake-movie trailer (as part of Quentin Tarantino and Robert Rodriguez’s 2007 Grindhouse), Rodriguez’s Machete emerges in full-length form to take on everyone’s sky-high expectations. I mean, the trailer promised motorcycles soaring through flames, a gun-toting priest, and the line "You just fucked with the wrong Mexican." Fortunately, Machete the film does Machete the trailer proud; its deliberately silly revenge plot is both spot-on vintage homage and semi-serious commentary on America’s ongoing immigration debate. In addition, it features more severed limbs, gunshots to the head, irresponsible sex, and smirking Steven Seagal close-ups than any other movie in recent memory. Frequent Rodriguez supporting player Danny Trejo pretty much kills it as the title badass — but then, you already knew he would. (1:45) Presidio. (Eddy)

*Mesrine: Public Enemy No. 1 If you see writer-director Jean-François Richet’s Mesrine: Killer Instinct (review below), you’re pretty much obligated to see this sequel, especially since the earlier film beings with the main character’s death, then flashes back and never catches up to it. This installment was actually filmed first, allowing star Vincent Cassell to pack on nearly 50 pounds to play the oldier, portlier version of the legendary French bank robber. Mesrine’s prowess as an escape artist allows him to spend much of this film on the lam with partner François (Mathieu Amalric) and girlfriend Sylvia (Ludivine Sagnier). Along the way, the headline-hungry crook declares himself a revolutionary, poses for Paris Match, kidnaps a billionaire, spends his ill-gotten money on diamonds and BMWs, tortures a journalist, and does as much as he can to further the Myth of Mesrine. The foreknowledge of Mesrine’s ultimate end lends a sense of ticking-clock doom; the first time we see it, in Killer Instinct, it’s from the point of view of Mesrine and Sylvia. Richet films the death scene here from the perspective of the police who tracked him, with increasing frustration, for years. Clever twists like this make it preferable to watch both films back-to-back, though Cassell’s commanding performance makes each a worthwhile stand-alone. (2:14) Embarcadero, Shattuck. (Eddy)

The People I’ve Slept With Legions of walk-ons lay claim to the title role in the latest from Quentin Lee (1997’s Shopping for Fangs). The People I’ve Slept With‘s heroine, late-twentysomething L.A. dweller Angela (Karin Anna Cheung), leads a life of qualm-free sexual rapaciousness. That is, until the day when she finds herself — whether owing to a drunken bout of bad judgment or a breakdown in latex technology — pregnant, perplexed in regard to the issue of paternity, and forced to consult the thick stack of homemade baseball-style trading cards with which she documents her sexploits, using descriptive monikers and salient stats. Is Daddy dildo-lovin’ Mr. Hottie from down the hall? The smarmy gent with whom she briefly exchanged intimacies in the bathroom of a bar, a.k.a. Five-Second-Guy? Or the most appealing and least absurd contender, a local politico dubbed Mystery Man? Nothing in Angela’s track record suggests that the answer should matter as much as the location of the nearest Planned Parenthood clinic, but as in Knocked Up (2007), if it was less inexplicable, it would be a much shorter film. Instead, Angela, with the help of her snarky, romantically challenged gay BFF Gabriel (Wilson Cruz), sets off in pursuit of DNA samples from the likeliest candidates and, with slightly unhinged optimism, starts planning her nuptials. These events offer some very mild comedy and the occasional gross-out gag; the film’s maneuverings as Angela fumbles toward a position on motherhood, slutdom, and constructing the perfect life are sweet, earnest, and a little clumsy. (1:29) Viz Cinema. (Rapoport)

Soul Kitchen Director Fatih Akin (2004’s Head-On) offers a tribute to the German Heimat ("homeland") film, as well as to his own hometown, Hamburg, with this gritty comedy set in a restaurant dubbed Soul Kitchen. Star Adam Bousdoukos, who co-wrote the script with Akin, really did own a similar greasy spoon, and his knowledge of what makes an eatery soar or fail is exaggerated here to humorous and occasionally surreal effect. Bousdoukos’ character, the scruffy Zinos, loves funk music; he’s also in an existential funk, having just seen his girlfriend move to Shanghai. What’s worse, he’s just injured his back, necessitating the hiring of snooty chef Shayn (Head-On‘s Birol Ünel); his ne’er-do-well brother (Moritz Bleibtreu) is freshly out of jail; and he owes big bucks to the local tax board. Also, an old childhood pal turned sleazy businessman (Wotan Wilke Möhring) is circling his property with sharky hunger. Will everything that can possibly go wrong, go wrong, with a side of ketchup and mayonnaise? Of course it will. Stylish direction and a game cast, including winning newcomer Anna Bederke as Zinos’ shot-gulping waitress, make Soul Kitchen a fun if non-essential diversion. (1:33) Embarcadero, Smith Rafael. (Eddy)

*The Tillman Story "See Notes on a Scandal." (1:34) Shattuck.

ONGOING

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) Shattuck, Sundance Kabuki. (Chun)

Avatar: Special Edition (2:51) 1000 Van Ness, SF Center, Sundance Kabuki.

Cairo Time (1:29) Embarcadero, Piedmont, Shattuck, Smith Rafael.

*Centurion Neil Marshall is the kind of filmmaker who inspires glee among horror and action junkies, but indifference among mainstream moviegoers. Centurion isn’t likely to change this. It’s the second century, and Romans are invading what’s now the Scottish Highlands, much to the displeasure of the Picts, the tribal people who’re already living there. Enter Quintus Dias (Michael Fassbender), a Roman soldier who becomes the de facto leader of an ever-shrinking group of men trapped behind enemy lines after their general (The Wire‘s Dominic West) is captured. Devotees of Marshall (2002’s Dog Soldiers, 2005’s The Descent, 2008’s Doomsday) will recognize certain elements: an ensemble cast, a military setting, the presence of a fierce female (Bond heroine Olga Kurylenko, who makes Pict warrior drag both spooky and sexy). Unlike his earlier films, though, there’s no supernatural twist; it’s just good old battlefield guts and gore. Sure, the romantic subplot feels a little forced, but this is genre filmmaking in its purest form, to be celebrated with gusto by those who appreciate grisly decapitations and the like. (Read my interview with Marshall at www.sfbg.com/pixel_vision.) (1:39) Lumiere, Shattuck. (Eddy)

The Concert (1:47) Clay.

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) SF Center. (Chun)

Dinner for Schmucks When he attracts favorable notice and a possible promotion from his corporate boss, Tim (Paul Rudd) is invited to an annual affair in which executives compete to see who can dig up the freakiest loser dweeb for everyone to snicker at. He literally runs into the perfect candidate: Barry (Steve Carrell), an IRS employee whose hobby is making elaborate tableaux with stuffed dead nice in tiny human clothes. He’s also the sort of person who, in trying to be helpful, inevitably wreaks havoc on the unlucky person being helped. Which means the 24 hours or so before the "Biggest Idiot" contest provide plenty of time for well-intentioned Barry to nearly destroy Tim’s relationship with a girlfriend (Stephanie Szostak), reunite him with Crazy Stalker Chick (Lucy Punch), and imperil his wooing of a multimillion-dollar account. Director Jay Roach (of the Austin Powers and Meet the Fockers series) has a full load of comedy talent on board here. So why are the results so tepid? This remake softens the bite of Francis Veber’s 1998 original French The Dinner Game by making Tim not a yuppie scumbag but a nice guy who just happens to have a jerk’s job (his company seizes ailing firms and liquidates them), and who doesn’t really want to expose hapless Barry to humiliation. But even with that satirical angle removed and a wider streak of sentimentality, it should cough up more laughs than it does. (1:50) 1000 Van Ness, SF Center. (Harvey)

Eat Pray Love The new film based on Elizabeth Gilbert’s chart-busting memoir, Eat Pray Love, benefits greatly from the lead performance by Julia Roberts, an actor who can draw from her own reserves of pathos when a project has none of its own. The adaptation, about a whiny American author farting around the globe in search of what amounts to spiritual room service, is nothing without her. The journey begins with the Type-A, book contract-inspired premise that Gilbert will travel to three appointed countries over the course of a year in order that, having thrice denied herself absolutely nothing, she might come out the other end a better-balanced human being. The first stop is Italy, where her entire plan is to finally unbutton her jeans and indulge in a celebrated cuisine, as if her home base of Manhattan were a culinary backwater. But this film is all about tired equivalencies, so Italy equals food, and expressive hand gestures, and "the art of doing nothing." India, her next stop, equals enlightenment (her discovery that the guru she’s come to see is currently at an ashram in New York is an irony lost on the movie). And Bali, her final getaway, apparently equals contradictory but flattering aphorisms and thematically hypocritical romances. The sole appeal to a moviegoer here is aspirational. What’s so embarrassing about Eat Pray Love is its insistence that this appeal sprouts from the spiritual quest itself, and not just from the privilege that enables Gilbert to have such an extravagant quest in the first place. But then, self-awareness is supposed to be a obstacle to enlightenment. She’s got nothing to worry about there. (2:30) Cerrito, Empire, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Jason Shamai)

The Expendables Exactly what you’re expecting: a completely ludicrous explosion-o-thon about mercenaries hired by Bruce Willis to take down a South American general who’s actually a puppet for evil CIA agent-turned-coke kingpin Eric Roberts. Clearly, Sylvester Stallone (who directed, co-wrote, stars, and even coaxed a cameo out of Schwarzenegger) knows his audience, but The Expendables — bulging with a muscle-bound cast, including Dolph Lundgren, Terry Crews, Jason Statham, and Steve Austin, plus Jet Li, who suffers many a short-guy joke — is content to simply tap every expected rung on the 80s-actioner homage ladder. There’s no self-awareness, no truly witty one-liners, no plot twists, and certainly no making a badass out of any female characters (really, couldn’t the South American general’s daughter have packed some heat, or kicked someone in the balls — anything besides simply heaving her cleavage around?) The only truly memorable thing here is the inclusion of Mickey Rourke as Stallone’s tattoo-artist pal; I would possibly wager that Rourke was allowed to write his own weepy monologue, delivered in a close-up so extreme it’s more mind-searing than any of the film’s many machine-gun brawls. (1:43) 1000 Van Ness. (Eddy)

The Extra Man The polar opposite of buddy cop action flicks and spoofs a la The Other Guys, with only a faint resemblance to the bromances of Judd Apatow, Adam McKay, Will Ferrell, Seth Rogen, and so on, The Extra Man is a gently weird throwback to another era, much like its title character, Henry Harrison (Kevin Kline). Sweet, cross-dressing-curious teacher and would-be writer Louis Ives (Paul Dano) is drifting though life passively when he stumbles on eccentric playwright Harrison’s room-for-let and his oddball realm of hangers-on. A blustery, prickly, proudly misogynistic collector of Christmas balls, given to spasms of improvisational dancing, Harrison relishes his role as an escort to aged socialites, crankily shucking and jiving to score invites to fancy dinner parties and vacation homes in Florida. When Ives isn’t courting environmental magazine editor Mary (Katie Holmes) or hiding from the fearsome-looking wooly recluse Gershon (John C. Reilly), the mentor-able young man turns out to be more adept at the role than Harrison ever imagined. And like fossilized grande dames in Chanel, literate audiences also might be charmed by director-writer Shari Springer Berman’s unassuming, crushed-out bon mot, based on the novel by Jonathan Ames, to a few mannered, less-than-examined, happily twisted New York City subcultures. (1:45) Opera Plaza. (Chun)

Flipped I’m sure a "he said/she said" film exists that makes good on the premise, but Rob Reiner’s Flipped doesn’t quite cut it. Nestled safely in 1960s small-town America, the film is first narrated by Bryce, an eighth grader who’s spent the past four years rebuking the advances of Juli, the girl who lives across the street. Bryce is a pretty typical boy, bumbling and unsure of just what he wants, but soon the story "flips" and we see the same events narrated from Juli’s POV. Juli is drawn to Bryce’s "sparkling eyes," yes, but with a poor family and an annoyingly sincere love for life, she has problems outside of lusting for Bryce. Based on a tween-hit novel by author Wendelin Van Draanen, the story’s familiarity perhaps stems from the source material — in my experience those sorts of novels rarely invite readers older than high school — and similarly in the case of Flipped, I think this might be something we should leave to the kids. (1:30) Opera Plaza. (Galvin)

Get Low Born from the true story of Felix Bush, an eccentric Tennessee hermit who invited the world to celebrate his funeral in advance of his own death, Get Low is a loose take on what might inspire a man to do a thing like that. It’s a small story, and unlikely to attract the attention of popcorn-addled viewers in the midst of the summer blockbuster season, but Get Low has a whopper of a character in Felix Bush. Robert Duvall becomes Bush, constructing a quiet man who sees it all and speaks only when he has something to say, and supporting roles from Sissy Spacek and Bill Murray are expectedly solid, but the real surprise is what a strong eye director Aaron Schnieder has. In allowing scenes to unfold on their own terms and in their own time, Schneider gives a real humanity to what could have been a Hallmark movie. (1:42) Albany, Empire, Opera Plaza. (Galvin)

*The Girl Who Played With Fire Lisbeth Salander is cooler than you are. The heroine of Stieg Larsson’s bestselling book series is fierce, mysterious, and utterly captivating: in the movie adaptations, she’s perfectly realized by Noomi Rapace, who has the power to transform Lisbeth from literary hero to film icon. Rapace first impressed audiences in The Girl With the Dragon Tattoo (2009), a faithful adaptation of Larsson’s premiere novel, and she returns as Lisbeth in The Girl Who Played With Fire. The sequel, as is often the case, isn’t quite on par with the original, but it’s still a page-to-screen success. And while the first film spent equal time on journalist Mikael Blomkvist (Michael Nyqvist), The Girl Who Played With Fire is almost entirely Lisbeth’s story. Sure, there’s more to the movie than the hacker-turned-sleuth — and the actor who plays her — but she carries the film. Rapace is Lisbeth; Lisbeth is Rapace. I’d watch both in anything. (2:09) Lumiere, Shattuck, Smith Rafael. (Peitzman)

Inception As my movie going companion pointed out, "Christopher Nolan must’ve shit a brick when he saw Shutter Island." In Nolan’s Inception, as in Shutter Island, Leonardo DiCaprio is a troubled soul trapped in a world of mind-fuckery, with a tragic-vengeful wife (here, Marion Cotillard) and even some long-lost kids looming in his thoughts at all times. But Inception, about a team of corporate spies who infiltrate dreams to steal information and implant ideas, owes just as much to The Matrix (1999), Eternal Sunshine of the Spotless Mind (2004), and probably a James Bond flick or two. Familiar though it may feel, at least Inception is based on a creative idea — how many movies, much less summer blockbusters, actually require viewer brain power? If its complex house-of-cards plot (dreams within dreams within dreams) can’t quite withstand nit-picking, its action sequences are confidently staged and expertly directed, including a standout sequence involving a zero-gravity fist fight and elevator ride. Though it’s hardly genius — and Leo-recycle aside — Inception is worth it, if you don’t mind your puzzle missing a few pieces. (2:30) Empire, 1000 Van Ness, Sundance Kabuki. (Eddy)

*Joan Rivers: A Piece of Work Whether you’re a fan of its subject or not, Ricki Stern and Annie Sundberg’s documentary is an absorbing look at the business of entertainment, a demanding treadmill that fame doesn’t really make any easier. At 75, comedian Rivers has four decades in the spotlight behind her. Yet despite a high Q rating she finds it difficult to get the top-ranked gigs, no matter that as a workaholic who’ll take anything she could scarcely be more available. Funny onstage (and a lot ruder than on TV), she’s very, very focused off-, dismissive of being called a "trailblazer" when she’s still actively competing with those whose women comics trail she blazed for today’s hot TV guest spot or whatever. Anyone seeking a thorough career overview will have to look elsewhere; this vérité year-in-the-life portrait is, like the lady herself, entertainingly and quite fiercely focused on the here-and-now. (1:24) Four Star. (Harvey)

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, Piedmont, Presidio, SF Center, Shattuck. (Peitzman)

The Last Exorcism Latest in a long line of Louisiana preachers, genial extrovert Cotton Marcus (Patrick Fabian) isn’t even sure he believes in God anymore — but it’s the family business, and it’s a living. He definitely doesn’t believe in demonic possession, yet has presided over many an "exorcism" if only to fool the psychologically damaged into thinking they’re "cured" of delusional ails. But now he’s decided such hijinks might be more harmful than helpful. So to debunk the whole idea, he takes a documentary filmmaking crew on one last "soul-saving" trek, answering a desperate letter from a widowed farmer (Louis Herthum) whose 16-year-old daughter (Ashley Bell) is believed possessed. Cotton deploys theatrical tricks to rig an alleged purging of Satan’s minion. And it works … but this wouldn’t be a horror movie if that rationalist triumph didn’t turn out to be a false finish, followed by all kinds of inexplicable WTF. German director Daniel Stamm’s first English-language feature (written by Huck Botko and Andrew Gurland) is being positioned by Lionsgate as the next viral word-of-mouth horror sensation a la prior faux-docs The Blair Witch Project (1999) and Paranormal Activity (2007). But the "reality" illusion is more transparent here. Despite some clever buildup tactics, okay twists, and a handful of scares, this ultimately disappoints — a preview audience’s catcalls at its underwhelming fadeout suggested there will be no Last Exorcism 2. (1:27) 1000 Van Ness, Shattuck. (Harvey)

Lebanon "Das Boot in a tank" has been the thumbnail summary of writer-director Samuel Maoz’s film in its festival travels to date, during which it’s picked up various prizes including a Venice Golden Lion. On the first day of Israel’s 1982 invasion (which Maoz fought in), an Israeli army tank with a crew of three fairly green 20-somethings — soon joined by a fourth with even less battle experience — crosses the border, enters a city already halfway reduced to rubble, and promptly gets its inhabitants in the worst possible fix, stranded without backup. Highly visceral and, needless to say, claustrophobic (there are almost no exterior shots), Lebanon may for some echo The Hurt Locker (2009) in its intense focus on physical peril. It also echoes that film’s lack of equally gripping character development. But taken on its own willfully narrow terms, this is a potent exercise in squirmy combat you-are-thereness. (1:33) Smith Rafael. (Harvey)

Lottery Ticket (1:39) 1000 Van Ness.

*Mao’s Last Dancer Based on the subject’s autobiography of the same name, this Australian-produced drama chronicles the real-life saga of Li Cunxin (played as child, teen, and adult by Huang Wen Bin, Chengwu Guo, and Chi Cao), who was plucked from his rural childhood village in 1972 to study far from home at the Beijing Dance Academy. He attracted notice from Houston Ballet artistic director Ben Stevenson (Bruce Greenwood) during a cultural-exchange visit, and was allowed to go abroad for a Texas summer residency. At first the film looks headed toward well-handled but slightly pat inspirational territory pitting bad China against good America, as it cuts between Li’s grueling training by (mostly) humorless Party ideologues, and his astonishment at the prosperity and freedom in a country he’d been programmed to believe was a capitalist hellhole of injustice and deprivation. (Though as a Chinese diplomat cautions, not untruthfully, he’s only been exposed to "the nice parts.") Swayed by love and other factors, Li created an international incident — tensely staged here — when he chose to defect rather than return home. But Jan Sardi’s script and reliable Aussie veteran Bruce Beresford’s direction refuse to settle for easy sentiment, despite a corny situation or two. Our hero’s new life
isn’t all dream-come-true, nor is his past renounced without serious consequence (a poignant Joan Chen essays his peasant mother). The generous ballet excerpts (only slightly marred by occasional slow-mo gimmickry) offer reward enough, but the film’s greatest achievement is its honestly earning the right to jerk a few tears. (1:57) Albany, Embarcadero, Sundance Kabuki. (Harvey)

*Mesrine: Killer Instinct This first half of a two-part film about notorious French bank robber Jacques Mesrine examines the early life of its subject, before he was a flamboyant, headline-grabbing folk hero. The very first scene uses 70s-style split-screens to revel Mesrine’s violent 1979 death; writer-director Jean-François Richet (2005’s Assault on Precinct 13) then jumps back 15 or so years for a glimpse of our (anti-) hero’s soldiering days in Algeria. Before long, "Jacky" (an outstanding Vincent Cassel, in a César-winning performance) is back in Paris, horrifying his upper-class parents and young wife by choosing the underworld over conventional pencil-pushing. (A near-unrecognizable Gérard Depardieu appears as a mob boss.) Killer Instinct, which is adapted from Mesrine’s own prison-penned autobiography, suffers from some standard biopic problems — it tries to cram in too much, and feels mighty rushed at times. But there’s still plenty of bad, bad behavior to enjoy, including the film’s spectacular last act, a breakneck recreation of one of the daring prison escapes that helped make Mesrine a legend. Continuation Mesrine: Public Enemy No. 1, which beings where this film ends, comes out Fri/3. (1:53) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

Nanny McPhee Returns Emma Thompson is back as the titular Mary Poppins type who’s far from practically perfect, her extreme case of the uglies lessening whenever children in her charge learn a "lesson." The family in need this time belongs to harried Isabel Green (Maggie Gyllenhaal, trying a little too hard like everyone here), who’s got way more than she can handle raising three unruly children and running an English farm while her husband’s away fighting World War II. Making matters worse is the arrival of a horribly bratty nephew and niece fleeing the London Blitz, not to mention the constant pestering of a brother-in-law (Rhys Ifans) who wants the farm sold to cover his secret gambling debts. Enter guess who, restoring order and civility with the thump of her magic walking stick. The first Nanny McPhee (2005) movie, adapted from Christianna Brand’s children’s books by Thompson and directed by Kirk Jones, was an old-fashioned delight adults could thoroughly enjoy. This sequel, again written by Thomson though directed by Susanna White, is roughly what Babe: Pig in the City (1998) was to the original Babe (1995): something endearingly simple and charming turned shrill, overproduced, and charmless, with way too many CGI animals doing stupid things (like porcine synchronized swimming). It’s bad enough that Ralph Fiennes and Ewan McGregor — no doubt beguiled by the earlier film — chose to do thankless cameos in such dross. But it’s pretty unforgivable that Dame Maggie Smith should suffer a career nadir as a senile old dear who at one point happily plops down on a big pat of cow shit. (1:48) 1000 Van Ness, SF Center. (Harvey)

The Other Guys Will Ferrell and Adam McKay can do no wrong in some bro-medy aficionados’ eyes, but The Other Guys is no Talladega Nights: The Ballad of Ricky Bobby (2006) or Anchorman: The Legend of Ron Burgundy (2004). The other two Ferrell-McKay team-ups made short work of men’s jobs, in addition to genre filmmaking tropes, with crisper, cut-to-the-gag punchiness. And despite its laugh-out-loud first quarter — and some surprising TLC references by Michael Keaton, of all people, The Other Guys is about half a genuinely hilarious film that pokes fun at masculinity, as well as, interestingly, whiteness and beyond-the-pale, big-bucks white-collar crime. This lampoon of action buddy-cop flicks is dealt a semi-fatal blow when excess-loving, damage-dealing supercops Samuel Jackson and Dwayne Johnson exit, manically chewing scenery as they go. Two forgotten desktop jocks, forensic accounting investigator-with-a-past Allen (Ferrell) and ragaholic screwup Terry (Mark Wahlberg), must step it up when the dynamic duo dissipates, and go after crooked financier David Ershon (Steve Coogan). The second half of The Other Guys could have used some of the dramatic tension budding between buddy team Jackson-Johnson and reluctant cohorts Ferrell-Wahlberg, especially when Wahlberg begins to get bogged down in single-gear disbelief. But perhaps we should just be grateful for what few yuks we can glean from the atrocities of Great Recession-era robber barons. (1:47) California, 1000 Van Ness, Presidio. (Chun)

Pirahna 3D (1:29) 1000 Van Ness.

Salt Angelina Jolie channels the existential crisis of Jason Bourne and the DIY spirit of MacGyver in a film positing that America’s most pressing concern is extant Russian cold warriors, who are plotting to reestablish their country’s pre-glasnost glory via nuclear holocaust and a Dark Angel–style army of spy kids. Jolie plays CIA agent Evelyn Salt, a woman who can stymie the top-shelf surveillance system at work using her undergarments and fashion a shoulder-mounted rocket out of interrogation-room furniture and cleaning supplies. These talents surface after Salt is accused of being a Russian operative in league with the aforementioned disturbers of the new world order and takes flight, with her agency coworkers (Liev Schreiber and Chiwetel Ejiofor) in hot pursuit. What ensues is a vicious and confounding assault on the highest levels of the U.S. government, most known rules of logic, and the viewer’s patience and powers of suspending disbelief. Salt’s off-the-ranch maneuverings are moderately engaging, particularly in the first leg of the chase, but clunky expository flashbacks, B-movie-grade dialogue, and an absurd plotline slow the momentum considerably. (1:31) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*Scott Pilgrim vs. The World For fans of Bryan Lee O’Malley’s just-completed comics saga Scott Pilgrim, the announcement that Edgar Wright (2004’s Shaun of the Dead, 2007’s Hot Fuzz) would direct a film version was utterly surreal. Geeks get promises like this all the time, all too often empty (Guillermo del Toro’s Hobbit, anyone?). But miraculously, Wright indeed spent the past five years crafting the winning Scott Pilgrim vs. the World. The film follows hapless Toronto 20-something Scott Pilgrim (Michael Cera), bassist for crappy band Sex Bob-omb, as he falls for delivery girl Ramona Flowers (Mary Elizabeth Winstead), only to find he must defeat her seven evil exes — like so many videogame bosses — before he can comfortably date her. As it happens, he’s already dating a high-schooler, Knives (Ellen Wong), who’s not coping well with Scott moving on. Cera plays a good feckless twerp; his performance isn’t groundbreaking, but it dodges the Cera-playing-his-precious-self phenomenon so many have lamented. The film’s ensemble cast maintains a sardonic tone, with excellent turns by Alison Pill, Aubrey Plaza, and newcomer Wong. Jason Schwartzman is perfectly cast as the ultimate evil ex-boyfriend — there’s really no one slimier, at least under 35.The film brilliantly cops the comics’ visual language, including snarky captions and onomatopoetic sound effects, reminiscent onscreen of 1960s TV Batman. Sometimes this tends toward sensory overload, but it’s all so stylistically distinctive and appropriate that excess is easily forgiven. (1:52) California, Four Star, 1000 Van Ness. (Sam Stander)

Step Up 3D The third installment of the Step Up enterprise graduates performing arts high school and moves to the sidewalks, rooftops, and warehouses of New York City, as well as the occasional venue — part underground club, part ad-plastered sports arena — where packs of street dancers battle and mop up the floor with their rivals, employing only the weaponry of a fierce routine. That, and the fast-forward button in the editing suite — beyond drop kicks and droplets of water coming out of the screen at your face, Step Up 3D unabashedly adopts the choreographed F/X of contemporary action films, manipulating footage to make the dancers look like nimble, ferocious, supernatural creatures with a youthful disdain for gravity and the space-time continuum. There is a plot of sorts, involving a crew called the Pirates; their fearless leader Luke (Rick Malambri); his mysterious lady friend Natalie (Sharni Vinson); an NYU freshman named Moose (Adam Sevani of 2008’s Step Up 2: The Streets), who was, in Luke’s oft-repeated words, "born from a boombox" (or BFAB); and the warehouse wonderland where the Pirates live and train, amid a decor of tape-deck-womb walls and galleries of limited-edition sneakers. It’s best, though, not to follow along too closely on the rare occasions when director Jon Chu (Step Up 2) mistakenly lets more than four lines of earnest dialogue stack up without a dance-scene intervention. The near-continuous wave of choreographed outbursts is like eye candy injected with multiple shots of 5-Hour Energy drink, but those who flinch at the idea of Auto-Tuning dance performance may want to stay home and rent 2000’s Center Stage. (1:46) 1000 Van Ness, SF Center. (Rapoport)

*The Switch Has any hard-working actor ever made as many mediocre, albeit vigorously marketed, movies as Jennifer Aniston? It seems like an age since her last good one, Nicole Holofcener’s Friends with Money (2006), though some might go as far back as 2002’s The Good Girl, her dramatic and cinematic breakthrough. Perhaps that dry spell seems extra long due to Aniston’s tabloid overexposure, or maybe it’s just the feeble conceits (a la 2009’s Love Happens) that Aniston allows herself to get roped into. In any case, armed with a sharp script based on a Jeffrey Eugenides short story and a less-than-perfect but comically well-equipped everyman foil in Jason Bateman, The Switch turns out to be a refreshing break from Aniston’s run of predictability: it’s actually good, girl (if a bit far-fetched that even a neurotic, successful financial whiz could be so emotionally constipated). Heeding her biological alarm clock over the objections of best friend Wally (Bateman), Kassie (Aniston) decides to get artificially inseminated by handsome, smart, and charming donor Roland (Patrick Wilson), but nothing goes according to plan when Wally gets wasted at her insemination party and — no use crying over spilled semen — woozily decides to substitute his own emissions for Roland’s. Funny, tender, heart-strings-tugging shenanigans ensue when Kassie returns to NYC after seven years with her adorable, neurotic mini-Wally Sebastian (Thomas Robinson). Bateman is as reliably excellent as ever. Blades of Glory (2007) directors Will Speak and Josh Gordon put care into the details — from the lighting, to the scene-swiping cameos by Juliette Lewis and Jeff Goldblum, to the on-point yet relatively realistic dialogue, and it shows, making this, along with The Kids Are All Right, a, ahem, seminal year for donor-coms. (1:56) 1000 Van Ness. (Chun)

*Takers Likely the best movie to be advertised on billboards all over Oakland in a while, Takers is one of those likeable, smart, and faintly ludicrous genre flicks — a gangsta B with a hip-hop heart, centered on a cadre of high-style, Rat Pack-like bank robbers — that redeems its playas all around. It gives T.I., in both starring and executive producer roles and tellingly emerging from the clink in his first scene, a career beyond the rap game and the pen: he’s a snottily charmismatic Little Caesar here, a slight, serpentine mini-Snoop. It gives the formidable Idris Elba (The Wire) as the group’s leader something to wrap his sonorous Cockney around as he plays off crack ‘ho sister (Marianne Jean-Baptiste) as if they were English-accented castaways on island L.A. It gives Paul Walker, the second-banana princeling of the urban action flick, something to do: namely function as Elba’s lieutenant. And it gives the benighted Chris Brown, who gets his share of fast-stepping glory via a nice, meaty chase scene, a way to recast and strive toward redeeming himself on the silver screen — while giving the little-girls-who-love-bad-boys something to scream about. See, something for everyone (except maybe Zoe Saldana, who gets saddled with the arm candy role). (1:57) 1000 Van Ness, Shattuck. (Chun)

*The Two Escobars In America, the World Cup ends, and most sports fans turn their attentions elsewhere. In other countries, soccer is a year-round happening that inspires religious devotion. Putting this fact into perspectives both glorious and cruel is The Two Escobars, Jeff and Michael Zimbalist’s involving new doc about the rise of "narco-soccer" in Colombia, circa the coke-crazed 1980s and early 90s. One Escobar, we’ve all heard of: Pablo, a noted drug kingpin who was also a hero to the slum-dwellers who benefited from his donations of housing and, perhaps more importantly, soccer fields. A rabid footy fan himself, Pablo invested in Colombian teams, an influx of cash that helped the national team become one of the strongest in the world. Escobar number two is Andrés, the affable, wholesome defender who served as team captain in the 1994 World Cup. The events that caused both Escobars to meet untimely and brutal deaths are detailed here, by people who knew them well, in a moving, well-edited film that’s as cautionary as it is celebratory. Highly recommended. (1:40) Sundance Kabuki. (Eddy)

Vampires Suck (1:40) 1000 Van Ness.

The Wildest Dream: Conquest of Everest The Everest documentary has, by now, become a genre unto itself. It’s got its own tropes (sweeping shots of the mountain’s face, somber voice-over philosophizing about the human struggle with nature) and its own canon (topped, perhaps, by the harrowing 1998 IMAX hit Everest). The latest entry into this field is National Geographic Entertainment’s The Wildest Dream, which chronicles early-20th century explorer George Mallory’s lifelong — and ultimately life-ending — quest to reach Everest’s summit, and modern mountaineer Conrad Anker’s attempt to recreate his predecessor’s final climb. Director Anthony Geffen unfolds his tale in standard adventure-doc fashion. We get a lot of scratchy footage from Mallory’s climbs, a few risibly awkward dramatic re-creations, and quite a lot of portentous voiceover work. These are worn techniques, to be sure, but that doesn’t make the story told any less compelling. Mallory himself emerges as a particularly fascinating figure — a talented and charming scholar, a devoted husband, and an irresponsible, borderline suicidal obsessive. It’s a shame that we’re only able to observe him at a century’s distance. (1:33) Opera Plaza. (Zach Ritter)

*Winter’s Bone Winter’s Bone has already won awards at the Berlin International Film Festival and the Sundance Film Festival, but it’s the kind of downbeat, low-key, quiet film that may elude larger audiences (and, as these things go, Oscar voters). Like Andrea Arnold’s recent Fish Tank, it tells the story of a teenage girl who draws on unlikely reserves of toughness to navigate an unstable family life amid less-than-ideal economic circumstances. And it’s also directed by a woman: Debra Granik, whose previous feature, 2004’s Down to the Bone, starred Vera Farmiga (2009’s Up in the Air) as a checkout clerk trying to balance two kids and a secret coke habit. Drugs also figure into the plot of the harrowing Winter’s Bone, though its protagonist, Ree Dolly (Jennifer Lawrence), is faced with a different set of circumstances: her meth head father has jumped bail, leaving the family’s humble mountain home as collateral; the two kids at stake are her younger siblings. With no resources other than her own tenacity, Ree strikes out into her rural Missouri community, seeking information from relatives who clearly know where her father is — but ain’t sayin’ a word. It’s a journey fraught with menace, shot with an eye for near-documentary realism and an appreciation for slow-burn suspense; Lawrence anchors a solid cast with her own powerful performance. Who says American independent film is dead? (1:40) Empire, Four Star, Opera Plaza. (Eddy)

Rooting out the bad apples?

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rebeccab@sfbg.com

The San Francisco Police Department will begin tracking the records of officers who have histories of misconduct or other red flags so the information can be disclosed to the district attorney if the officer is called to testify in a criminal trial.

Chief George Gascón announced the new protocol Aug. 20 in response to revelations in the wake of the crime lab scandal that San Francisco District Attorney Kamala Harris had failed to comply fully with a constitutional obligation to provide criminal defense attorneys with the misconduct records, which the defense could then seek to have admitted as evidence to undermine a witness’ credibility.

Harris’ office has to rely on police to determine whether any problems lurk in a police witness’ background, so the hiccup in compliance was blamed on weak communication between the two departments.

But there’s a big lingering question Gascón hasn’t directly addressed: the research will almost certainly turn up information that ought to lead to officer discipline, and in some cases to cops losing their jobs. How, exactly, will the department handle that?

Speaking at a press conference, Gascón said he’d worked closely with the DA’s office and San Francisco Police Officers Association (SF POA) to streamline the process to ensure compliance. “We believe this will be a model policy throughout the country,” Gascón said, flanked by high-ranking members of the department as a line of television cameras pointed toward him.

Since the constitutional requirement stems from the 1963 case Brady v. Maryland, a bureau order issued by the chief refers to negative marks on an officer’s personnel record that is determined to be admissible as evidence as “Brady material.” It could be as simple as a 10-year-old D.U.I. charge, or a more serious offense involving an officer’s conduct in the line of duty.

If an officer has been disciplined in the past for making false statements, for example, and that history is admitted as evidence in trial, the jury might be less inclined to take his or her word as gospel.

In the past, anytime the DA called on an officer to testify against a criminal defendant, the DA’s office was supposed to contact the SFPD to request a background check for that officer to see if any Brady material had to be turned over to the defense. Under Gascón’s new plan, SFPD will notify the DA in advance about officers who have potential “Brady material,” without revealing just what the historic offense is. If the DA calls a police witness whose name has been flagged, the prosecutor will have to file a motion for the court to open the personnel file and determine if the past misconduct is relevant to the case at hand.

So how does an employee get his or her name flagged? The SFPD has assembled a powerful new body with a hokey-sounding name, “the Brady Committee,” to determine whether an employee’s name should be forwarded to the DA. Comprised of various heads of SFPD divisions plus a retired judge with a background in criminal law, the committee will review personnel backgrounds and give employees a chance to make their case as to why the dirt the department has on them shouldn’t be counted as Brady material.

Not surprisingly, “the list” — as it’s being called — won’t be made available to the public, but at the Aug. 20 press conference, reporters wanted to know how many names were on it. Gascón indicated that it was too early to say. “There is unquestionably going to be a number that will start surfacing,” he responded. “At this point, we do not have a list.”

A host of questions surround this new development, and one of the first to emerge is whether officers who are still on patrol duty despite major offenses in their histories will ultimately be shown the door as a result of the internal investigative procedure. Gascón alluded to as much, saying, “When some one commits a criminal act, they taint the entire organization. When we have a bad apple, we’re going to deal with the bad apple.”

And while he declined to give a tally of the list, the chief did make it sound as if the investigations had already been completed. “We have basically gone through the process of assessing. We have vetted our entire department and to the greatest extent that we can tell, we know what needs to be known.”

In an era of economic austerity, another question that has been raised is what the impact will be for officers who have been reassigned to desk jobs in the wake of misconduct charges — earning salaries much higher than would-be civilians capable of performing the same tasks. A recently issued report by the Controller’s Office found that the SFPD could do more tighten its spending. “The department needs to improve its controls over overtime and premium pay,” the office concluded after an audit. “While the department has reduced overtime costs in recent years, it does not consistently follow its policies and procedures for earning, documenting, and approving court appearance premium pay and acting assignment pay.”

Aside from the spending issue are speculations about the political ramifications. Some have been wondering what kind of backlash could be prompted from the politically powerful SF POA if the new Brady protocol results in dismissals or demotions.

The issue of reassignments is alluded to briefly at the close of the chief’s bureau order. “This procedure does not address the situation in which the department determines that the existence of Brady material may prevent an employee from effectively testifying and consequently may limit the assignments available to the employee,” the order notes. “The department intends to implement a separate procedure to address that situation after [meeting] and conferring with the Police Officers Association and other affected employee organizations.”

But that alone is a red flag: SF POA will almost certainly resist any efforts to use the Brady material discipline officers — or to get rid of cops who shouldn’t be on the force. And if Gascón allows the union to set the terms, plenty of bad apples will remain in the barrel.

Eating humble pie with Glendon “Anna Conda” Hyde

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It was with a sinking feeling that I read the comments that Glendon “Anna Conda” Hyde’s supporters left on the Guardian’s website last week, after I wrote about the DCCC questionnaires last week—and managed to screw up by omitting Conda/Hyde from my hasty round up.

“How is it that you’ve omitted Anna/Glendon from your election roundup?” was one of many similar comments made by Conda/Hyde’s outraged supporters. “This looks awfully like PREJUDICE, darlings. You should be ashamed of yourselves. Anna/Glendon’s candidacy is not a joke. S/he is one of the most promising progressive voices in SF. Wake up.”

So, I picked up the phone, and called Conda/Hyde to offer my humble apologies.

And today we sat down and talked about the role of the media and political endorsement clubs in propping up the marginalization of marginalized candidates and communities—and the role of radical queers in pushing back against the status quo and the political machines.

Conda/Hyde kicked off by recalling how the DCCC offered congratulations on the campaign’s artwork.

“But then they said you are not a viable candidate, and have you thought about taking the spotlight off yourself,” Conda/Hyde claimed.

(After our interview, I put in a call to DCCC chair Aaron Peskin. He had no recollection of the conversation going down quite like that. But Peskin also noted that the DCCC had done a ton of interviews recently.

“I like Glendon and I remember him appearing,” Peskin said. “But I don’t remember anyone telling him he was not viable.”

But with 26 candidates in the D. 6 race, and 27 candidates in the D. 10 race, it’s likely that some similar-minded candidates in those contests may decide, or be advised, to rally together between now and the election to increase the chances that  “the bad guys” don’t win, right?

“You’d think,” Peskin said. “That’s why I dropped out of the Board of President’s race when Willie Brown’s guy looked like he was going to win, and as a result, Matt Gonzalez won the race.”)

Anyways, back to my interview with Conda/Hyde, who also claimed that D. 6 candidate h.brown recently got barred from a small business debate in SoMa.

I wasn’t at that particular forum, or the D. 10 debate that the SF Young Dems recently hosted in the Bayview.

But I have watched videos of the outrage that was triggered at the Young Dems forum, when D. 10 candidates Dianne Wesley Smith, Nyese Joshua, Ed Donaldson, Marie Harrison and Espanola Jackson were excluded from the debate, even though the Bayview is where they are based.

And it’s similar to the outrage that Conda/Hyde supporters understandably felt when their candidate’s positions on issues like Mayor Gavin Newsom’s sit-lie legislation weren’t included in my original summary of the DCCC questionnaire. Especially since Conda/Hyde led the pushback against Newsom’s sit-lie measure.

“Marginalized districts, marginalized candidate voices,” Conda/Hyde observed.

The point Conda/Hyde is making here is that all candidates bring unique voices and perspectives to a race, and they provide marginalized communities with a rare opportunity to push back against powerful interests and ill-advised measures before this or that political machine can shoe horn its preferred slate into office.

“I was the first candidate to come out against sit-lie aggressively,” Conda/Hyde noted, by way of example.

At this point in our conversation, Labor leader and DCCC member Gabriel Haaland, who sat in on today’s meeting and voiced sharp criticism of my Conda/Hyde omission last week, chimed in.

“So many candidates were ducking sit-lie, so when I introduced a resolution opposing sit-lie at the DCCC, so many people were pissed off,” Haaland said. “And it was refreshing to see Anna Conda vocally opposing sit-lie in drag on Polk Street.”

Haaland added that he’d be working for Conda/Hyde’s campaign, “if not for a 15 year friendship with Debra Walker.”

And then he pointed to the central role that radical queers have played in pushing for political change.

“The first queer to run for elected office was a drag queen,” Haaland observed. “Radical queers have always been leading the movement, busting a move and changing the world. And Anna Conda is more the Harvey Milk of the race, in my opinion.”

“You reflect my radical queer positions more,” Haaland continued, addressing Conda/Hyde direct.  “And you have a real base in the district in a way that Theresa Sparks does not. But people are moving into the district and having bases created for them.”

Conda/Hyde then observed that plans are afoot for an inclusionary District 6 forum.

“Jane Kim and I are getting together to do a forum that includes all the D. 6 candidates,” Conda/Hyde said, “We’ll be including James Keys, Dean Clark and Fortunate ‘Nate’ Payne, who are all out there working hard on their campaigns, as well.”

The ability to raise funds is often an indicator of whether a candidate is viable. Campaign finance records show that Conda/Hyde has applied for public funds, the application is under review, and that Jane Kim, Jim Meko, Theresa Sparks, Debra Walker and Elaine Zamora have qualified for public financing in the D. 6 race.

That level of public fund raising is only bested by D. 10 where Malia Cohen, Kristine Enea, Chris Jackson, Tony Kelly, DeWitt Lacy, Steven Moss, Eric Smith and Lynette Sweet have already qualified for public financing, and Diane Wesley Smith, has her application under review.

(In D. 2, Kat Anderson and Abraham Simmons have already qualified for public funding. In D. 8, Rafael Mandelman, Rebecca Prozan and Scott Wiener have already qualified, and Bill Hemenger’s application is under review.)

At the end of our meeting, Conda/Hyde talked about name recognition problems.
“I have a lot of name recognition as Anna Conda, and not as much as Glendon Hyde,” Conda/Hyde noted, choosing to pose as Glendon Hyde next to his D. 6 campaign sign.
“I think I’ve already proven that I’m a drag queen,” Hyde explained.

“And not just a pretty face,” Haaland concluded.

 

 

 

Reading Hef for the articles

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“Did you see the film? Are you one of the ones who thinks it was biased?” So begins my phone interview with Briggitte Berman, director of the new documentary Hugh Hefner: Playboy, Activist, Rebel. Her movie, (which Dennis Harvey will review in this week’s SFBG) has been criticized for being an overly laudatory look at the life of the man who’s sparked a thousand sexual hegemonies, though few would deny that Berman’s put together an entertaining ride. But enough about cinematic merits. Did she get loose at the Playboy mansion while filming? What are those things like for a woman actually wearing clothes?

Wrong question. “I don’t like big parties. I don’t go to big parties. I am a film maker,” Bergman replies, stiffly. 

Now, were I composing a piece on the Sultan of Smut, Hefner’s bacchanals would be one of the first places I’d hit to get background — even if that film, as Berman is quick to specify, seeks to examine not “merely” Hef’s personal life so much as the social legacy he’s created. 

And let’s be real, the man is a walking reality TV show: his personal excesses are the social legacy. Perhaps therein lies the key to the way the film shies away from the meaty dilemma at the heart of Hef. Berman just doesn’t care for the naughty bits.

After all, she clearly prefers Hef’s famously couth intellectual side. The filmmaker first came into contact with the icon via his admiration for her film on the jazz musician Bix Beiderbecke. Their acquaintance has taken place not in the grotto, but in the well-appointed Mansion dens where Hefner stages his regular film nights, screening old classics for an audience of similarly ancient chums. 

Couth Hef, gettin’ things done. Photo courtesy of Playboy Archives

This is the Hefner one reads for the articles, and it’s the one that Playboy, Activist, and Rebel makes the most of. We get to hear much about the man’s pro-integration stance (his Playboy clubs were the first mixed-race venues to host Black stand-up comedians), his crusade for women’s reproductive rights, and his battles with governmental persecution – his persistence in hiring black-listed artists for his TV shows was truly admirable. Berman catches Jesse Jackson on-screen calling Hef an activist, for chrissakes.

It’s all, like I said, really interesting, and will probably teach viewers a thing or three about the civil rights movement and precursors to the Sexual Revolution. But the key word here is precursors. When we look back on the magazine’s heyday from our queasy 21st century enlightenment, it’s plain to see all was not groovy in the land of rabbit ears. 

Which brings us to the bunny suits, the corset, heels, and floppy ear ensemble sported by the female employees of Hef’s infamous string of nightclubs. It always comes back to the bunny suits. Now, I’m not one to cry foul on the basis of corset alone – I know many a woman who gets off on having a cinched waist and four-inch spikes on her hind paws. There’s a moment in the film where Hefner is called out on a talk show by two feminists. They ask him, if the bunny suits aren’t meant to be demeaning and reductive, why doesn’t Hef strap on one of those cotton tails himself? 

His answer is unconvincing, and the women have a valid point. If Hefner was so into being more open about our sex lives, why were men never shown cavorting through the debaucherous scenes of his pictorials? “What I was trying to say quite frankly,” he shares in one of his many lengthy on-screen interviews in Playboy, Activist, and Rebel “is that sex is okay and nice girls like sex too.” Well, we all know what Hef’s “nice girl” looks like. Leaving aside all issues of body type normativity on the pages of Playboy, (we shouldn’t) is/was this really a vision of sexual freedom, or the freedom of one man to be sexual in his one, very particular way?

Berman didn’t look at this, and she should have. “I have made several documentaries about complex individuals and he is a very complex man. I didn’t make a film about dolphins. I leave that to other filmmakers,” she tells me (oh snap, The Cove, you Lisa Frank binder, you – Berman’s calling you out!). But the Hefner film differs from Berman’s other depictions of complex figures in that we already know how the person in question has colored our lives. Hef is a pop culture powerhouse, unlike Bix Beiderbecke or Artie Shaw, some of Berman’s previous targets.

So it’s not enough to give token opposition air time to one or two Boomer feminist thinkers who will merely tell us the same things we already know about disrespectful imagery and the like. For me, they didn’t come close to countering Gene Simmons telling the camera that women are “more sexually disconnected” because our genitals aren’t rubbing against our pants leg 24/7. Scenes with Dr. Ruth notwithstanding, it was time for Berman to roll out someone who understands the value of what Hef did, but also someone who could critique his methods in a way that’s constructive to the generations that are not scandalized by that Marilyn Monroe centerfold in Playboy’s debut issue. 

Before we hung up, I had one more query for Berman. “Does Hef get it when people called him misogynistic? Does he see what they taking issue with?” 

“If you ask me whether he has a sense,” she began. “I suggest you ask him that. The totality of who Mr. Hefner is – no film can ever reveal that. Sometimes the person him or herself doesn’t know that.”

But at the ripe old age of 84, one would like to think Mr. Hefner would be working on it. Berman could have spent her time on this film getting her hands a little dirty. She could have asked Hef to consider how he might have constructed the imagery of his empire – gasp! — differently. Now that would be some good reality TV. 

 

Hugh Hefner: Playboy, Activist, and Rebel starts Fri/20 at Lumiere Theatre and Shattuck Cinemas

 

Edgar Wright vs. the World

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Go here to read Sam Stander’s review of Scott Pilgrim vs. the World in this week’s Guardian. What follows is Stander’s complete interview with director Edgar Wright.

San Francisco Bay Guardian: What is your favorite visual effect or sight gag in all of Scott Pilgrim?

Edgar Wright: Oh my god. There’s so much … I probably have to pick, off the top of my head, I like watching the twins scene because it was only very recently finished, so I’d have to pick that.
 
SFBG: How did you originally get involved in adapting Scott Pilgrim?

EW: I was given the book six years ago, when the first volume came out, by … the producers who had kind of leapt on the rights to it before it was even in bookstores. And I really loved the book, and I thought it would be a really interesting thing to try and adapt. At that point there was only the one book. [We] began a five-year process of working on it as [author Bryan Lee O’Malley] continued to develop the books, so the development of the film and the books kind of went in tandem in places. So it’s kind of been, six years ago I was given the book, and now the final book just was released, and the film is coming out, too.
SFBG: How many books were there when the film was in production? Were there four?

EW: By the time we started filming, there were five and the sixth book had been kind of half-written. But over the course of the production, I’m thinking of various stages where we stalled for time as much as we could, so that we could get as much material as possible. But there was a decision made early on that the two things would have to be different beasts, and Bryan was certainly aware of that, and understood that that would be the case. In a way, I think he actually preferred there being two different versions, that the film could be an alternate-reality version of the comic.
 
SFBG: But you still definitely kept a lot of the details of the comic. I was curious what inspired the choice to visually represent sound effects.

EW: I kind of figured that, you know, it’s a huge part of comics that most people completely jettison, because usually comic book adaptations are striving for reality. I thought, as well, it made sense within Scott Pilgrim that the character would choose to live his life like that, that Scott Pilgrim, as a character who’s grown up on a diet of Saturday morning cartoons and gaming, would actually choose to live his life that way if he could, and have points pop up and sound effects pop out when the doorbell rings. Because the books are funny and imaginative, it was just a way of embracing that kind of imagination within the artwork. It wasn’t a film where we had to strive for absolute realism like The Dark Knight. We had a chance to embrace the bubblegum, pop art nature of the artwork.

SFBG: It reminded me in places of the opening titles to ’60s Batman, which I enjoyed.

EW: Oh, I was always a fan of that show as a kid. I like some of those ’60s comic book adaptations that would embrace the form of the comics a little more. I guess, you know, in the ’80s, with the Tim Burton Batman, comic book movies started to strive for legitimacy, but we didn’t really have to do that with this. It was something where we could actually have fun with the form.
 
SFBG: I was wondering if the characters of Shaun from Shaun of the Dead or Tim from Spaced — how you see them in relation to Scott as a protagonist, or even Ramona?

EW: I think Scott Pilgrim has some things in common with Shaun and Tim Bisley. Tim Bisley and Shaun are both older than Scott Pilgrim, and I think maybe, you know, Tim is in his mid-20s, so he’s a bit more frustrated than Scott Pilgrim is. I think Scott Pilgrim is still in that sort of stage in his life where he’s powered by blind optimism, and I don’t think he’s necessarily a character who’s been worn down by the harsh realities of life yet, and that kind of effects everything he does, in terms of — the way that he pursues Ramona is like the way you pursue a shiny object in a videogame. I don’t think he’s really had his hard knocks yet, and this film is slightly about him getting his karmic comeuppance. I think Shaun is Scott Pilgrim plus about ten years, where he’s kind of settled into a slightly more lazy, depressed state. He’s kind of given up, slightly.
 
SFBG: I was curious, who came first: Gideon or Jason Schwartzman?

EW: Gideon came first. There was a drawing of Gideon back in 2004. I remember when I first read the first book, there was the first book and the script for the second book, but then there were also sketches of all the other exes and their stats that Bryan had drawn. So he’d drawn all of them way back in 2004. But the Gideon sketch back in 2004 looks uncannily like Jason and what he eventually drew for the sixth book.
 
SFBG: In light of having just made a movie entirely referencing videogames, what do you have to say to Roger Ebert’s constant claim that videogames aren’t a form of art?

EW: I think that the film shows both the good and the bad, in a way, in terms of, there’s elements of Scott Pilgrim’s character as maybe a slightly thoughtless person in the way that he powers through life and doesn’t necessarily think about the feelings of the people around him, and even treating them sometimes like bit players on his quest, that that shows maybe a downside to being lost in the world of gaming, and he’s forced to face the consequences later in the film. But then, I think sometimes the criticism about videogames stems from games that are pretty generic, because there is art and brilliant design and amazing ideas at work in gaming and game design, and I think that that would be difficult to deny, in a sense, that there are artists as good as the people working at Pixar working in games today.

But I think that some of the negative articles that are written about games are usually referring to games that are more generic and just concentrate on violence and destruction, that are kind of Xeroxes of films. So I think sometimes there are probably some games that undo the good work done by others, maybe. I’m sure that’s part of it. And then you get videogame adaptations … that are Xeroxes of a Xerox. I can see where that criticism comes from, I don’t necessarily agree with it, because I feel like … on a design level, Nintendo has become sort of the Walt Disney for our era, in a way. I mean, the characters are so identifiable and so beloved. And you get some games that are just works of beauty and interaction, so I can see it go both ways, you know. I would hope Roger Ebert would enjoy this film on the basis that we namechecked Beyond the Valley of the Dolls, so I would hope we could score brownie points even if he didn’t like the videogame stuff in it.
 
SFBG: With the development of the characters, certainly a lot of the comedy of the characters in the comics comes from playing with various stereotypes — of the way people behave in relationships, also jokes about Knives’ Chinese heritage and Wallace being gay, and different characters coming from different contexts like that. I was curious what level of depth do you perceive these characters having, as opposed to being sort of absurd caricatures?

EW: Well, I think a lot of those people came from friends and colleagues of Bryan Lee O’Malley, because Toronto is a very multicultural society, and Bryan himself is half Irish and half Japanese. The two characters you just mentioned, I know Knives and Wallace are based on real people. In the books at least, and certainly in the film, it’s an attempt to show actually a very ethnic community. We tried, in terms of the gay characters in the film to kind of, in hopefully a progressive way, not make a big deal about it. I’m actually quite proud that we have a PG-13 rating when sometimes that has been, you know — depicting homosexual relationships is sometimes frowned upon by the MPAA, or given a more restrictive rating. So it’s actually nice in a studio comedy to have characters who are gay and out, and there’s no stigma about it whatsoever.
 
SFBG: Definitely, in the United States, Shaun of the Dead and Hot Fuzz are really seen as archetypally very English comedies. Were you trying to work as a Canadian comedy director with Scott Pilgrim, or how do you see it relating to that?

EW: I don’t know, I’ve always found that question difficult to answer because I don’t really know how my sense of humor or what I find funny particularly relates to Britain, because I grew up on comedy from all around the world. Obviously, I really like a lot of British comedy, but a lot of my favorite comedy films are American. I wouldn’t like to thing that my sense of humor is completely defined by where I’m from. So I didn’t try and put a Canadian hat on to direct Scott Pilgrim. I tried to just be myself.
 
SFBG: I was curious about the music in the movie. I thought it was really interesting that you got some of the bands that it seemed like Bryan Lee O’Malley was sort of lampooning in the comic to do the actual music, and I was wondering what the process was for picking those bands and getting them involved.

EW: Basically, we had an embarrassment of riches in terms of the people that came on to collaborate. I know that Bryan had drawn Envy Adams based on a live shot of Metric in performance … but I think that most of the bands are a mélange of bands that he played with when he was in a band himself. I think some of the bands in Scott Pilgrim are kind of lampooning his own efforts, and other bands that were doing that circuit at the time. But, you know, in terms of the artists coming on board, everybody was really excited to be a part of it. And I think in the case of the bands, they got to also play a part, they’re sort of almost cast as characters in the film. I mean, Broken Social Scene’s songs in the film don’t sound anything like Broken Social Scene, and Beck was channeling his earlier, fuzzier roots. So I think people had fun playing a part rather than playing themselves. Even the Metric track that’s in the film is them almost doing a pastiche of themselves. In that case, with the track “Black Sheep,” [Metric frontwoman] Emily Haines had said it was a track they left off the last album because they thought it maybe sounded like somebody doing an impression of Metric. And so when I heard that, I said, ‘Well, that’s the song that we want!’”
 
SFBG: You also worked on the screenplay for the upcoming Tintin film, right?
EW: I did. Not for very long, sadly, because I got busy on Scott Pilgrim, but I worked on a couple of drafts, and it was very exciting to work on.
 
SFBG: Was that adaptation-of-a-comic experience similar to Scott Pilgrim or notably different?

EW: Well, different in the sense that [Tintin creator] Hergé is dead, so you don’t get a chance to — in that case, radically different, because you’re only going on his work and his life, rather than actually being able to talk to the creator himself. Unlike with Scott Pilgrim, I couldn’t call Hergé every day, so I could only go on reading those books and trying to recapture how I felt about them when I was eight when I read them.
 
SFBG: All right, anything else you want to say about the film?

EW: Go and see it in theaters.

Scott Pilgrim vs. the World opens Fri/13 in Bay Area theaters.

Te Vaka paddles up with news from the South Pacific

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Opetaia Foa’i’s mother’s ancestral home is sinking into the ocean. And he’s not supposed to talk about it. Tuvalu, comprised of four South Pacific Islands whose combined mass comes to a grand total of ten square miles, has its own language, a distinct cultural heritage like many of its neighbors. But what struck Foa’i (who was born on Samoa and raised in an islander community on New Zealand) saw when he went back was that rising ocean levels had reached up the air strip his plane landed on. So he wrote a song about it. His music and dance group, Te Vaka (which comes to Great American Music Hall Fri/13) plays music that evokes not only the ancient tales of those faraway seas, but also the fact that they matter, here and now.

“I was in the bad books of my parents,” Foa’i tells me. We’re sitting with his wife, band manager Julie Foa’i, at a table in the courtyard of the Phoenix Hotel on Eddy Street. At the start of a whirlwind two year tour, the band is a bit boggled by their first view of the U.S. on this pass through. “We’re like, is the rest of our American tour going to look like this?” Julie tells me of the group’s quick trip out for supplies in the textured Civic Center-Tenderloin area before today’s drive to Santa Cruz. Her bewilderment is fetching, but it belies the fact the band has been touring the world for the last 15 years, during which time they’ve performed in Peter Gabriel’s WOMAD world music concert series, and in a whole passel of festivals the world over.

But back, for a moment, to the whole ocean taking over ancestral home thing. Opetaia wasn’t supposed to talk about it because in Tuvalu culture to speak of the rising waters, attributed scientifically to the dissipation of the polar ice caps, was to give them power. Simply not done. But Opetaia is a man who wanted a voice. One doesn’t go from doing covers in New Zealand bars to assembling a ten-piece ensemble of talented young island musicians, touring the world with them, and even recording with Peter Gabriel without a desire to be heard.

Not that he did it alone — there is a much loved story in the group of Julie quietly writing on a piece of scrap paper at a meeting “Take this music to the world”: she continues to be a driving force behind the group’s conquests. Te Vaka’s name comes from the word for “canoe,” paying tribute to the ancients that Opetaia says “sailed the ocean in a simple canoe using the environment to guide them. These guys, they populated the islands and they carried on — that’s why there’s this thread of culture connecting all the islands.” One senses the group thrives on that connection between cultures, cannot believe their luck when a new city is picking up what they’re putting down.

The song about the rising waters, “Toko Matua,” went on “Nukukehe,” Te Vaka’s third album. Subsequent releases have turned a gaze on AIDS, over fishing in the South Pacific — as well as the joys of island life. In addition to traditional music, Opetaia cites the artists that impressed him when he first went to the New Zealand mainland as a child with his parents for formal education: Jimi Hendrix, Joan Armatrang, Joni Mitchell. The band’s repertoire is now vast enough that they can tailor shows to their audience, upbeat for dancing crowds, slowed down for the times when a more traditional sound is appropriate.

And oh, those joys of island life. 

I mention an observation from many a review I’ve read of Te Vaka’s stage show: that it is undeniably, hip-thrustingly sensual. Is that a conscious effort on the part of the band? “We actually underdo everything!” laughs Opetaia. “If they call that sensual… If you want something sexy, go to Tahiti and the Cook Islands. The ritual of shaking hips, it has sexual connotations. That’s the original meaning, courting.” He smiles. “It’s not done on purpose.” “Although the girls do wear coconut bras,” Julie tells me. Apparently, the band has a boatload of costume changes at a typical show.

Which tends to confounds customs. Between the skins and feathers of the costumes to the backbone of the group’s percussion, the traditional log drums, they tend to get hassled a bit in the airport. Not to mention those drums are heavy. “We can’t do without them,” muses Opetaia. “But I can understand why other bands have ditched them.”

That’s not all that other groups from their region have ditched, either. The couple can’t name a single other band who has successfully brought the traditional sounds to the rest of world. “We’re the first that delivered it more South Pacific than any other group,” Opetaia says. Julie adds “we’re not vaguely related to what’s happening in Australia and New Zealand, most groups are doing reggae.” “It’s really sad,” Opetaia chimes in “I thought a lot of people would follow, there’s a lot of great musicians out there — but you’ve got to have patience” to make it big on the international scene “I think that’s what they need.” Of those who have turned to the fallback of modern island cultures everywhere, reggae, he says “they make more money than we do, but we don’t do this to be rock stars.”

But that patience that he was talking about is beginning to pay off for Te Vaka. Earlier this week, the group was selected to play the after-party for the Edmonton Folk Music Festival, a packed, high energy affair in a cavernous hotel ballroom. They were under the impression they’d be background music to the crowd, but were surprised when the floor started shaking beneath them. “You see that at rock parties — but people were jumping!” says Opetaia, aglow with the way the South Pacific’s sounds are resonating far beyond the reach of even the most intrepid canoe paddler.

Te Vaka

Fri/13 9 p.m., $26

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

Si se puede, making a difference: El Tecolote turns 40

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It was with relish that I awaited my interviews with El Tecolote’s managing editor, Roberto Daza, and its founding editor Juan Gonzales on a homey couch in the paper’s modest office on 24th Street. Being a community journalist, it isn’t every day that you are able to check out the digs of another community newspaper – particularly one with as storied a history as the Mission’s bilingual go-to for news on social issues that affect the historically Latino and working class neighborhood. El Tecolote is celebrating forty years of activist journalism this month, kicking off with an opening reception tonight (Wed/11) at the Mission Cultural Center for Latino Arts of an exhibit featuring their extensive photo archives. 

I’m stoked to be there, so I chill and savor the feeling that good work is being done around me. Reporter-advertising manager Francisco Barradas’ computer keys are nearly the only sounds in the office, though passing staff assure me that this is a deadline day in the office. He answers the phone and speaks alternately in Spanish and English, most often a genial mixture of the two. Calendar editor Alfonso Texidor stalks past me multiple times, his distinctive hat and cane combo instantly marking him as one of the driving forces of last week’s popular literary review issue as identified by Eva Martinez, executive director of Accion Latina, the organization which houses Tecolote. 

The office itself reads – as many of the headquarters of these rags will do – like desks and computers framed by a collection of events past. Owls (the newspaper’s namesake) stare at me wide-eyed from the corners. An owl cuckoo clock here, a mascot originally meant to frighten birds away from property perched on a potted tree next to the couch there, a kite on the back wall, the reception desk lined with a cache of ceramic hooters. The walls have a bright collection of silk-screened posters announcing EL Tecolote fundraisers going back through the history of the paper, some which announce that proceeds will also go “for Chile democratico.”  

Later, after it is determined that rush hour traffic and recent hip replacement surgery have held up Daza and Gonzales, respectively, we settle on phone interviews all around. Still sitting on the couch in the office, I ask Gonzalez which stories he is most proud of looking back on the past forty years. His three examples are all moments in which his paper made a difference in the lives of Missionites. In the ’70s, a woman came to them who had recently lost a child. She had gone to SF General Hospital complaining of stomach pains and bleeding, but with no Spanish translators on hand, staff sent her home, told her to lay down. When she returned with her English-speaking son later that day they admitted her, but it was too late: she miscarried soon thereafter.

“We jumped on it,” Gonzales tells me. The newspaper discovered woefully inadequate translator staffing levels at General, and impelled their readers to act. “We mobilized the community,” says Juan. The hospital was forced to sign an agreement with activists from the neighborhood to guarantee translators on duty – the first such accord between a hospital and a community group. El Tecolote pursued similar campaigns with telephone emergency services in the ’80s, and more recently has supported tenants in a fight against Mission Housing Development when they attempted to raise rents in one of their apartment buildings.

“It’s one thing to make people see a newspaper around all the time. It’s another one to speak to the heart of the community,” Gonzales reflects.

From the get, the creation of El Tecolote was meant to give voice to those whom it was elusive. Gonzales started the paper as an off-shoot to his work in SF State’s fledgling Ethnic Studies program, itself born of the Alcatraz occupation and its own student strikes. A recent journalism graduate from the university himself, Gonzales was tapped by the administration to put together a course syllabus that analyzed media coverage of Latinos and taught ways to talk about issues that affected the population. He called it La Raza Journalism, but also craved a place where his students could get on the job experience.

So he held a series of fund-raising events, including an amateur talent show which drummed up the necessary $300 to publish the first El Tecolote on August 24th 1970. And then some. “At that time $50 was enough to publish 500 copies,” Gonzalez muses. His team chose to locate its office in the Mission, in a space donated by non-profit organization Centro Latino on 25th Street and Potrero to avoid reliance on university funding, which they felt could be pulled at any time. Already known to the community from his efforts in covering the area for the SF State paper, Gonzales and his paper were off and running.

“The bottom line is, the paper had to reflect the neighborhood,” he tells me. In those early days, the issues weren’t that much different than now: housing, tensions with the police, immigration, bilingual services and education, schools. They took care to represent all the facts of the controversies. “Don’t be afraid to ask the other side their reaction,” Gonzales says. “They could say things that help the cause.” El Tecolote, running as it does today 90-95% on the efforts of dedicated volunteers, also published pieces on young artists, many of which were at the center of an exciting new push for Latino-centric art forms. “We had to reflect how the cultural movement was really expanding,” its founder tells me. 

Nowadays, the paper experiences its share of the challenges to adapt that are facing most print publications. “We’ve had to make concessions: the quality of the paper we print on, the number of pages,” says Daza, who at a chipper 25 years old comes to the paper as another recent SF State grad. He first entered the Tecolote offices two years ago on a field trip as part of a technical writing class, and tells me the paper’s website upgrade earlier this year was much needed. “The running joke prior to that was that we didn’t want to tell people we even had a website.” 

Which is not to say that they are moving past the paper page. “For us,” Daza says “the print edition represents something completely different. It’s for people that don’t have an iPhone, don’t spend a good percentage of their lives online. That’s the kind of people we want to provide for.” Many community members still use El Tecolote to learn a language – initially, scanning the English articles for new vocabulary words, but more recently, with changes in the neighborhood’s demographics, checking out the Spanish pieces to develop new skills in español.

Daza makes it in after the majority of our interview, in time before his staff meeting to escort me through the paper’s recently organized binders of historic photos (from which we selected this piece’s graphic of Cesar Chavez’s visit to the paper’s office for a press conference on a UFW boycott). We flip to it past shots of a struggle immortalized. Demonstrations in the playgrounds of schools, under murals who this week I will recognize as I fly past them on my bicycle. Fists raised, hands extended, changes wrought – and it’s all there in El Tecolote, typed down in two different languages so that we can remember that this neighborhood has a past (and present, and future) worth remembering. 

“El Tecolote is all about making a difference in the struggle for social change,” says Gonzales, who will reassume the managing editor position when Daza heads across the Bay to pursue a graduate degree at UC Berkeley this fall, tells me. Safe to say the paper has, and will continue to do so, si se puede.

 

Imagining the Mission: El Tecolote’s 40th anniversary

Wed/11 6:30-9:30 p.m., $5

Mission Cultural Center for Latino Arts

2868 Mission, SF

(415) 643-2785

www.missionculturalcenter.org