San Francisco

Dolores Huerta: “Don’t be a marshmallow! Stop being vegetables! Work for justice!”

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By Dick Meister

(Part four of a five part daily series on the Farmworkers)

“When I think of Dolores Huerta,” playwright and filmmaker Luis Valdez once said, “I think of earth. Powerful, beautiful, fecund, challenging, conscious, yet so incredibly delicate.”

She’s been all of that in a remarkable career that has spanned more than a half-century. Huerta, now 80, is probably best known for her work with Cesar Chavez in the founding and operations of the United Farm Workers. But that’s just been a part of her lifelong and extraordinarily successful and courageous fight for economic and social justice.

Huerta, five-foot-two, 110 pounds, hardly looks the part. What’s more, she’s had 11 children to raise along the way, much of the time as a single mother.

She’s traveled the country, speaking out and joining demonstrations in behalf of a wide variety of causes. She’s lobbied legislators to win gains for Latino immigrants and others. She was a key leader in the worldwide grape boycott that forced growers to agree in 1970 to some of the country’s very first farm union contracts – which she negotiated despite her utter lack of experience in union negotiating. She remains a leading Latina, feminist, labor and anti-war activist and a role model for women everywhere.

Huerta started out as an elementary school teacher in Stockton in 1955, but quickly tired of “seeing little children come to school hungry and without shoes.” That and her anger “at the injustices that happened to farm workers” in the area, led Huerta to quit teaching and join the Community Services Organization (CSO) which helped local Chicanos wage voter registration drives and take other actions to win a strong political and economic voice.

Chavez, who was general director of the 22-chapter CSO, stressed “grass roots organizing with vengeance” above all. Huerta agreed and generally agreed as well on tactics – including an unwavering commitment to non-violence. But where Chavez was shy, she was bold and outspoken. She had to be if she was to assume the leadership to which her commitment had drawn her. Mexican American men did not easily grant leadership to women, most certainly not to diminutive, attractive women like Huerta.

She was assigned to the State Capitol as the CSO’s full-time lobbyist. It was an unfamiliar task, but during two years in Sacramento, Huerta pushed through an impressive array of legislation, including bills that extended social insurance coverage to farm workers and immigrants and liberalized welfare benefits. I worked in the capitol as an Associated Press reporter and counted Huerta as one of the best – and certainly most principled – lobbyists in Sacramento.

Huerta soon realized, however, that legislation “could not solve the real problems” of the poor that she represented. What they needed was not government aid passed down from above to try to ease their poverty, but some way to escape the poverty. The way out, Huerta concluded, was farm labor organizing.

Chavez agreed, and in 1962, when the other CSO leaders and members rejected his plans for organizing farm workers, he quit to start organizing on his own, Huerta followed, helping create the organizations that eventually evolved into the UFW, with Chavez as president and Huerta as vice president and chief negotiator, later as secretary-treasurer. Like Chavez, she was paid but $5 a week plus essential expenses.

Huerta has paid a heavy physical price for her militancy. She nearly died in 1988 after being clubbed by a policeman while demonstrating with about 1,000 others outside a fund raiser in San Francisco for then Vice President George H.W, Bush, who had ridiculed the UFW and its grape boycott. Huerta’s spleen was ruptured and had to be removed, leading to a near-fatal loss of blood.

She was operated on for other serious problems in 2000. Huerta, long an active Democrat, stepped down as a UFW officer that year to join Democrat Al Gore’s presidential campaign, but remained active in Democratic Party affairs. She continued to lobby for immigrant rights, helping train a new generation of organizers and joining campaigns to improve the lot of janitors, nursing home employees and other highly exploited workers.

Dolores Huerta has shown us, beyond doubt, that injustice can be overcome if we confront it forcefully, if we heed the demand she has been known to shout in urging passers-by to join UFW picket lines:

“Don’t be a marshmallow! Stop being vegetables! Work for justice!”

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

 

 

 

Where’s the “tax the rich” move in SF?

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Warren Buffett may have actually set off a movement with his NY Times oped calling for higher taxes on the rich. That’s what Carla Marinucci, who is not known as a socialist radical, reports today in the Chronicle. 


Billionaire Warren Buffett may not seem to have much in common with angry laborers at town hall meetings or armies of California nurses protesting in the streets.


But these days, the executive celebrity in his boardroom and working folks on the front lines have found a common mantra as the economy continues to sputter and the 2012 election approaches: “Tax the rich.”


It’s a great time to be talking about this — The Institute for Policy Studies just released a report showing that a lot of major corporations paid their CEOs more money last year than they paid in federal taxes. And as the economy continues to sputter, voters are going to keep asking why the rich are doing so well and the rest of us are doing worse and worse.


So let’s make this the center of the mayor’s race in San Francisco.


The nurse’s union is taking on the tax issue directly. The nurses’ candidate for mayor of San Francisco, Leland Yee, doesn’t even mention “taxes” on his list of issues in the race.


Progressive leader John Avalos talks about bringing in $40 million in new revenue, and he has told me many times that he supports taxing the rich. But those words aren’t on his issues page, either. Phil Ting supports repealing part of Prop. 13, but his website talks only of bringing in new revenue without raising taxes. David Chiu wants to reform the business tax, which is a good idea — but again, the word “tax” isn’t on his issue list, and there’s nothing about the rich at all. Bevan Dufty? Nothing about taxes at all. Ed Lee? Zero.


The only leading candidate whose website actually mentions tax reform as a leading issue is Dennis Herrera, who mentions repealing the payroll tax and holding a “tax summit.” His analysis of the payroll tax is dubious, but at least he uses the word “fair.” He doesn’t, however, use the word “rich.”


So here was have the mainstream of the Democratic Party and even ol’ Nancy Pelosi talking about making the wealthy pay their fair share, and in San Francisco, which is supposed to be the most liberal big city in America, it’s not even on the agenda.


Am I the only one who thinks this is a problem?


P

Muslim and proud (and hilarious)

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THEATER Onstage, a woman and her father battle over modern sensibilities versus religious tradition. The father leads with a left jab and the mantra “in the Koran, in the Koran, in the Koran,” which the daughter counters with a roundhouse punch and “third-wave feminism.” Both characters are being played by Zahra Noorbakhsh, a feisty, spirited, thoroughly modern woman — and a Muslim, an important part of her identity she’s not about to let anyone forget. But believing in God doesn’t mean your interpretation of “God’s law” is going to be the same as your parents’, and her notion that her long-distance, white, atheist boyfriend Duncan ought to move in with her, purely for reasons of economy of course, is not a prospect her devout Iranian parents can whole-heartedly embrace.

“It’s against the Koran, man,” her father states definitively. “What you want me to do?”

What he will do is the greatest draw of the show, provocatively entitled All Atheists Are Muslim, which made its New York International Fringe Festival debut to a sold-out house on August 12, weeks away from the tenth anniversary of 9/11 — a date most New Yorkers are all too aware of. Not that Iran has anything to do with that particular date (even George W. wouldn’t go that far), but the intricacies of Islam are nonetheless of enduring topical interest.

“Growing up Muslim-Iranian, I had to constantly, vehemently defend my faith, my culture, and my family everyday,” Noorbakhsh reminisces. Even today, people she is close with freely equate “Muslim” with “terrorist” in polite conversation — even people who have seen her show and know her personally.

Deciding to apply to the New York International Fringe Festival seemed like a logical way to bring her comedic message of tolerance and inter-cultural exchange to New York, especially after having accompanied her director W. Kamau Bell to the 2009 Fringe to run tech for his show The W. Kamau Bell Curve: Ending Racism in about an Hour. After several months of meeting deadlines for program blurbs, participant fees, and tech specs, Noorbakhsh and her “Authorized Company Representative” (also her atheist boyfriend) have been tirelessly navigating the Fringe from the clusters of black-box theaters that dot the brownstone landscape of the East Village.

Working the post-show crowds of her own and others’ shows, Noorbakhsh exudes big sisterly camaraderie and casual confidence rather than rehearsed marketing speak, and a good percentage of her audiences has been made up of fellow performers — a true sign of Fringe success. Of course the run hasn’t been without its surprises. One front-row audience member abruptly refused to be “converted” (“It says right on the postcard that the first three rows will be converted to Islam,” Noorbakhsh points out with amused exasperation). Along those lines, the emphasis placed on handing out postcards as marketing strategy was a surprise; “in San Francisco, it’s a faux pas,” she says of the practice in the local comedy club scene. Above all, her major sense of frustration has come from trying to attract fellow Persians to the show, a difficulty she has not experienced in California.

“In San Francisco I’m an active member of the Persian community,” she explains. “I’m vocal and participate in many organizations. [In New York], nobody knows me outside of this very bold, divisive, and controversial title.”

That many Iranian-Americans she knows identify as atheist rather than Muslim, distancing themselves as much as possible from Iran’s Islamic regime, is certainly part of the obstacle. It seems it’s not just misguided Caucasian theatre-goers who are guilty of confusing “Muslim” with “terrorist”

“This fear of the word Muslim has to stop,” Noorbakhsh opines. “We’ve got to point out how much people flinch at just the word and how horrifyingly racist and damaging that demonization is.”

At Noorbakhsh’s last show of her New York run, a record 20 people are turned away at the door (including, alas, the long-awaited Persians), and the packed house roars appreciatively at her lovingly-skewered portrayal of her foul-mouthed father (“What the shit hell is this, man?”) and her winsome mother, who offers to buy her a Persian rug if she’ll just get married already. Leading the audience through the terms of the compromise they all agree to in order to preserve the peace, Noorbakhsh makes it possible for the audience to fall in love with her tradition-bound family despite their initial resistance to Noorbakhsh’s American-born sensibilities.

And how do her parents feel about Noorbakhsh’s audiences? “They usually sell my tickets,” laughs Noorbakhsh. “They love it.”

ALL ATHEISTS ARE MUSLIM

Through Oct. 1, $20

Opens Thurs/1, 8 p.m.

Runs Thurs.-Sat., 8 p.m.

Stage Werx Theatre

533 Sutter, SF

(415) 517-3581

www.brownpapertickets.com

The Performant New York Edition: Fringe 101, an essential lexicon

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Well, the 16-day New York International Fringe Festival has just wrapped up, and frankly it’s all a bit of a blur. Figuring out to watch next as the festival wound down was a delicate task as fraught with mystery as when it began. Was it worthwhile to attend “A” if it meant losing the opportunity to see “B” altogether? Wasn’t that one show about scuba-diving sewer rats supposed to be off the hook? Did the show about demonic possession in Uruguay already close? Which critic reviews or citizen commentary could be trusted? Which program blurbs can be relied upon to really reveal the truth about their show?

It’s times like these when an official program guide lexicon would come in handy, so that Fringers might have an easier time determining what they’ll truly be in for when they had over their fistful of coin and storm the theatre gates.

So here, just in time for own very own San Francisco Fringe Festival, which celebrates its 20th year this September, is the first definitive Fringe Program Guide Glossary, which can be applied to any (Anglophone) Fringe Festival in the world. Since tastes vary, this glossary is in no way designed to en/discourage attendance for any show, just an attempt to translate some of the more common descriptors into recognizable audience-speak.

Bare Bones: We’ve never heard of kickstarter

Cheese: Neo-surrealists in the house

Classic: We don’t need the rights to present this work

Dark: At least one of the characters dies

Disturbing:
If you don’t like fart jokes

Dynamic:
Theatre Arts undergrads

Edgy: Guaranteed to offend at least one minority group

Erotic: For inexplicable reasons, won’t include nudity

Existential:
At least half of the characters die

Experiential:
Audience participation required

Experimental: We decided not to bother writing a script

Fresh Take: You’ve seen this play 100 times before

Hilarious: If you like fart jokes

Inspirational: Overcoming the effects of an upper middle-class upbringing

Interactive: Don’t sit in the front row

Internationally-acclaimed: Also performed at the Winnipeg Fringe

Multi-media: If our projector breaks we’re screwed

New Translation:
We worked way harder on this show than you can imagine

Noir: Will be wearing great hats

Noirish: Couldn’t afford great hats

Poignant: There will be at least one monologue about innocence lost

Provocative: Will include violence and nudity

Quotes from famous people:
Assistant Director used to walk their dogs

Quotes from previous runs: We have had a chance to rehearse this

Reimagined: We don’t actually have the rights to present this work

Sensitive: Over-wrought

Site-Specific:
Wear layers

Riveting: The stage manager’s mother-in-law said so

Thought-provoking: Will include either violence or nudity

Uncompromising: Guaranteed to offend pretty much everyone

Unforgettable: No matter how hard you try

Universal: Fart jokes

Visceral:
Don’t sit in the front row

Wacky: A kazoo will definitely make an appearance at some point

With a twist: You can see it coming

World Premiere: We haven’t had a chance to rehearse this

A lame attack on Avalos and Adachi

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The Examiner headline today is about as misleading as you can get: “Labor leaders unite against mayor candidates Jeff Adachi, John Avalos.”


That’s pretty ridiculous, since Avalos has the endorsement of the largest city employee union (SEIU Local 1021) and the local teachers union and is about the most pro-labor person in the race. And when you look at what’s actually going on, only three “labor leaders” (out of 150 unions represented in the San Francisco Labor Council) are going after Adachi and Avalos — and they’re among the most conservative labor unions in the city. Who are these “labor leaders?” The cops, the firefighters and the plumbers.


The plumbers, I guess, are mad about Avalos’ local-hire law. The cops and firefighters are mad that Avalos doesn’t give them everything they want. And the fact that they’re going to raise money to go after Adachi and Avalos suggests that they think one or both of them is a serious threat to Mayor Ed Lee.


Or else they’re just blustering and throwing money around because they can.


The reality is that Avalos will have strong labor support, as he always has. Adachi will have a lot more than the cops and firefighters and plumbers to worry about — nobody in organized labor is happy with his pension-reform legislation. So this little rump group making a fuss and getting Examiner headlines means very little.

Eric Quezada. Presente.

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By Roberto Lovato and Jason Ferreira

“I’d love to see a garden of flowers there,” whispered Eric Quezada a few days before his final breath on Earth. Looking like a Guatemalan Quixote, a lanky Eric pointed to the front of his Bernal Heights home with an index finger whittled down by a cancer he’d been fighting ferociously for seven years.

Days later, about 150 people brought pots packed with daisies, bougainvilleas, lavender, lots of red roses — and a bright bouquet of candles to bear witness to the life and friendship of a man who had planted his gentle way into our thoughts, our actions and—most especially—our hearts. To see the tearful and trembling faces of the diverse crowd — former Salvadoran revolutionaries, African American internationalists, soccer buddies made over a lifetime, immigrant rights advocates, Aztec dancers, Guatemalan family members, long time and recent Mission residents, queer leaders and the (Latino) Man Who Would Be Mayor — was heartbreaking. But at the same time we were all shining forth the beautiful Mission that Eric spent a lifetime steadfastly tending to with love.

A true revolutionary, our friend, our brother, who died Aug. 24 at 45, Eric Quezada, lived and died organizing his community, La Misión.

San Francisco and the wider community lost more than just a housing activist, a former candidate for supervisor, and an extraordinarily effective standard bearer of the left. We lost a husband-father-son-brother, a loyal friend and mentor, and a spiritual-political figure whose sources of beauty only became obvious after he gently touched you.

The son of Carlos and Clara Quezada, two Guatemalan immigrants known to many Mission residents as the dynamic duo that birthed two soccer stars (Eric and older brother Carlos) and owned CQ Bike shop on 24th Street, the very soft-spoken Eric lived to bridge the human and the political.

Traveling as a child between a San Francisco on the verge of the silicon revolution-based gentrification wave and wartime Guatemala, Eric developed early on a sense of the emotional and political circuits connecting movements and people on the insurgent continent of América. He grew up hearing stories of very involved and engaged family members like aunt, Ana Maria Quezada, who was arrested for protesting and organizing in Argentina during the 1978 World Cup, and his parents, who lived through the military coup that ousted democratically-elected Guatemalan President Jacobo Arbenz. “I remember hearing stories about Arbenz,” Eric once told us, adding, “—and how the U.S. sponsored the coup.”

Eric’s unique vision was also born out of the racism –and the resistance to it-back home in the Bay Area. Eric often talked of how his mother and he once witnessed two police officers harassing several young African American boys in the parking lot of a convenience store. Clara immediately took the officers to task for their racism, refusing to leave until they left the young boys alone. Eric never forgot his immigrant mother’s courage, her transcendent lesson: always stand alongside those who face injustice.

“Eric is a continuum,” fellow organizer and beloved compañera, Lorena Melgarejo, said. “His beliefs, his commitment didn’t stop in public. They are deep in how he thought about life. As a dad, as a friend, as a lover- that’s who he was,” said Lorena.

After Eric told her when they first met that he didn’t want to burden her with his cancer, Lorena responded: “You have no right to stop your life, you can’t close the door to life!” After that, they were never apart. Embracing life, one filled with no regrets, they fell in love immediately. A few years later, upon the arrival of their beautiful daughter Ixchel, Lorena reminded the larger-than-life, activist father that, “You can’t put your personal life on hold because there’ll always be an event, a meeting or some crisis in the world.”

As was obvious to anyone who really got to know him, one of Eric’s primary connectors to that wider, crisis-filled world of politics and culture was something seemingly apolitical: soccer.

“His politics were like his soccer playing,” explained Eric’s uncle, Edgar, who formed an important part of the Sagastume soccer dynasty in late 20th century San Francisco. “When Eric played, he was cool, but tenacious, hard working. He trained meticulously and never gave up. Eric was fond of saying how he “learned about the politics in different countries—Croatia, Greece, Mexico, El Salvador, England, all kinds—from playing in the San Francisco (soccer) leagues. You learned international relations and neighborhood politics at the same time.”

Such a schooling made Eric a ferocious ally of Central American revolutionary movements including the URNG in Guatemala, Sandinistas in Nicaragua, and the FMLN in El Salvador. These same commitments also served him well as a leader in the Venceremos Brigade to Cuba, where he met Fidel Castro, famously causing the Cuban leader to become nostalgic when asked about his memories of meeting Malcolm X in Harlem. Later, in 2002, he met with Hugo Chávez in Venezuela. They talked about everything from 21st century socialism to baseball. Beaming with the pride that only a lifelong—not fair weather—fan can display, Eric swore that Chávez was a huge fan of the San Francisco Giants.

The eclectic internationalism Eric envisioned and embodied was always two-way. He always strived towards reciprocity. Through Grassroots Global Justice and his work at the World Social Forum in Porto Alegre (Brazil), Eric sought to bring to the international stage the struggles of working class San Franciscans: day laborers, the homeless, people with HIV, and undocumented immigrants.

Eric’s journey reflected that of his mentor and dear friend, the legendary Bill Sorro (who himself died of cancer four years ago this very week). Both Bill and Eric were revolutionaries largely unsatisfied with the traditional rhetoric and disarming anger of the left. “We don’t struggle because we hate, we do so because we love. Yes, we may hate oppression but in the end we are fighting for something, we fight out of a place of love.” Eric never wavered in this.

Eric was a jazz man. A saxophone player, he believed in the art of improvisation and experimentation. At a time when the left was floundering, Eric brought a musical spirit to the necessary work of strengthening dialogue, analysis, and education in the community. He co-founded the Center for Political Education (San Francisco’s equivalent of the legendary Brecht Forum), which has served since 1998 as a catalyst for more effective organizing and as a space to build bridges.

Eric understood the centrality of compassionate bridge-building to political success. And like one of his heroes, Monseñor Oscar Romero, he will in his death rise again in his people. For Oscar Grande, a young community organizer with PODER, a Mission-based Latino environmental and economic justice organization, “Eric was instrumental in bringing radical politics and a visionary spirit to Mission politics,” said Grande.

Eric’s involvement in city politics was less about winning elections and electoral power than about the process of teaching the community how to deal with the powers that be. “He was about ‘let’s re-write the laws and get rid of the bums at City Hall so we can get the things our community needs: housing, open space and recreation opportunities at the material level,'” Grande said. But, according to Grande, who describes Eric as an “older bro/mentor,” Eric’s greatest contribution was spiritual.

“There are fewer and fewer schools of politics, places where you learn how to do politics,” said Grande. “Most of those that are still around in the Latino community are about deal-making, cozying up to the politicians. Eric offered an alternative. The spiritual and the political were always there. Those other fools started from the top-down. Eric started from the bottom up.” This was a key principle of the Mission Anti-displacement Coalition that Eric was instrumental in establishing.

During the last five years of his life, Eric’s bottom-up, interconnecting philosophy was realized at Dolores Street Community Services, a housing and community advocacy organization. For Wendy Phillips, longtime friend of Eric and DSCS Interim Executive Director, Eric was instrumental in securing real housing and other resources for different groups and in connecting DSCS and the Mission to immigrant rights, LGBT rights, and other struggles of our time.

“I think helping create MAC was a huge accomplishment of his because it stopped the massive wave of gentrifying capital entering the Mission. He and MAC mobilized hundreds of people to resist and show the board of supervisors and Mayor that the Mission wasn’t going to go down without a fight.” Their efforts resulted in a community rezoning process that has prioritized the creation of affordable housing in the Mission.

Phillips also noted that, while at DSCS, Eric also spearheaded the creation of the San Francisco Immigrant Legal and Education Network, a network of thirteen organizations that provide free legal services for immigrants, and, of course, advocacy. As if describing his soccer-inspired cosmopolitanism, she said, “Before it became obvious to most, Eric sensed that things were getting really bad on immigration and decided to create SFILEN, which unites Latino organizations, African organizations, Arab organizations, and Asian organizations in an effort to defend immigrants citywide.”

Eric’s defense of — and offensives in — La Mision continues to reverberate in and beyond his beloved neighborhood. “My campaign is really reigniting and reasserting the movement that Eric Quezada helped to build and grow,” said John Avalos, a serious contender in the upcoming Mayor’s race. Avalos, who has dedicated his campaign to Eric and his family, believes that Eric best symbolizes the continuation of the “movement of the people to build power against the downtown forces of gentrification and create livable neighborhoods where people can live with dignity.”

Eric Quezada spent his last days accompanied by loved ones. Along with Lorena, Ixchel and his mother, Eric was tended to and accompanied at his bedside by soccer buddies, family members, his closest personal and political friends, all of whom joined him in taking in the soothing sounds of his favorite music: guitarist friends playing boleros and bossa nova, CD’s of Los Lobos and Jorge Drexler, whose song “Todo Se Transforma,” (nothing is lost, everything is transformed) gave solace to Eric until his final breath. From the vantage point of our present heartbreak, it gives the rest of us hope.

In the lingo of the Latino and Latin American musical and political movements that informed Eric’s thought and action and his life in La Mision, “El Compañero Eric Quezada murio conspirando,” Comrade Eric Quezada died conspiring.

While in English the word “conspire” means to “make secret plans jointly to commit an unlawful or harmful act,” in political Spanish the word has an almost opposite meaning. Conspirar is closer to the Latin roots that combine con, meaning “together,” and spirare, the word for “breathing” and the origin of the word, “spirit.”

In this way, Eric conspired for a better world. After his last breath, he has left us a great spirit. We love you, carnal. Compañero Eric Quezada PRESENTE! La Lucha Continua!!!

(Note: The Community Celebration of Eric Quezada will take place on Sunday, September 25, 2011, 2-5 p.m. at Horace Mann Middle School, 3351 23rd Street

Those wishing to help Eric’s family can donate to the MAF — Ixchel Quezada Education Fund, http://missionassetfund.org/ixchel)

A wave

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marke@sfbg.com

SUPER EGO And so, interest in user-friendly dance music has come to the point where it can support a full-fledged, all-ages, traveling arena festival tour, a kind of mid-period Lollapalooza for ravers of all stripes called Identity, which features a pretty thrilling grab bag of 35 acts in 20 cities, and rolls into Shoreline Amphitheatre on Sat/3. Well, why the hell not? It’s good to go big once in a while.

(Unlike Lollapalooza, however, Identity carries nary a hint of grassroots activism or cosmic enlightenment — although there are “glow products” for sale in the Vendor Village. Also, for something called “Identity” there’s an awfully pale-faced sausage-fest lineup. Both of these things, however, may just be an accurate reflection of contemporary electronic dance music mega-party affairs in general.)

Alongside marquee names like DJ Shadow, Crystal Method, Pete Tong, and Hercules and Love Affair and intriguing, less-familiar-Stateside acts Rusko, Nero, and Steve Lawler — not to mention heroes of hype Steve Aoki and Skrillex — is someone very familiar to San Franciscan clubgoers. Headlining Identity is Kaskade, a.k.a. Ryan Raddon, who made his early career in the city at OM Records before leaping to Billboard Dance Chart fame and becoming SF’s entry into that overwhelming, slightly horrifying, always fascinating pop-tech monster ball that includes Deadmau5, Tiësto, and David Guetta.

“It wasn’t really my ambition to get so big that here I am headlining this massive tour, which can be exhausting,” Kaskade told me over the phone as he prepared to jet off between Identity dates to play the UK’s famed Creamfields Fest. (As someone whose appearance at a block party sparked a full-on riot in LA last month, Kaskade’s down-to-earth, surfer-dude demeanor is a bit disarming.)

“My passion is really more about producing than DJing, although doing I.D. has been awesome and exposed me to new sounds and different audiences. It’s a great party. And it does feel more and more that the pop sound is coming around to what I’ve been doing. A wave of electronic music seems to be taking over right now. I don’t specifically compose for pop singers like Guetta, but I can see how my sound fits in with what’s happening, and that’s why it’s reaching more people.”

That sound is a thoroughly accessible, silky smooth, slightly melancholic series of usually vocal-based anthems that always seems to be shimmering on a Mediterranean beach somewhere (expensive sunglasses come to mind) even as it inexorably builds to its climaxes and breakdowns. New release “Eyes,” with singer Mindy Gledhill is emblematic, the aching breeziness pioneered by local OM and Naked Music labels in the early 2000s pumped up on the big-money, stadium-sized steroids of Kaskade’s current home, Ultra Records, based in New York City.

Headlining Identity has buoyed Kaskade’s mainstream standing, but hopping aboard has had other advantages as well. “One of the best things about the Identity tour is that I get to work on my own stage show, to turn the music into a whole experience. Most of the time as a DJ, I just come into predetermined venues like Ruby Skye and at least have a good light rig. But now I can really expand my musical ideas conceptually, with video projections and amphitheater effects. Opening up to that kind of thing, along with hearing what the other Identity acts like Datsik and Le Castle Vania are doing — I don’t get to go to other peoples’ shows very much because I’m always playing somewhere — that’s changed some of my ideas drastically.”

Is coming back to San Francisco a kind of triumphant homecoming? “I don’t think of it that way. I really don’t think I ever left San Francisco, or that anyone can ever really leave San Francisco. Obviously the Bay Area means a lot to me in terms of my development, but I think a lot about moving back there. The people are genuinely into the music — and they’re used to a high level of quality.”

Identity Festival Sat/3, 1 p.m., $60. Shoreline Amphitheater, Mountain View. www.idfestival.com.

 

BAD SHOES ANNIVERSARY

The local electro label pumps out a good share of thoughtful bangers, this free party at recently expanded swankity club Sloane Squared is a perfect chance to plug in to the crews’ mindbending doings. With Baan, Ear Jerker, MPHD, Dane O, and Teleport.

Wed/31, 10 p.m., free. Sloane Squared, 1525 Mission, SF. www.badshoesrecords.com

 

MATTHIAS TANZMANN

Cleverly fiendish, heavily electric house and techno, expertly mixed by this famous German, celebrated for his close association with Ibiza club Circoloco.

Fri/2, 10 p.m., $5 advance. Mighty, 119 Utah, SF. www.mighty119.com

 

ZUZUKA PODEROSA

Brazil-via-Brooklyn baile funk warrior queen gets provocative and splashes some neon rap over bass-heavy electronic tracks at one of my favorite monthly parties for downright friendliness and forward-thinking global jams, Braza!

Fri/2, 10 p.m., $10. SOM, 2529 16th St., SF. www.som-bar.com

 

D. DIGGLER AND KOLLEKTIV TURMSTRASSE

Repping Frankfurt and Hamburg respectively, these two acts are heroes of headspace-commandeering minimal techno — with duo Kollektiv considered by many to be among the best live acts in the world. Their sometimes haunting tracks will give the monthly Kontrol party an intense vibe.

Sat/3, 10 p.m.-6 a.m., $20. EndUp, 401 Sixth St., SF. www.kontrolsf.com

 

OPTIMO

Glaswegian geniuses of the extended 12-inch, this duo can make any retro track sound delightfully contemporary: classic rock, ska, dub, ’80s pop, it’s all fair game. Local “punch-drunk disco nihilists” Mi Ami, a band that’s garnered its own international fame, leads the charge.

Sat/3, 9 p.m.-4 a.m., $10 advance. Public Works, 161 Erie, SF. www.publicsf.com

 

ADRIAN SHERWOOD

One of the almighty princes of dub ruled the ’80s with treatments of Depeche Mode, Coldcut, the Woodentops, and Sinead O’Connor, released the first Black Uhuru records, cofounded the storied On-U Sound System, and is now helping celebrate excellent weekly Dub Mission’s 15th (!) anniversary. This is one of those “wows.”

Sun/4, 9 p.m., $15 advance. Elbo Room, 647 Valencia, SF. www.dubmission.com

 

TOM MIDDLETON

British Jedi master of smart tech-house in the 1990s has gone through a number of stylistic changes and clever monikers, but has never been afraid to let his classical and jazz training shine through his tracks. He’s headlining the grand Stompy + Sunset Labour of Love party.

Sun/4, 2 p.m., $20. Cafe Cocomo, 650 Indiana, SF. www.pacficsound.net

Our weekly picks: Aug. 31-Sept. 6

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WEDNESDAY 31

FILM

“Bernal Heights Outdoor Cinema”

Don’t let all those school supplies in Walgreens fool you — summer in San Francisco is still going strong. Hope for one (or more!) of those rare fog-free nights during Bernal Heights Outdoor Cinema, a showcase of over 70 shorts made by residents of the ‘hood and points beyond. Tonight’s way-out-east opening party previews the whole shebang with live music by Stoo Odom and the Odom Poles; other events include a block party on Tiffany Avenue (runs parallel to Mission; access it from 29th St.), a “film crawl” down Cortland Avenue (get drunk on HD videos!), a screening in Precita Park, and a finale party at El Rio. The kick-off has a suggested donation to benefit Bernal History Project, but the rest of the fest is free. (Cheryl Eddy)

6:30 p.m., suggested donation $15

Old Clam House

299 Bayshore, SF

(415) 641-0324

www.bhoutdoorcine.org

 

FILM

“Cary Grant: Definitive Star”

Cary Grant was the prototypical total-package leading man: suave and dapper, gruff yet dreamy, totally manly (could kick ass atop Mount Rushmore) yet sensitive (could sweep a starlet off her feet without rumpling his hairdo). George Clooney wishes he could measure up. Show your appreciation for one of cinema’s all-time greats — and hey, the films themselves are pretty special, too — during this weeklong appreciation of the Divine Mr. Grant. Selections hew toward his 1930s-40s output of rapid-fire Howard Hawks comedies (1938’s Bringing Up Baby, which screens in a brand-new 35mm print; 1940’s His Girl Friday), but his Hitchcock turns (including 1959’s North By Northwest and, drool, 1946’s Notorious) and 1940’s classic The Philadelphia Story are also represented. (Eddy)

Through Tues/6, $7.50–$10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

THURSDAY 1

MUSIC

Uzi Rash

If your friendly neighborhood punk house grew arms and legs, developed vocal chords, and started a band, said band would probably sound a lot like Uzi Rash. A mad jangle, barely held together by grit and charm, Uzi Rash flourishes on the edge of collapse. No two songs sound the same, and band membership constantly mutates, but the appeal remains. Uzi Rash is Oakland’s answer to the Urinals, bolstered by the avant-garde weirdness of bands like Chrome or Pere Ubu, a combination that has earned a dedicated following in the bay and beyond. Lest you be surprised, an Uzi Rash show is hardly predictable; the energy is organic and the ride is free. Or six bucks. Or something like that. (Cooper Berkmoyer)

With King Lollipop, Buffalo Tooth, and Cool Ghouls

9 p.m., $6

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

MUSIC

Peaches

What can you learn from the teaches of Peaches? That sex is good, all types of body hair should be adored not shorn, and if you don’t like her style, you can get the fuck out of the club. Berlin-based artist Peaches (not be confused with our own priestess, Peaches Christ) rose from the ranks during electroclash’s heyday in the early 2000s with a far more distinctive style than others that claimed the genre. She was fierce with taboo lyrics, confusing sexuality, and throbbing beats — and is still nails-tough with followup albums such as 2009’s I Feel Cream. And of that now-rubble of electrocrash, she proudly still remains, standing atop it with arms akimbo, gleaming in shiny gold spandex hotpants, the gender-bending mistress of futuristic trash pop. (Emily Savage)

With Maluca

9 p.m., $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

FRIDAY 2

FILM

“Love Exposure”

Sion Sono, the groundbreaking, prolific, and perhaps mad writer/director/poet who notably brought the world Suicide Circle (2001) — a movie that after having watched twice I still can’t really tell you what it’s about — has once again dropped jaws across the globe with his most ambitious feature to date. Love Exposure is a nearly four-hour-long epic about a love smitten devoutly Catholic teenager named Yu Honda as he masters the art of upskirt photography, chases the object of his obsessive desire, and eludes a violent cultist. Released in Japan over three years ago to widespread acclaim, it has only recently made its way to our shores; Sept. 2 will be your first chance to catch this beast of a film in San Francisco but hopefully not your last. (Berkmoyer)

Fri/2 — 9/8

$10

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

MUSIC

Chelsea Wolfe

It’s been one full year since the beginning of based goth club night 120 minutes. As the club puts it: “a year of darkness and based goth… lasers and fog… thizzed out thugz in black throwin’ up occult signs and goth kids sippin’ sizzurp and screamin’ along to waka flocka flame.” To celebrate the anniversary of such mayhem, Los Angeles-based musician Chelsea Wolfe is coming in for a live set, arriving on the heels of her exquisitely haunting new release, Ἀποκάλυψις (pronounced “apokalypsis”). It touches both darkness and light, pain and ecstasy. From the opening beastly howl to the more subdued ethereal end, the album plays out like a black veil-laced journey on-foot through punishing natural elements. Which should fit nicely with the 120 Minutes crowd. (Savage)

120 Minutes anniversary

With DJ Todd Pendu, DJs Nako, and Whitch

10 p.m., $10

Elbo Room

647 Valencia, SF

(415) 552-7788.

www.elbo.com

 

SATURDAY 3

MUSIC

Dreamdate

What’s your dream date? Perhaps the night would start off with beers, then move on to pizza . . . then more beers? You and your date could take a stroll and talk about life. “You know what I hate?” . . . “Me too!” Maybe you would broach the subject of early-to-mid 90s indie pop. What d’ya know, you both like Cub and Go Sailor! The Popguns too! A match made in heaven. “Hey, have you heard of Dreamdate?” “Who?” “It’s new. It’s a three piece from the bay. It’s sweet and catchy without making you feel like you’re choking on a cube of sugar that’s boring its way into your brain.” “I hate that.” “Me too. But I love Dreamdate.” (Berkmoyer)

With Lilac, the Ian Fays and Wild Assumptions

6 p.m., $6

423 40th St., Oak.

(510) 985-0325

www.1234gorecords.com

 

DANCE

RawDance Concept Series 9 Why overpay for a 3D movie when you can get live action art with free popcorn to boot? Dance artists Wendy Rein and Ryan Smith of RawDance host Concept Series 9, an intimate salon featuring works-in-progress and dance repertory by Bay Area dance artists. In addition to pieces by RawDance, this installment includes a new solo by former Martha Graham Dance Company performer David Martinez who has crowdsourced content to fold into his choreography, the darkly humorous 13th Floor Dance Theater directed by Jenny McAllister, Tanya Bello’s project.b, Gretchen Garnett and Dancers and punkkiCo, led by Finnish import Raisa Punkki. (Julie Potter)

Sat/3, 8 p.m. and Sun/4, 3 and 8 p.m.9 p.m., $8

66 Sanchez, SF

(415) 686-0728

www.rawdance.org

 

MUSIC

RTX

With the demise of ’90s indie rock heavyweights Royal Trux in 2001, longtime creative partners Neil Hagerty and Jennifer Herrema parted ways with Hagerty founding Howling Hex and Herrema adopting the name RTX for her own project. Since then, RTX has released scores of records, solidifying Herrema’s reputation as a songwriter and badass of renown while reaching out to a legion of fans, young and old(er) alike, with a lurching amalgam of everything that rocks, from skate punk to old school psychedelia and everything in between; it’s a mystical trip in the desert with nothing but torn jeans, cowboy boots, and a stick-n-poke Camero on your bicep. It makes you want to drink whiskey and say “fuck.” I miss my long hair. (Berkmoyer)

With White Fence, Heavy Cream and Burnt Ones

9 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

SUNDAY 4

EVENT

Star Wars Day

Having won their first World Series title since moving to San Francisco last season, the Giants seemed, as Master Yoda would say, “at one with the Force.” In a fitting tribute to their victory, the team is hosting “Star Wars Day” at the ballpark, complete with a pre-game costume contest and party, a post-game screening of The Empire Strikes Back, and a special “Brian Wilson in Carbonite” giveaway. With his awesome, Jedi-like command of the ball when pitching, Wilson is a most appropriate pick — not to mention the fact that with his epic beard, he’s starting to look a little bit like Obi-Wan Kenobi! (Sean McCourt)

11 a.m.; Pricing varies; see website for current availability

AT&T Park

24 Willie Mays Plaza, SF

(415) 972-2000

www.sfgiants.com/specialevents

 

MUSIC

Twin Sister Twin Sister makes funky pink frosted cake-making, pinata-swinging, casual party music. Just check out the Brooklyn-via-Long Island band’s video for “Bad Street” off its forthcoming album In Heaven. Shot on location at breathy, sweet-voiced singer Andrea Estella’s family home, the video captures a pretty epic celebratory affair, replete with balloons and metallic streamers. Estrella’s family is made up of Salvadorians and Puerto Ricans, and she says the the video and the lyrics of the song are about Latin American life in New York. While other Twin Sister tunes expose a dreamy ’80s pop bent, this particular track sounds like a funked out ’70s block party. Just pray you get the invite.(Savage)

With Devon Williams, Library Voices

8 p.m., $12 Rickshaw Stop

155 Fell, SF

(510) 861-2011

www.rickshawstop.com

 

TUESDAY 6

MUSIC

The Mummies

There will only be 40 tickets sold at the door to this notably awesome, already pre-sold out show at the Knockout — I mean, these are the godparents of San Francisco surf punk we’re talking about here. Beginning in 1988, the gauzy white-cloth-wrapped band mixed 1960s-style surf rock riffs with the more modern sounds of clattering garage punk. All the Mummies have since joined other acts, but the band still occasionally regroups for live SF shows. Of course, Russell Quan is most often seen these days behind the DJ booth at twist-crazy club night Teenage Dance Craze at the Knockout, so what better place to host the show? And it should be a good one. The flier teases “Wear white shoes for a special surprise treat. Things will get out of hand.” (Savage)

With the Hondettes, DJ Russell Quan

10 p.m., $15 Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com 

 

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The mess at Lake Merced

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By Jerry Cadagan

OPINION Lake Merced is a San Francisco jewel that for years has suffered from the benign neglect of the city. Here are some facts:

The San Francisco Public Utilities Commission is the owner of the lake and surrounding land. In 1950, the SFPUC made a major mistake in delegating to the Recreation and Park Department vague authority for recreation at the lake. Under the City Charter, Lake Merced is not a park that would ordinarily be handled by RPD.

Starting in the 1980s, the lake’s water levels dropped precipitously, for a variety of reasons. Neither agency took serious action to determine why, or to reverse the situation. That was a clue that having two quarterbacks running the Lake Merced operation was a bad idea. But starting in late 1993, many community activists started grappling with the water level issue, and it’s now under control.

As water levels recovered, SFPUC staffers wasted no time acting like they were fully in charge by initiating a planning process that, after four years of consultants feeding at the trough, resulted in a 187-page Lake Merced Watershed Report, released in 2010. The SFPUC paid the consultants a humongous $588,434. You can judge whether SFPUC’s ratepayers got their money’s worth by reading the document at sfwater.org/index.aspx?page=197

In January 2007, the Board of Supervisors requested that SFPUC and RPD revise the 1950 delegation of recreation management to RPD. The board’s resolution recites that SFPUC “has made a commitment to manage and maintain all the watershed lands … and to obtain and allocate the resources necessary” to do so. The Watershed Report (p. 10) confirmed that the “intent is to transfer primary responsibility for management of the lands surrounding the lake back to the SFPUC.” Those who were involved in the discussions in late 2006 know full well that the reason it is desirable for SFPUC to be fully in charge was so that there would be a single point of accountability.

The board’s January 2007 resolution asked the two agencies to report back in 90 days. They never did. Rather, some 1,180 days after the resolution, the agencies released a draft memorandum of understanding purporting to respond to the board’s request. Amazingly, the draft MOU left virtually all management responsibilities in the same muddled condition that has existed since 1950. The agencies held a public meeting to explain the draft MOU on July 19. The 40 attendees were generally unhappy with the lack of real change in management being proposed.

In an inexplicable move, in late July the SFPUC released a document describing intended renovations to the dilapidated boathouse building at the lake. The total cost of the proposed renovations is $940,000. But the document itself, and recent conversation with SFPUC staff, makes it clear that to make the building meet all building codes and disability access requirements would cost $1.9 million. Why is the SFPUC now planning to spend $940,000 when its own watershed report says, on page 24, “it may be better to completely rebuild and expand the facility rather than renovate?”

The ongoing litany of mismanagement and fiscal imprudence is unacceptable. Coherent, accountable management is needed at Lake Merced. Call Mayor Ed Lee (554-6141), Supervisor Sean Elsbernd (554-6516) and SFPUC General Manager Ed Harrington (554-3155) and demand it.

Jerry Cadagan was a co-founder of the Committee to Save Lake Merced in 1993 and has worked continuously on issues involving Lake Merced since that time.

Film Listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

OPENING

Apollo 18 Faux-found-footage horror flick about a top-secret moon landing gone terribly awry. (1:26)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) (Peitzman)

Film Socialisme For the record, Jean-Luc Godard is alive and well and still making thought-provoking films. (1:41) SFFS New People Cinema.

A Good Old Fashioned Orgy Thirtysomethings in the Hamptons do the darndest things. (1:35)

*Higher Ground Higher Ground does not bite off more than it can chew. I guess that should go without saying, but it’s striking how comfortably Vera Farmiga (in her directorial debut) tackles this story of devotion and doubt. Based on the memoirs of Carolyn S. Briggs, who co-wrote the screenplay, this deeply personal film follows Corrine Walker (Vera Farmiga) from her adolescence through the trials of youth and middle age, her marriage to high school sweetheart Ethan (Joshua Leonard), and their lives as members of a small hippie Christian community. Although religion serves as a backdrop for Higher Ground, it doesn’t suffocate the human element of the story; it’s less a film about Christianity than it is about the challenges one woman faces as she tries to find room for herself amidst faith. Farmiga treats her subjects with empathy and humor and crafts a thoughtful, tender slice of sixties Midwest Americana. (1:49) (Cooper Berkmoyer)

*The Interrupters See “Chicago Hope.” (2:05)

*Love Exposure See Trash. (3:57) Roxie.

Seven Days in Utopia If the sports sub-sub-genre “existential golf drama” is your idea of a good time, you’re in luck this week. (1:38)

Shark Night 3D Just realized this movie is rated PG-13. DISLIKE. (1:31)

ONGOING

*Beginners There is nothing conventional about Beginners, a film that starts off with the funeral arrangements for one of its central characters. That man is Hal (Christopher Plummer), who came out to his son Oliver (Ewan McGregor) at the ripe age of 75. Through flashbacks, we see the relationship play out — Oliver’s inability to commit tempered by his father’s tremendous late-stage passion for life. Hal himself is a rare character: an elderly gay man, secure in his sexuality and, by his own admission, horny. He even has a much younger boyfriend, played by the handsome Goran Visnjic. While the father-son bond is the heart of Beginners, we also see the charming development of a relationship between Oliver and French actor Anna (Mélanie Laurent). It all comes together beautifully in a film that is bittersweet but ultimately satisfying. Beginners deserves praise not only for telling a story too often left untold, but for doing so with grace and a refreshing sense of whimsy. (1:44) (Peitzman)

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) (Chun)

Brighton Rock Writer Rowan Joffe (2010’s The American) moves into the director’s chair for this Graham Greene adaptation, previously filmed in 1947 with an early-career star turn by Richard Attenborough. Joffe’s version updates Greene’s 1938 story to 1964, allowing the brutal actions of small-time hood Pinkie Brown to unfold as Britain’s mods vs. rockers youth riots boil in the background. Don’t get too excited, though — despite a cool premise and even cooler setting, and the presence of veterans Helen Mirren and John Hurt in supporting roles, Brighton Rock rages without a rudder. Pinkie is played by Sam Riley (so good as Ian Curtis in 2007’s Control), who snarls like a sociopathic James Dean and is so transparently hateful it’s hard to root for anything other than his hastened demise. Brighton Rock‘s most memorable element is probably Andrea Riseborough, an on-the-verge young Brit who’s being touted as the next Carey Mulligan. She has the thankless (yet showy) role of Rose, a naïve waitress who becomes entangled in Pinkie’s web after being in the wrong place at the wrong time. A far-from-storybook ending awaits, and you’ll experience little enjoyment watching the characters claw their way there. (1:51) (Eddy)

Buck This documentary paints a portrait of horse trainer Buck Brannaman as a sort of modern-day sage, a sentimental cowboy who helps “horses with people problems.” Brannaman has transcended a background of hardship and abuse to become a happy family man who makes a difference for horses and their owners all over the country with his unconventional, humane colt-starting clinics. Though he doesn’t actually whisper to horses, he served as an advisor and inspiration for Robert Redford’s The Horse Whisperer (1998). Director Cindy Meehl focuses generously on her saintly subject’s bits of wisdom in and out of a horse-training setting — e.g. “Everything you do with a horse is a dance” — as well as heartfelt commentary from friends and colleagues. In the harrowing final act of the film, Brannaman deals with a particularly unruly horse and his troubled owner, highlighting the dire and disturbing consequences of improper horse rearing. (1:28) (Sam Stander)

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) (Eddy)

Colombiana (1:47)

Conan the Barbarian Neither 3D (unnecessary) nor Game of Thrones‘ Jason Momoa (beefcake-y) are enough to make this Conan the Barbarian competition for the 1982 Schwarzenegger classic. This new take is a barely adequate adventure movie helped along by Rose McGowan’s leering turn as an evil witch with Freddy Krueger claws. Would that everyone involved (including frequent remake director Marcus Nispel) had McGowan’s razor-sharp grasp of tone; as a whole, the film is never quite sure if it’s a camp-tastic voyage (the prologue, containing Conan’s birth and much Ron Perlman nostril-flaring, suggests what might have been) or a semi-straightforward fantasy actioner. A totally forgettable female lead (Rachel Nichols), a he-was-scarier-in-Avatar villain (Stephen Lang), a blah mixture of two tired plots (revenge + “chosen one”) — there’s just not a lot here, aside from a few hilarious lines of dialogue and Momoa’s muscles. He was so great in Game of Thrones, though, I suspect this dud won’t keep his career from skyrocketing. (1:42) (Eddy)

Cowboys and Aliens Here ’tis in a nutshell: the movie’s called Cowboys and Aliens — and that’s exactly, entirely what you’ll get. Director Jon Favreau may never best 2008’s Iron Man (actor Jon Favreau will prob never top 1996’s Swingers, but that’s a debate for another time), but that doesn’t mean he won’t have a good time trying. Cowboys is a genre mash-up in the most literal sense; as the title suggests, it pits Wild West gunslingers (Harrison Ford as a crabby cattleman, Daniel Craig as an amnesiac outlaw) against gold-seeking space invaders who also delight in kidnapping and torturing humans. As stupidly entertaining as it is, this is a textbook example of a pretty OK movie that could have been so much better … if only. If only the alien characters had a little bit more District 9-style personality. If only the story had a shred of suspense — look ye not here for “spooky” and “mysterious;” this shit is 100 percent full-on explosions. If only Craig’s comically fine-tooled physique didn’t outshine his wooden acting. And so forth. (1:58) (Eddy)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) (Chun)

The Devil’s Double Say hello to my little friend, again— and rest assured, it’s not a dream and you’re seeing double. New Zealand filmmaker Lee Tamahori gets back to his potboiler roots with this campy, claustrophobic look back at the House of Saddam Hussein, based on a true story and designed to win over fans of Scarface (1983) with its portrait of mad excess and deca-dancey ’80s-ish soundtrack. The craziest poseur of all is Hussein’s son Uday (Dominic Cooper), a petty dictator-in-the-making — and, according to this film, a full-fledged murderous pedophile — who chomps cigars and wraps his jaws around schoolgirls while Cooper happily chews scenery. Uday needs a double to sidestep all those troublesome assassination attempts, so he enlists look-alike childhood friend Latif (also Cooper) to get the surgery, pop in the overbite, bray like a madman, make appearances in his stead, and function as a kind of pet human. Never mind Ludivine Sagnier, glassy-eyed and absurd in the role of Uday’s favorite sex kitten Sarrab — Double is completely Cooper’s, who seizes the moment, investing the morally upstanding Latif with a serious sincerity with just his eyes and body language and infusing evil odd job Uday with a dangerous, comic-book unpredictability. To his credit, Cooper imbues such cult-ready, blow-the-doors-off lines as “I love cunt! I love cunt more than god!” with, erm, believability, even as the denouement rings somewhat false. (1:48) (Chun)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) (Peitzman)

Fright Night Don’t let the spooky trailer fool you: the Fright Night remake is almost as silly as the original. In fact, it follows the 1985 film closely, as young Charley Brewster (Anton Yelchin) comes to realize that his neighbor Jerry (Colin Farrell) is a vampire. The biggest change is a smart one — this Fright Night transforms late-night TV host Peter Vincent into Criss Angel-type illusionist Peter Vincent (David Tennant). The casting is spot on all-around, and frankly, Farrell is a lot more believable than Chris Sarandon as the seductive bad boy. The only real problem with the new Fright Night — other than the unnecessary 3D — is that it never fully commits to camp the way the original did. There’s a bit too much back-and-forth between serious scares and goofy blood splatters. Luckily, it’s still an entertaining remake that doesn’t crap all over a classic. It’s also a great reminder that vampires don’t have to be moody — remember, they used to be fun. (2:00) (Peitzman)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) (Chun)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) (Eddy)

Gun Hill Road Though the visibility of gays and lesbians in cinema remains (largely) confined to independent film, Rashaad Ernesto Green, in his debut feature Gun Hill Road, uses the creative freedom afforded by that closeting to explore issues of race and confused sexuality amid the Latino population of the Bronx. Esai Morales is Enrique, a former drug dealer returning from prison to his wife Angela (Judy Reyes) and teenage son Michael (Harmony Santana). But everyone seems to have moved on with their lives. Angela is having an affair, and Michael has created a new persona, Vanessa. Green’s film focuses on the relationship between the damaged Enrique and Michael, whose cross-dressing and budding transsexuality puts the family members at odds. Nominated for the Grand Jury Prize at Sundance and an entry in this year’s Frameline Film Festival, Gun Hill Road is one in a recent spate of films that deals with coming out in an urban setting. Like Green’s film, Peter Bratt’s La Mission (2009) offered a picture of homophobia in the Latino community. But Gun Hill Road, despite its bulging dramatic heft, shirks the after-school-special formula of La Mission by imagining complex characters rather than hewing them from instantly recognizable, sympathetic archetypes. (1:28) (Ryan Lattanzio)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) (Chun)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) (Harvey)

Motherland When Raffi Tang (Francoise Yip) learns of her estranged mother’s death, the prodigal-daughter returns to her hometown, San Francisco, only to discover that nothing is as first supposed. Forced to contend with the protracted legal battle between her late mother and re-married father (Kenneth Tsang) as well as an incompetent (and poorly acted) police detective (Jason Payne), Tang drifts, looking distracted, lost, and maybe vaguely concerned throughout the first two thirds of the film. Yip does little to enliven a flat script rife with stock phrases and worn cinematic conventions, and while her emotional distance seems genuine, it’s boring nonetheless. Motherland is, to its credit, an angry movie — director Doris Yeung drew on her own experience with the murder of her mother — but the rage fizzles when it finally does erupt, smothered by uninspired acting and a directionless screenplay. (1:33) (Berkmoyer)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Smith Rafael. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) (Chun)

Sarah’s Key (1:42)

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Smith Rafael. (Berkmoyer)

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) (Eddy)

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

30 Minutes or Less In some ways, 30 Minutes or Less is reminiscent of 2008’s Pineapple Express: both are stoner action comedies about normal people shoved into high-stakes criminal activity. But while Pineapple Express was an exciting addition to the genre, 30 Minutes or Less is a flimsy 80-minute diversion that still feels like a waste of time. Jesse Eisenberg plays Nick, a pizza delivery boy who is forced to rob a bank after two would-be criminals strap a bomb to his chest. Strangely, Eisenberg was more charming as Mark Zuckerberg in The Social Network (2010) — and his buddy Chet (Aziz Ansari) doesn’t exactly up the likability factor. There’s actually the potential for an interesting story here: something darker seems appropriate, given that 30 Minutes or Less was inspired by a true story with a very unhappy ending. But the film completely fumbles, delivering an action comedy that’s neither tense nor funny. That means the pizza’s free, right? (1:29) (Peitzman)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) (Harvey)

*The Trip Eclectic British director Michael Winterbottom rebounds from sexually humiliating Jessica Alba in last year’s flop The Killer Inside Me to humiliating Steve Coogan in all number of ways (this time to positive effect) in this largely improvised comic romp through England’s Lake District. Well, romp might be the wrong descriptive — dubbed a “foodie Sideways” but more plaintive and less formulaic than that sun-dappled California affair, this TV-to-film adaptation displays a characteristic English glumness to surprisingly keen emotional effect. Playing himself, Coogan displays all the carefree joie de vivre of a colonoscopy patient with hemorrhoids as he sloshes through the gray northern landscape trying to get cell reception when not dining on haute cuisine or being wracked with self-doubt over his stalled movie career and love life. Throw in a happily married, happy-go-lucky frenemy (comic actor Rob Brydon) and Coogan (TV’s I’m Alan Partridge), can’t help but seem like a pathetic middle-aged prick in a puffy coat. Somehow, though, his confused narcissism is a perverse panacea. Come for the dueling Michael Caine impressions and snot martinis, stay for the scallops and Brydon’s “small man in a box” routine. (1:52) (Devereaux)

The Whistleblower (1:58) Smith Rafael.

*!Women Art Revolution Bay Area artist and filmmaker Lynn Hershman Leeson’s vibrant look back at the first waves of feminist art in the ’60s and ’70s is an extremely necessary and impassioned recounting of a history that perpetually seems to be on the edge of erasure. Mixing old and new interviews with artists, critics, and scholars — many of which are from Hershman Leeson’s own personal archive — !W.A.R. lets those who stood at the frontlines of one the most significant movements in contemporary art tell their own stories. Seeing and hearing the testimonies of the likes of Yoko Ono, Cindy Sherman, B. Ruby Rich, Judy Chicago, Carolee Scheeman, Rachel Rosenthal, and Ingrid Sischy, one after another, is dazzling — like being in the presence of an Olympian summit — even as their overlapping tales of pushback, casual misogyny and outright ridicule from critics, the art establishment, and in some cases, their colleagues, paint a damning picture of just how endemic sexism was, and as the need for a film such as !WAR attests to, in many ways still is. (1:23) (Sussman)

 

Stage Listings

0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

All Atheists Are Muslim Stage Werx Theatre, 533 Sutter, SF; (415) 517-3581, www.brownpapertickets.com. $20. Opens Thurs/1, 8pm. Runs Thurs-Sat, 8pm. Through Oct 1. Zahra Noorbakhsh performs her solo romantic comedy.

Cymbeline Parade Ground Lawn, Main Post, Presidio (between Graham and Keyes), SF; www.sfshakes.org. Free. Opens Sat/3, 7:30pm. Runs Sun/4-Mon/5, 2:30pm; Sept 10, 17, and 24, 7:30pm; Sept 11, 18, and 25, 2:30pm. Through Sept 25. The San Francisco Shakespeare Festival presents its annual “Free Shakespeare in the Park” performance.

King Henry the Sixth Boxcar Studios, 125a Hyde, SF; www.brownpapertickets.com. $12-15. Opens Fri/2, 8pm. Runs Thurs-Sat, 8pm. Through Sept 17. Do It Live Productions debuts with a contemporary Shakespeare adaptation.

BAY AREA

A Delicate Balance Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-48. Previews Fri/2-Sat/3 and Sept 7, 8pm; Sun/4, 2pm; Tues/6, 7pm. Opens Sept 8, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Oct 9. Aurora Theatre performs Edward Albee’s comedy of manners.

Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Previews Fri/2-Sat/3 and Tues/6, 8pm; Sun/4, 7pm. Opens Sept 7, 8pm. Runs Tues-Sun, showtimes vary. Through Oct 30. Rita Moreno stars in a show created specifically for her by Berkeley Rep’s Tony Taccone and David Galligan.

ONGOING

“AfroSolo Arts Festival” Various venues, SF; www.afrosolo.org. Free-$100. Through Oct 20. The AfroSolo Theatre Company presents its 18th annual festival celebrating African American artists, musicians, and performers.

American Buffalo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Extended through Sept 17. Actors Theatre of San Francisco performs the David Mamet crime classic.

Exit, Pursued By a Bear Boxcar Playhouse, 505 Natoma, SF; www.crowdedfire.org. $10-35. Wed-Sat (no shows this week; shows resume Sept 7), 8pm. Through Sept 17. Crowded Fire performs Lauren Gunderson’s new play, a feminist revenge comedy.

Geezer Marsh, 1062 Valencia, SF; (415) 282-3055. $25-100. Thurs, 8pm; Sat-Sun, 5pm. Through Sept 18. Geoff Hoyle returns to the Marsh with his acclaimed solo show.

Tigers Be Still SF Playhouse, 522 Sutter, SF; www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Sat, 8pm (also Sat, 3pm). Through Sept 10. SF Playhouse performs Kim Rosenstock’s quirky comedy.

True West NOHspace, 2840 Mariposa, SF; 1-800-838-3006, www.truewestsf.com. $10-28. Wed-Sat, 8pm. Through Sept 17. Expression Productions presents Sam Shepard’s tale of two brothers.

2012: The Musical! This week: Mill Valley Community Center (back lawn), 180 Camino Alto, Mill Valley; www.sfmt.org. Free. Wed/31, 7pm. Also Thurs/1, 7pm, Mitchell Park, South Field, 600 East Meadow, Palo Alto; Sat/3-Mon/5, 2pm, Dolores Park, 18th St at Dolores, SF. Continues through Sept 25 at various Bay Area venues. San Francisco Mime Troupe mounts their annual summer musical; this year’s show is about a political theater company torn between selling out and staying true to its anti-corporate roots.

Waiting for Giovanni Decker Theater, New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 18. This world-premiere play by Jewelle Gomez in collaboration with Harry Waters Jr. imagines a split-second of indecision in the mind of author James Baldwin.

BAY AREA

Candida Bruns Memorial Amphitheater, 100 California Shakespeare Theatre Way, Orinda; www.calshakes.org. $35-66. Wed/31-Thurs/1, 7:30pm; Fri/2-Sat/3, 8pm (also Sat/3, 2pm); Sun/4, 4pm. Cal Shakes artistic director helms this taken on George Bernard Shaw’s classic about a housewife torn between her husband and a new suitor.

The Complete History of America (abridged) Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company performs Adam Lon, Reed Martin, and Austin Tichenor’s three-person romp through American history.

The Merry Wives of Windsor Old Mill Park, 375 Throckmorton, Mill Valley; www.curtaintheatre.org. Free. Sat-Sun and Sept 5, 2pm. Through Sept 18. Curtain Theatre performs Shakespeare’s Falstaff-centric comedy.

Not a Genuine Black Man Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $20-50. Sat, 5pm (also Sept 8 and 22, 7:30pm). Through Sept 24. This is it: the final extension of Brian Copeland’s solo show about growing up in (nearly) all-white San Leandro.

Of Dice and Men La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 1. Impact Theatre performs Cameron McNary’s comedy about a group of adult Dungeons and Dragons players.

The Road to Hades John Hinkel Park, Southampton Ave, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (suggested donation; no one turned away for lack of funds). Sat-Sun, 3pm. Through Sept 11. Shotgun Players presents a new comedy written by and starring veteran comedian and clown Jeff Raz.

Sense and Sensibility Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 18. TheatreWorks performs Roger Parsley and Andy Graham’s adaptation of the Jane Austen novel.

Seven Guitars Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-55. Wed/31, 7:30pm; Thurs/1-Sat/3, 8pm (Sat/3, 2pm); Sun/4, 2 and 7pm. Marin Theatre Company performs August Wilson’s 1940s-set entry into his series of plays about the African-American experience.

The Tempest Dominican University of California, Forest Meadows Amphitheater, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-35. Performance times vary; check website for schedule. Through Sept. 25. Marin Shakespeare Company presents Shakespeare’s romance with a steampunk twist.

Toke Ashby Stage, 1901 Ashby, Berk; www.brownpapertickets.com. $25. Thurs-Sat, 8pm; Sun, 5pm. Through Sept 11. Swirl Media presents Deedee Kirkwood’s pot-fueled comedy.

PERFORMANCE/DANCE

“The Kurt Weill Project” Café Royale, 800 Post, SF; (415) 641-6033. Wed, 8pm. Free. Cabaret opera.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.romaneeventcomedyshow.com. Wed, 7:30pm. $10. Paco Romane hosts, and Nato Green headlines, this comedy variety show.

BAY AREA

“Finian’s Rainbow” Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller, Oakl; (510) 531-9597, www.woodminster.com. $26-42. Opens Fri/2, 8pm. Runs Thurs and Sun, 7pm; Fri-Sat, 8pm. Through Sept 11. Outdoor performance of the Irish-tinged Broadway classic.

Editor’s Notes

6

tredmond@sfbg.com

I have friends — progressives, activists, good people — who support Ed Lee for mayor. They tell me that Lee is accessible, that he listens to labor and grassroots community groups, that he’s going to be good on a lot of issues and that, compared to the mayors we’ve had in the past 30 years or so, he won’t be all that bad.

I respect that. I understand. But I try to remind them, and anyone else who’s listening, that the years when Willie Brown ran this town were really, really bad.

At the height of the Brown era, during the dot-com boom, hundreds of evictions were filed every single month. Thousands and thousands of low-income and working-class tenants were displaced, tossed out of San Francisco forever. Blue-collar jobs were destroyed as high-tech offices took over industrial space. Every single developer who waved money at the mayor got a permit, no matter how ridiculous, dangerous or crazy the project was.

In 1999, Paulina Borsook wrote a famous piece for Salon called “How the Internet ruined San Francisco.” But the Internet was just technology; what damaged this city so badly was a mayor who didn’t care what happened to the most vulnerable populations. At one point, Brown even said that poor people shouldn’t live in this city. We called his policies “the economic cleansing of San Francisco.”

He controlled local politics — brutally. If you didn’t kiss the mayor’s ring, you were crushed. He announced one day that the supervisors (then elected citywide) were nothing but “mistresses who have to be serviced” — and since most of them were utterly subservient to Brown, they didn’t even complain. Only one person on the board — Tom Ammiano — regularly defied the mayor; occasionally, Leland Yee and Sue Bierman joined him. But that was it.

The corruption was rampant. People who paid to play got in the door; nobody else came close. You did a favor for Brown and you got a commission appointment or a high-paid job, even if you weren’t remotely qualified.

The ones who suffered most were the poorest residents, particularly tenants, particularly on the east side of town. Brown didn’t seem to care that his appointments, deals and policies were causing terrible pain on the ground; it was as if politics was just a fun game, as if he were some sort of royal potentate, partying in the executive suites and ignoring what was happening on the streets.

There are people who believe that Ed Lee can be independent of Brown, and I hope they’re right. But Lee and Brown are close, and Brown helped put him in office — and the thought of even a small part of that rotten era of sleaze coming back makes me very, very nervous.

Move youth housing forward

0

EDITORIAL Somewhere between 4,500 and 6,800 young adults in San Francisco are either homeless or marginally housed, according to a 2007 report by the Mayor’s Transitional Youth Task Force. And the city has exactly 314 housing units for at-risk young people who have passed their 18th birthday and are kicked out of the foster housing program. That’s the definition of a crisis — yet two modest projects that would make a small dent in the problem have faced immense obstacles moving forward.

The Booker T. Washington Center and the Community Housing Partnership want to create a combined 74 units of affordable housing for vulnerable youth. But both have endured long delays in the planning process, thanks to opposition for people in upscale neighborhoods who clearly don’t want this kind of housing in their midst.

The Booker T. Washington project finally made it through the Board of Supervisors in July — although the small nonprofit is now facing a lawsuit to stop the housing. The CHP’s plan to build 24 units on the site of the old Edward II Hotel in the Marina comes before the board in September, and may also face litigation.

The supervisors needs to approve the CHP project and send a strong message that this is housing San Francisco needs — and that all group housing for vulnerable populations shouldn’t be confined to a few central city neighborhoods.

Opponents of the CHP project argue that it’s too dense for the neighborhood. That makes little sense: The hotel that the project is replacing once offered 29 rooms, mostly double-occupied. And the majority of those temporary residents drove cars; the majority of the young people served by the project won’t be vehicle owners. So the level of congestion and neighborhood impact should be relatively minor.

The larger issue that both projects reflect is that much of the low-income, transitional and supportive housing in this city has been concentrated in a few neighborhoods. It makes sense to put some housing near services, but there’s no reason why projects that offer on-site support for young people who are transitioning from high school to either college or the job market can’t be spread all over the city. In fact, that’s what the Mayor’s Office initially suggested several years ago when it sought proposals for youth housing projects.

The notion (quietly voiced by some project foes) that transitional youth housing will attract crime isn’t supported by either rational thinking or evidence. Young people who have lived most of their lives in foster homes — and are facing homelessness simply because they have aged out of the system — are far less likely to have legal problems if they’re housed in a supportive environment.

The city needs to be building more of this sort of affordable housing — and a clear vote in favor of the CHP project might encourage other nonprofits to start looking at similar proposals.

The real Leland Yee

53

tredmond@sfbg.com

It’s early January 2011, and the Four Seas restaurant at Grant and Clay is packed. Everyone who is anyone in Chinatown is there — and for good reason. In a few days, the Board of Supervisors is expected to appoint the city’s first Asian mayor.

The rally is billed as a statement of support for Ed Lee, the mild-mannered bureaucrat and reluctant mayoral hopeful. But that’s not the entire — or even, perhaps, the central — agenda.

Rose Pak, who describes herself as a consultant to the Chinese Chamber of Commerce but who is more widely known as a Chinatown powerbroker, is the host of the event. She stands in front of the room, takes the microphone, and, in Cantonese, delivers a remarkable political speech.

According to people in the audience, she says, in essence, that the community has come out to celebrate and support Ed Lee — but that’s just the start. She also urges them not just to promote their candidate — but to do everything possible to prevent Leland Yee from becoming mayor.

She continues on for several minutes, lambasting Yee, the state Senator who lived in Chinatown as a child, accusing him of about every possible political sin — and turning the Lee rally into an anti-Yee crusade. And nobody in the crowd seems terribly surprised.

Across Chinatown, from the liberal nonprofits to the conservative Chamber of Commerce, there’s a palpable fear and distrust of the man who for years has been among San Francisco’s most prominent Asian politicians — and who, had Lee not changed his mind and decided to run for a full term this fall, was the odds-on favorite to become the city’s first elected Chinese mayor.

The reasons for that fear are complex and say a lot about the changing politics of Asian San Francisco, the power structure of a city where an old political machine is making a bold bid to recover its lucrative clout — and about the career of Yee himself.

Senator Leland Yee is a political puzzle. He’s a Chinese immigrant who has built a political base almost entirely outside of the traditional Chinatown community. He’s a politician who once represented a deeply conservative district, opposed tenant protections, voted against transgender health benefits and sided with Pacific Gas and Electric Co. on key environmental issues — and now has the support of some of the most progressive organizations in the city. He’s taken large sums of campaign money from some of the worst polluters in California, but gets high marks from the Sierra Club.

His roots are as a fiscal conservative — yet he’s been the only Democrat in Sacramento to reject budget compromises on the grounds that they required too many spending cuts.

He’s grown, changed, and developed his positions over time. Or he’s become an expert at political pandering, telling every group exactly what it wants to hear. He’s the best chance progressives have of keeping the corrupt old political machine out of City Hall — or he’s a chameleon who will be a nightmare for progressive San Francisco.

Or maybe he’s a little bit of all of that.

 

Leland Yin Yee was born in Taishan, a city in China’s Guangdong province on the South China Sea. The year was 1948; Mao Zedong’s Communist Party of China had taken control of much of the countryside and was moving rapidly to take the major cities. The nationalist army of General Chiang Kai-Shek was falling apart, and Yee’s father, who owned a store, decided it was time for the family to leave.

The Yees made it to Hong Kong, and since Mee G. Yee had previously lived in the United States and served in the U.S. Army during World War II, he was ultimately able to move the family to San Francisco. In 1951, the three-year-old Leland Yee arrived in Chinatown.

For four years, Yee lived with his sister and mother in a one-room apartment with a shared bathroom while his father worked as a sailor in the merchant marine. It was, Yee recalled in a recent interview, a tight, closed, and largely self-sufficient community.

“The movie theater, the shoe store, the barber shop, food — everything you needed you could get in Chinatown,” Yee said. “You never had to leave.”

Of course, after a while, Yee and his mom started to venture out, down Stockton Street to Market, where they’d shop at the Emporium, the venerable department store. “It was like walking into a different country,” he said. “If you didn’t know English, they didn’t have time for you.”

Yee, like a lot of young Chinese immigrants of his era, put much of his time into his studies — in the San Francisco public schools and in a local Chinese school. “My mom spoke a village dialect, and we had to learn Cantonese,” he said. “Every little kid had to go to Chinese school. We hated it.”

When Yee was eight, his parents managed to buy a four-unit building on Dolores Street, and the family moved to the Mission, where he would spend not only the rest of his childhood but much of his early adult life. He graduated from Mission High School, enrolled in City College, studied psychology and after two years won admission to UC Berkeley.

Berkeley in 1968 was a very different world from Chinatown and even the relatively controlled environment he’d experienced at home in the Mission. “You didn’t protest in school. You’d have been sent home, and your mother would kill you,” he said.

At Berekely, all hell was breaking loose, with the antiwar protests, the People’s Park demonstrations, the campaign to create a Third World College (which led to the first Ethnic Studies Department), and a general attitude of mistrust for authority. “I developed a sense of activism,” Yee said. “I realized I could speak out.”

That spirit quickly vanished when Yee lost faith in some of his fellow activists. “People would work with us, then get into positions of power and use that against you,” he recalled. “A lot of my friends said ‘forget it.’ I left the scene.”

Yee once again devoted his energy to school, earning a masters at San Francisco State University and a Ph.D in child psychology from the University of Hawaii. Along the way, he met his wife, Maxine.

With his new degree, the Yees moved back to San Francisco — and back in with his parents at the Dolores property, where he, Maxine and a family that would grow to four kids would live for more than a decade.

 

Yee worked as a child psychologist for the San Francisco Department of Public Health, starting the city’s first high school mental-health clinic. He went on to become a child psychologist at the Oakland Unified School District, then joined a nonprofit mental health program in San Jose.

In 1986, Yee decided to get active in politics for the first time since college, and ran for the San Francisco School Board. He lost — and that would be the only election he would ever lose. In 1988, he won a seat, and established himself as an advocate for students of color, fighting school closures in minority neighborhoods. He also tried to get the district to modify its harsh disciplinary rules, arguing against mandatory expulsions.

On fiscal issues, though, Yee was a conservative. For his first term, despite the brutal cutbacks of the recession of the late 1980s and early 1990s, he insisted that the district make do with the money it had. His solution to the red ink: Cut waste. Only in 1992, when he was up for re-election, did he acknowledge that the district needed more cash; at that point, he supported a statewide initiative to tax the rich to bring money to the schools.

The sense of fiscal conservatism — of holding the line on taxes, but mandating open and fair contracting procedures and tight financial controls — was a hallmark of much of his political career. When the Guardian endorsed him for re-election to the board in 1992, we wrote that “there’s real value in his continuing vigilance against administrative fat and favoritism in contracts.”

Over the next four years, Yee worked with then-Superintendent Waldemar “Bill” Rojas, a deeply polarizing figure who pushed his own personal theory of “reconstitution” — firing all the staff at low-performing schools — and later was enmeshed in a scandal that led to prison time for a contractor he’d hired. Yee told me he was the only board member to vote against hiring Rojas, but people who were watching the board closely back then say he didn’t always stand up to the superintendent.

He also became what some say was a bit too close with Tim Tronson, a consultant hired by the district as a $1,000-a-day facilities consultant. Tronson wound up getting indicted on 22 counts of grand theft, embezzlement, and conspiracy in a scheme to steal $850,000 from the schools, and was sentenced to four years in state prison.

In 1998, when some school board members wanted to build housing for teachers on property that the district owned in the Sunset, Yee led the opposition — with Tronson’s help. At one meeting at Sunset Elementary School, Yee went so far as to say, according to people present, that “Tim Tronson is my man, and I rely on him for advice.”

Yee acknowledged that he worked closely with Tronson to defeat that housing project. “He was the facilities manager,” Yee explained, “and I said that I trusted his judgment.”

 

Yee has either a great sense of political timing or exceptional luck. He ran for the Board of Supervisors in 1996, facing one of the weakest fields in modern San Francisco history. He was the only Chinese candidate and one of just two Asians (the other, appointed incumbent Michael Yaki, barely squeaked to re-election). In an at at-large election with the top five winning seats, Yee came in third, with 103,000 votes.

He was never a progressive supervisor. In 2000, the Guardian ranked the good votes of what we referred to as Willie Brown’s Board, and Yee scored only 43 percent. He was against campaign finance reform. He supported the brutal gentrification and community displacement represented by the Bryant Square development. He voted to kill a public-power feasibility study and opposed the Municipal Utility District initiative. He opposed a moratorium on uncontrolled live-work development.

In 2002, Yee was one of only three supervisors to oppose Proposition D, a crucial public-power measure that would have broken up PG&E’s monopoly in the city. He stood with PG&E (and then-Sups. Tony Hall and Gavin Newsom) in opposition to the measure, then signed a pro-PG&E ballot argument packed with PG&E lies.

When I asked him about that stand, Yee at first didn’t recall opposing Prop. D, but then said he “stood with labor” on the issue. In fact, the progressive unions didn’t oppose Prop. D at all; the opposition was led by PG&E’s house union, IBEW Local 1245.

Yee was particularly bad on tenant issues. He not only voted to deny city funding for the Eviction Defense Collaborative, which helped low-income tenants fight evictions; he actually tried to get the city to put up money for a free legal fund to help landlords evict their tenants. He opposed a ballot measure limiting condo conversions. He opposed a measure to limit the ability of landlords to pass improvement costs on to their tenants.

In 2001, Yee voted to uphold a Willie Brown veto of legislation to limit tenancies in common, a backdoor way to get around the city’s condo conversion ordinance. Only Hall and Newsom, then the most conservative supervisors on the board, joined Yee. At one point, he started asking whether the city should consider repealing rent control.

He opposed an affordable housing bond in 2002, joining the big landlord groups in arguing that it would raise property taxes. Every tenant group in town supported the measure, Proposition B; every landlord group opposed it.

I asked Yee about his tenant record, and he told me that he now supports rent control. But he said that he was always on the side of homeowners and small landlords, and that property ownership was central to Chinese culture. “I was responding to the Chinese community and the West Side,” he said.

He wasn’t much of an environmentalist, either — at least not in today’s terms. He was one of the only city officials to support a “Critical Car” rally in 1999, aimed at promoting the rights of vehicle drivers (and by implication, criticizing Critical Mass and the bicycle movement).

His record on LGBT issues was mixed. While he supported a counseling program for queer youth when he was on the school board, he also supported JROTC, angering queer leaders who didn’t want a program in the public schools run by, and used as a recruiting tool for, the military, which at that point open discriminated against gay and lesbian people.

 

 

Yee was also one of only two supervisors who voted in 2001 against extending city health benefits to transgender employees.

That was a dramatic moment in local politics. Nine votes were needed to pass the measure, and while eight of the supervisors were in favor, Yee and Hall balked. At one point, Board President Tom Ammiano had to direct the Sheriff’s Office to go roust Sup. Gerardo Sandoval, who was ducking the issue in his office, to provide the crucial ninth vote.

Yee didn’t just vote against the bill. According to one reliable source who was there at the time, Yee spoke to a community meeting out on Ulloa Street in the Sunset and berated his colleagues, quipping that the city should have better things to do than “spend taxpayer money on sex-change operations.”

It was a bit shocking to trans people — Yee had, over the years, befriended some of the most marginalized members of what was already a marginalized community. “There was one person at the rail crying, saying ‘Leland, how could you do this to us,'” Ammiano recalled.

The LGBT community was furious with Yee. “I didn’t speak to him for at least a year,” Gabriel Haaland, one of the city’s most prominent transgender activists, told me.

Yee now says the vote was a mistake — but at the time, he told me, he was under immense pressure. When he voted for the queer youth program, he said, “the elders of the Chinese community ripped me apart. They called my mother’s friends back in the village [where he was born] and said her son was embarrassing the Chinese community.”

That must have been difficult — and he said that “if I had known the pain I had caused, I wouldn’t have voted that way.” But it was hard to miss that pain his vote caused.

On the other hand, people learn from their experiences, attitudes evolve, we all grow up and get smarter, and the way Yee describes it, that’s what happened to him.

In 2006, when he was running for state Senate, Yee met with a group of trans leaders and formally — many now say sincerely — apologized. It was an important gesture that made a lot of his critics feel better about him.

“He didn’t have to do that,” Haaland said. “People change, and he paid for his crime, and that’s genuine enough for me.”

As a former school board member, Yee kept an interest in the schools — but not always a healthy one. At one point, he actually proposed splitting SFUSD into two districts, one on the (poorer) east side of town and one on the (richer) west. “We strongly opposed that,” recalled Margaret Brodkin, who at the time ran Coleman Advocates for Children and Youth. “Eventually he dropped the idea.”

For all the problems, in his time on the Board of Supervisors, Yee developed a reputation for independence from the Brown Machine, which utterly dominated much of city politics in the late 1990s. His weak 43 percent rating on the Guardian scorecard was actually third-best among the supervisors, after Ammiano and the late Sue Bierman.

In 1998, he was one of the leaders in a battle to prevent the owners of Sutro Tower from defying the city’s zoning administrator and placing hundreds of new antennas on Sutro Tower. He, Bierman, and Ammiano were the only supervisors opposing Brown’s crackdown on homeless people in Union Square.

When he ran in the first district elections, in 2000, against two opponents who had Brown’s support and big downtown money, the Guardian endorsed him, noting that while he “can’t be counted on to support worthy legislation … He’s one of only two board members who regularly buck the mayor on the big issues.”

(He never liked district elections, and used to take any opportunity to denounce the system, at times forcing Ammiano to use his position as president to tell Yee to quit dissing the electoral process and get to the point of his speech.)

 

In 2002, the westside state Assembly district seat opened up, and both Yee and his former school board colleague Dan Kelly ran in the Democratic primary. Yee won, and went on to win the general election with only token opposition.

His legislative record in the Assembly wasn’t terribly distinguished. Yee never chaired a policy committee — although he did win a leadership post as speaker pro tem. And he cast some surprisingly bad votes.

In 2003, for example, then-Assemblymember Mark Leno introduced a bill that would have exempted single-room occupancy hotels from the Ellis Act, which allows landlords to evict tenants for no reason. Yee refused to vote for the bill. Leno was furious — he was one vote short of a majority and Yee’s position would have doomed the bill. At the last minute, a conservative Republican who had grown up in an SRO hotel voted in favor.

When he ran for re-election in 2004, we noted: “What’s Leland Yee doing up in Sacramento? We can’t figure it out — and neither, as far as we can tell, can his colleagues or constituents. He’s introduced almost no significant bills — compared, for example, to Assemblymember Mark Leno’s record, Yee’s is an embarrassment. The only high-profile thing he’s done in the past several years is introduce a bill to urge state and local governments to allow feng shui principles in building codes.”

In 2006, Yee decided to move up to the state Senate, and he won handily, beating a weak opponent (San Mateo County Supervisor and former San Francisco cop Mike Nevin) by almost 2-1. His productivity increased significantly in the upper chamber — and in some ways, he moved to the left. He’s begun to support taxes — particularly, an oil severance tax — and when I’ve questioned him, he somewhat grudgingly admits that Prop. 13 deserves review.

He’s done some awful stuff, like trying to sell off the Cow Palace land to private developers. But he has consistently been one of the best voices in the Legislature on open government, and that’s brought him some national attention.

Yee has been a harsh critic of spending practices and secrecy at the University of California, and when UC Stanislaus refused in 2010 to release the documents that would show how much the school was paying Sarah Palin to speak at a fundraiser, Leland flew into action. He not only blasted the university and introduced legislation to force university foundations to abide by sunshine laws; he worked with two Stanislaus students who had found the contract in a dumpster and made headlines all over the country.

He’s fought for student free speech rights and this year pushed a bill mandating that corporations that get tax breaks for job creation prove that they’ve actually created jobs — or pay the tax money back. He’s also won immense plaudits from youth advocates and criminal justice reformers for his bill that would end life-without-parole sentences for offenders under 18.

Along the way, he compiled a 100 percent voting record from the major labor unions, including the California Nurses Association and SEIU, and with the Sierra Club. All three organizations have endorsed him for mayor.

Yee told me that he thinks he’s become more progressive over the years. “My philosophy has shifted,” he said.

Yet when you talk to his colleagues in Sacramento, including Democrats, they aren’t always happy with him. Yee has a tendency to be a bit of a loner — he’s never chaired a policy committee and in some of the most bitter budget fights, he’s refused to go along with the Democratic majority. Yee insists that he’s taken principled stands, declining to vote for budget bills that include deep service cuts. But the reality in Sacramento is that budget bills have until this year required a two-thirds vote, meaning two or three Republicans have had to accept the deal — and losing a Democratic vote has its cost.

“You have to give up all sorts of things, make terrible compromises, to get even two Republicans,” one legislative insider told me. “When a Democrat goes south, you have to find another Republican, and give up even more.”

In other words: It’s easy to take a principled stand, and make a lot of liberal constituencies happy, when you aren’t really trying to make the state budget work.

 

I met Rose Pak on a July afternoon at the Chinatown Hilton. She brought along her own loose tea, in a paper package; the waitress, who clearly knew the drill, took it back to the kitchen to brew. Pak and I have not been on the greatest of terms; she’s called the Guardian all kinds of names, and I’ve had my share of critical things to say about her. But on this day, she was polite and even at times charming.

After we got the niceties out of the way (she told me I was unfair to her, and I told her I didn’t like the way she and Willie Brown played politics), we started talking about Yee. And Pak (unlike some people I interviewed for this story) was happy to speak on the record.

She told me Yee had “no moral character.” She told me she couldn’t trust him. She told me a lot of stories and made a lot of allegations that we both knew neither she nor I could ever prove.

Then we got to talking about the politics of Chinatown and Asians in San Francisco, and a lot of the animosity toward Yee became more clear.

For decades, Chinatown and the institutions and people who live and work there have been the political center of the Chinese community. Nonprofits like the Chinatown Community Development Center have trained several generations of community organizers and leaders. The Chinese Chamber of Commerce, the Six Companies, and other business groups have represented the interests of Chinese merchants. And while the various players don’t always get along, there’s a sense of shared political culture.

“In Chinatown,” Gordon Chin, CCDC’s director, likes to say, “it’s all about personal connections.”

There’s a lively infrastructure of community-service programs, some of which get city money. There’s also a sense that any mayor or supervisor who wants to work with the Chinese community needs to at least touch base with the Chinatown establishment.

Yee doesn’t do that. “He doesn’t give a shit about them,” David Looman, a political consultant who has worked with many Chinese candidates over the years, told me.

Yee’s Asian political base is outside of Chinatown; he told me he sees himself representing more of the Chinese population of the Sunset and Richmond and the growing Asian community in Visitacion Valley and Bayview.

Pak is connected closely to Brown, who Yee often clashed with. For Pak, Brown, and their allies, strong connections to City Hall mean lucrative lobbying deals and public attention to the needs of Chinatown businesses. Then there’s the nonprofit sector.

CCDC and other nonprofits do important, sometimes crucial work, building and maintaining affordable housing, taking care of seniors, fighting for workers rights, and protecting the community safety net. Yee, Pak said, “has never shown any interest in our local nonprofits. We all work together here, and he doesn’t seem to care what we do.” Yee told me he has no desire to see funding cut for any critical social services in any part of town. But he has also made no secret of the fact that he questions the current model of delivering city services through a large network of nonprofits, some of which get millions of taxpayer dollars. And the way Pak sees it, all of that — the nonprofits, the business benefits, the contracts — are all at risk. “If Leland Yee is elected mayor,” she told me, “we are all dead.”

I ran into an old San Francisco political figure the other day, a man who has been around since the 1970s, inside and outside of City Hall, who remains an astute observer of the players and the power relationships in the local scene. At the time we talked, he wasn’t supporting any of the mayoral candidates, but he had a thought for me. “This town,” he said, “is being taken over by a syndicate. Willie Brown is the CEO, and Rose Pak is the COO, and it’s all about money and influence.”

That’s not a pleasant thought — I’ve lived through the era of political machine dominance in this town, and it was awful. In the days when Brown ran San Francisco, politics was a tightly controlled operation; only a small number of people managed to get elected to office without the support of the machine. Developers made land-use policy; gentrification and displacement were rampant; corruption at City Hall turned a lot of San Franciscans off, not only to the political process but to the whole notion that government could be a positive force in society.

A few years ago, I thought those days were over — and to a certain extent, district elections will always make machine politics more difficult. But when I see signs of the syndicate popping up — and I see a candidate like Ed Lee, who’s close friends with Brown, leading the Mayor’s Race — it makes me nervous. And for all his obvious flaws, at least Leland Yee isn’t part of that particular operation. If there’s a better reason to vote for him, I don’t know what it is.

YEE HOME PURCHASE RAISES SUSPICIONS

Rose Pak has a question about Leland Yee. “How,” she asked me, “did the guy manage to buy a million-dollar house on a $30,000 City Hall salary?”

Pak isn’t the only one asking — numerous media reports over the years have examined how Yee raised a family of four and bought a house in the Sunset on very little visible income. And while I’m not usually that interested in the personal finances of political candidates, I decided that it was worth a look.

Here’s what I found: Public records show that in July 1999, Yee and his wife, Maxine, purchased a house on 24th Avenue for $875,000 (it’s now assessed at slightly more than $1 million). At the time, Yee was a San Francisco supervisor, earning a little more than $30,000 a year. (The salary of the supervisors was raised dramatically shortly after Yee left the board and went to the state Assembly.) His wife wasn’t working. And his economic interest statements for that period show no other outside earnings. So the disposable, after-tax income of the entire Yee family couldn’t have been much more than $25,000.

That, by any normal standard, shouldn’t have been enough to float a mortgage that, records show, totaled $516,000. In fact, the interest payments alone on that mortgage alone would total $3,600 a month — more than Yee’s gross income.

Documents in the Assessor’s Office show another paper trail, too. In 1989, Jung H. Lee, Yee’s mother, transferred the deed on a four-unit Dolores St. building where the family had been living to Maxine and Leland Yee — for no money. And a few months before the Yees bought the Sunset house, they took out a $320,000 home-equity loan on that property. That was the down payment on the Sunset property.

Still: At that point, the Yees would have been paying off two mortgages, with a total nut of about $5,000 a month — and supporting four kids, in San Francisco. In 2002, Yee’s economic interest statement’s show some modest income from teaching at Lincoln University — but nowhere near enough to pay that level of expenses.

What happened? Yee explains it this way: “For more than 10 years, we were living rent-free in my parents’ property,” he told me I an interview. “We were a close Chinese family, and my parents provided the food and helped pay for the children’s clothing. So we had almost no expenses and we lived very frugally.”

During that period, Yee was working for the San Francisco Department of Public Health, the Oakland Unified School District, and a San Jose nonprofit, earning, he said, between $50,000 and $90,000 a year. If he saved almost all of that money, he would have had more than a half-million dollars in the bank when he bought the Sunset house.

There’s nothing on any of his economic disclosure forms showing any ownership of stocks or other reportable financial interests during that period, so he wasn’t investing the money. In fact, he says, it was, and is, all in simple savings accounts. A bit unusual for that large a sum of money.

How did he get a mortgage? “Back then,” he said, “banks were willing to lend a lot more freely than they do today.”

Starting in 2003, Yee was in the state Assembly, making a higher salary — but still not much in excess of $100,000 a year. After taxes, he was probably taking home about $75,000 — and $60,000 was going to the two mortgages.

How did he do it? “We have been supplementing our income with our savings,” he said. “We don’t take vacations, we are very careful with our money.” And they clearly aren’t desperate for cash — Yee’s daughter occupies two of the four units in the Dolores St. building they own, but the other two units are vacant.

It’s possible. It’s plausible. But I don’t blame people for wondering how he managed to pull it off. (Tim Redmond, with research assistance by Oona Robertson) 

 

 

 

BIG CORPORATIONS HAVE BACKED YEE

Yee became a prodigious fundraiser in Sacramento — and a lot of the money came from big corporations that had business in the Legislature. And while he has perfect scores from the Sierra Club and the big labor unions, he’s taken tens of thousands of dollars from some of the biggest corporations, agribusiness interests, and polluters in the state. And at times, he’s voted their way.

Since 1993, for example, campaign finance records show Yee has taken more than $20,000 from Chevron, ExxonMobil, Valero, Conoco Phillips, and BP. He’s received another $22,450 from the chemical industry (and industry employees). Most of it came from Clorox, Dow Chemical, and Dupont.

And while the Sierra Club may not have considered it a priority, Sen. Mark Leno has worked hard to pass a bill limiting chemical fire retardants in furniture. In 2008, Yee voted against Leno’s AB 706.

That year he also refused to support a bill that would prohibit the use of the chemical diacetyl in workplaces. The industries that opposed AB 514 (including Bayer, Abbott Laboratories, Pfizer, and Johnson & Johnson) have given Yee a total of more than $60,000.

In 2003, Yee voted against a crucial tenant bill, one that would have prevented the owners of single room occupancy hotels from using the Ellis Act to evict tenants. He received a campaign check for $2,500 from the San Francisco Apartment Association the next day. Landlords in general have given Yee close to $40,000.

Then there’s agribusiness. Yee gets a lot of money from the farming industry, despite the fact that there obviously aren’t many farms in his district. Why, for example, would the California Poultry Association, the California Cattlemen’s Association, and the California Farm Bureau give him money? The Poultry Association’s Bill Mattos told us that Yee “has taken a keen interest in California’s poultry industry.”

Yee also took immense flak from the San Francisco Chronicle and other papers over a 2003 vote against a bill to limit emissions from farm vehicles. In an editorial, the paper wrote that he was “doing dirty work for the lobbyists.” In the end, under immense public pressure, he switched positions and voted for the bill. I asked Yee about all that money from all those bad operators, and he told me — as most politicians will — that campaign cash has never influenced any of his votes.

So why do all these groups give him money? “It’s about whether you will sit down and listen,” Yee said. “I will talk to all sides and at least consider the arguments as a thoughtful human being. Then I vote my conscience.” (Tim Redmond, with research by Oona Robertson) 

5 Things: August 30, 2011

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>>A HURRICANE OF YIPS The great Chihuahua airlift of 2011 — in which a planeload of unwanted West Coast pups were to be flown from L.A. to new homes on the East Coast (where “there is a demand for them”), dubbed “Operation: Chihuahua,” has had to be delayed due to flight rescheduling around Hurricane Irene. But never fear small dog lovers (Chelsea gays)! Virgin is in the process of rescheduling what is surely the Saigon or Berlin airlift of our time, and even offering a “No Chuhuahua Left Behind” package — “each ticket to Mexico booked by 11:59 p.m. Thursday will contribute $25 to support ‘local dogs and future airlift flights.'”

>>24-HOUR VEGAN PIZZA ALERT! 24-HOUR VEGAN PIZZA ALERT! We’ve been really, really into vegan pizza lately here at the Guardian — and while our old standby is a simple veggie minus cheese from neighborhood spot Goat Hill Pizza, we finally had a post-clubbing opportunity to experience newly revamped pie parlour DNA Pizza, conveniently located right next to party-central DNA Lounge itself. It’s open 24 hours! It has lots of options! Best of all, there’s an excellent vegan overload called “The Whole Damn Vegan Garden”: spinach, basil, tomatoes, red onions, artichoke hearts, black olives, daiya vegan cheese, and bell pepper on some pretty great crust. No need to sink into dead grease after drinking at the goth party, y’all. 

>>RAISED VOICES A group from the San Francisco Girls Chorus will be singing and marching in protest today over the non-renewal of its longtime artist director, Dr. Susan McMane. The protestors, comprised of current singers and graduated alumnae, will meet at 5 p.m. at the San Francisco Opera House then sing-march to the San Francisco Girls Chorus building at 44 Page. McMane, who has been with the choir for over 10 years, learned in late July that her contract would not be renewed. The chorus is protesting for answers as to why this decision was made.

>>IF THE GLOVE FITS… Scene from last night’s birthday tribute to MJ at Showdown, hosted by our Fist Fam buddies. We’re still wearing ours today guys. It’s making it really hard to type this.

Photo by Dennis Beckmann

>>LAST NIGHT A BJ SAVED MY LIFE No one on Earth has every maintained a daily video blog for four years — besides BJ Dehut (disclaimer: this might not be true). We’re kind of sorry to turn you onto the LA DJ and marketing consultant’s deal because… well there goes the rest of your afternoon. Here, watch this one and try not to think of his 51 months of backlogged video weirdness, hip-hop, and 1950s knife-throwing mothers.

BART protests continue (VIDEO)

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Protesters returned to downtown San Francisco train stations on August 29, vowing to keep up their schedule of Monday evening rush hour protests until the  BART police are disarmed and retrained, or disbanded. This time, howevef, stations remained open and trains ran on schedule in a protest where both BART police and demonstrators took pains to reach out to commuters angered by recent train service disruptions.

A crowd of 200 people gathered outside of Civic Center station, the location of the July 3 fatal shooting of a 45 year old Charles Hill by BART police.

Hill’s physician, Dr. Rupa Marya, joined the protest a day after releasing an open letter on the shooing calling for BART police to re-examine its use of force policies and training.

“Charles was a member of the invisible class of people in SF–mentally ill, homeless and not reliably connected to the help he needed,” read Marya’s letter. “We often have to deal with agitated–sometimes even violent–patients in the hospital. Through teamwork, tools and training, we have not had to fatally wound our patients in order to subdue them.”

The protest made its way down Market Street entering each station briefly but remaining outside the fare gates. BART police have made it clear recently that their policies only allow freedom of expression outside the paid areas of the station. Previous protests on the train platforms have lead to station closures and train delays – delays that protesters and police have accused each other of causing.

Video taken by Josh Wolf, which includes protesters and counterprotesters, including a debate between Dr. Marya and a supporter of the cops.

As the protesters moved down the Market Street corridor they were shadowed by a small army of BART and San Francisco Police Department officers intent on preventing further station closures.

At Montgomery station Deputy BART Police Chief Daniel Hartwig told the Guardian, “Protesters appear to be following BART’s free speech rules and regulations and at this point we are happy they are. We support their right to protest.”

Behind him the station lobby filled protesters chanting, “How can they protect and serve us? BART police just make us nervous.”

At Embarcadero station an organizer with No Justice No BART challenged BART’s free speech rules.

“Right here you can say what you want. The moment you enter that fare gate you can’t say what you want,” he announced over a megaphone before crossing through the fair gates under heavy police presence.

After speaking out briefly in the paid area of the station, he exited of his own accord and was promptly arrested by BART police along with another protester in a Guy Fawkes mask who also had been using a megaphone.

Muni, which shares several downtown train stations with BART, has shifted in recent years away from police patrols to a “community ambassador” program, largely removing armed SFPD officers from those train and bus lines in favor of unarmed fare enforcement personal. The program has been praised from all sides as an appropriate balance of community safety, and fare enforcement on public transportation.

Robin, a young San Francisco native who said it was her first time participating in the police misconduct protests, characterized the gathering as a success. When asked if she found the presence of so many police intimidating she said “It was meant to be intimidating. That they would bring everyone out to police a small protest shows they fell they have something to be ashamed of.”

While the protesters focused on BART’s use of lethal force, civil liberties groups filed a petition Monday with the Federal Communications Commission, as the national fallout continues over BART’s decision to cut cellphone service to thwart a protest that never developed on August 11.

The coalition including Center for Democracy and Technology, Center for Media Justice, and Electronic Frontier Foundation argues that regardless of First Amendment augments for or against the disruption of cell service in the paid areas of BART’s stations, BART exceeded its authority under federal law. The complaint notes that the Communications Act, which governs cell phone service providers, clearly states the no carrier shall discontinue service without authorization from the FCC.

“It has been settled law for decades that law enforcement agencies have no authority to order discontinuation of phone service on mere suspicion of illegal activity without due process,” the complaint states.

The coalition urged the FCC to address the issue immediately in light of BART’s statements attempting to justify the cell service disruption, and the risk that other government agency may consider similar policies if the FCC does not assert its authority in the matter.

BART’s board of directors held an emergency meeting (Wed/25) to begin crafting a policy outlining to what future instances could lead further shutoffs.

BART has staff defended its disruption of service that took place August 11, saying their intent was to protect public safety.

What the mayoral polls mean

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We’ve seen a lot of polls on the mayor’s race, and they’re all pretty similar to the one the Examiner reported today: Ed Lee has about 30 percent of the vote, and everyone else is in a big, undifferentiated pack way back in the single digits. A couple of thoughts to put this in perspective:


One: All of these polls have a margin of error; a poll of 500 voters, like this one, has an MOE of at least +/- 5 percent. Which means that Lee has somewhere between about 25% and 35% of the vote. The rest of them? They’re all effectively tied. Yee and Herrera at 7 percent and Avalos at 5 percent is a statistical dead heat.


Two: What a poll like this shows, among other things, is that 70 percent of the voters are not supporting the incumbent right now. About as many are undecided as are supporting Lee. That’s not a whopping show of support for the front-runner.


Three: On the other hand, nobody else in the race is even close to Lee at this point, and he’s far enough ahead that he will be hard to catch — unless either (a) one of the other candidates catches fire, comes up with a campaign that really takes off and pulls away from the pack, or (b) the other candidates attack Lee enough, and the attacks are effective enough, to bring his numbers down significantly.


Four: There’s never been a ranked-choice vote for mayor, so nobody knows exactly how it will play out.


I don’t buy the line that Adachi is a “long shot” — not any more than anyone else. In fact, for better or for worse (and it cuts both ways) he’s better positioned than most of the candidates to get votes from both the right and the left. If I were running Adachi’s campaign, I’d be sending him out to the west side of town to tell everyone he was the only candidate tough enough to stand up to those damn city employee unions — then I’d be going to the east side of town and saying he was the only candidate who could stand up to the cops. Tell the conservatives that pension reform is about the greedy bureaucrats; tell the progressives that it’s about the greedy cops and firefighters. Wear a nice silk suit and look like a manager out west; take the tie off and talk about cops breaking into SRO rooms on the east. And with Ed Lee as an incumbent who supports a more modest pension reform plan, Adachi can run against City Hall wherever he goes.


I’m not saying he’s going to win, or even that he’s the number one challenger, but he did get 190,000 votes the last time he ran. And he can raise money. So he’s going to be a factor in the race.


What I’m waiting for is the breakout issue, the line that takes, say, John Avalos into striking range of Lee (at which point, he can start collecting “anyone but Ed” votes from the other candidates). Remember Harris Wofford, who was given absolutely zero chance of retaining his U.S. Senate seat in November, 1991? Wofford, who had been appointed that spring, was a virutal unknown (and something of a nerd) who was facing the slick and popular former Govenor Dick Thornburgh. Wofford’s campaign came up with a single-issue line that caught Thornburgh by surprise: “If every criminal has the right to a lawyer,” he asked in campaign ads, “then why doesn’t every sick person have the right to a doctor?” That  slogan, and that issue, brought him from about 30 points behind to a ten-point victory.


What’s going to catch the San Francisco public’s attention over the next two months? I don’t know. Here’s my suggestion:


“If San Francisco has 14 billionaires, why can’t we afford to buy pencils for the public schools?”


 

Editorial: Move forward two key housing projects for vulnerable youth

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Somewhere between 4,500 and 6,800 young adults in San Francisco are either homeless or marginally housed, according to a 2007 report by the Mayor’s Transitional Youth Task Force. And the city has exactly 314 housing units for at-risk young people who have passed their 18th birthday and are kicked out of the foster housing program. That’s the definition of a crisis — yet two modest projects that would make a small dent in the problem have faced immense obstacles moving forward.

The Booker T. Washington Center and the Community Housing Partnership want to create a combined 74 units of affordable housing for vulnerable youth. But both have endured long delays in the planning process, thanks to opposition for people in upscale neighborhoods who clearly don’t want this kind of housing in their midst.

The Booker T. Washington project finally made it through the Board of Supervisors in July — although the small nonprofit is now facing a lawsuit to stop the housing. The CHP’s plan to build 24 units on the site of the old Edward II Hotel in the Marina comes before the board in September, and may also face litigation.

The supervisors need to approve the CHP project and send a strong message that this is housing San Francisco needs — and that all group housing for vulnerable populations shouldn’t be confined to a few central city neighborhoods.

Opponents of the CHP project argue that it’s too dense for the neighborhood. That makes little sense: The hotel that the project is replacing once offered 29 rooms, mostly double-occupied. And the majority of those temporary residents drove cars; the majority of the young people served by the project won’t be vehicle owners. So the level of congestion and neighborhood impact should be relatively minor.

The larger issue that both projects reflect is that much of the low-income, transitional and supportive housing in this city has been concentrated in a few neighborhoods. It makes sense to put some housing near services, but there’s no reason why projects that offer on-site support for young people who are transitioning from high school to either college or the job market can’t be spread all over the city. In fact, that’s what the Mayor’s Office initially suggested several years ago when it sought proposals for youth housing projects.

The notion (quietly voiced by some project foes) that transitional youth housing will attract crime isn’t supported by either rational thinking or evidence. Young people who have lived most of their lives in foster homes — and are facing homelessness simply because they have aged out of the system — are far less likely to have legal problems if they’re housed in a supportive environment.

The city needs to be building more of this sort of affordable housing — and a clear vote in favor of the CHP project might encourage other nonprofits to start looking at similar proposals.<

 

We got Forrest Day on our roof, rapping

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Not all locals can live here. But MC-bandleader-all around solid individual Forrest Day is pretty much as local as they get, even if he does live in San Leandro. He’s into being able to pay his rent, but the guy’s grandparents met at Bimbo’s, for chrissakes.

And how’s this for San Francisco? “There was a pet monkey in my family that was like a brother to my dad. He lived until he was 33 and his name was Bimbo,” Day tells us.

We’re saying, all-around solid individual. Day’s grandma had a spot near Dolores Park when he was growing up, so SF got him on the weekends.

How he gives back to the community that influenced his upbringing: Day leads an eponymous band whose music veers from hip-hop, yes — but then back again into screaming punk, funk, ska. He’s well known for performing in a muu muu that he reportedly got from Mission Thrift (rumor unconfirmed, Forrest can you help us out on that one?). Basically, the man does what he wants. 

“I just want to explore what I want to explore,” he explains, sitting up on the Guardian roof with a sixer of Prohibition Ale and an unexpected microphone shoved into it, suspiciously close to his face. After busting out of San Leandro after high school to hitch hike the country, Day actually spent awhile in punk’s high decibel climes. “I was mostly screaming then. When I quit my punk band, I missed that release.”

We ask him if he worries about his commercial viability, being strung between so many genres. “Sometimes I do worry that maybe I should be more focused and just create, like side projects or something. But at the end of the day, I just want to be a one-stop shop.”

It strikes us as very Bay Area, this unwillingness to cram into a sole genre. Why not just conquer them all? After five years with more or less the same musicians in his band, Day is ready to take the next step — more national touring, more sharing of the live show that he says can be “a cerebral experience” for people seeing it for the first time. (“After the third show they really start to get it,” he tells us.) 

And hell yeah, more dance videos. We didn’t get him two-stepping for Tiny Town Production‘s dope video of our interview (by the way, thanks for the audio visual assist, Tiny Town) and — hell yeah — his impromptu a capella performance. But consider this self-made tour vid the action movie.

By the way, he’s got a real good show coming up. It’s no rooftop jam, but it’ll do:

 

Forrest Day

With Oona and Lavish Green

September 9, 9 p.m., $13-15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

Thee Oh Sees will release another LP; San Francisco rejoices

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Yep, it’s true – another Thee Oh Sees record is on the way — not that we are complaining. Just six months after releasing their last LP (Castlemania), it was announced this week that John Dwyer and crew will release another dirty punk/psych garage record (Carrion Crawler/The Dream) this Nov.15 on In the Red Records. He just keeps churning them out. If you can remember that far back, the band released three albums in 2009. See below for the track listing and some fun videos.

Carrion Crawler/The Dream:
01 Carrion Crawler
02 Contraption/Soul Desert
03 Robber Barons
04 Chem-Farmer
05 Opposition
06 The Dream
07 Wrong Idea
08 Crushed Grasss
09 Crack in Your Eye
10 Heavy Doctor

Dwyer is a San Francisco staple at this point, like weed or broken down buses — as much as he’d probably hate to hear that. Depending on when you arrived in this city (oh, you were born here? Well, this sentence isn’t for you), you likely discovered his high-held, frenetic guitar attacks during one of three eras: Pink and Brown (1997), Coachwhips (2001) or the fully-evolved Thee Oh Sees (it originally began as his solo side-project). Of course, there were bands in between, but those mentioned were the era-defining acts.

In celebration of this always-welcome announcement, let’s look back at Dwyer’s career in video form:

Pink and Brown:
http://www.youtube.com/watch?v=2aqwzweFqjc

Coachwhips:
http://www.youtube.com/watch?v=VwK8sDJOJuA

Thee Oh Sees:
http://www.youtube.com/watch?v=z1bHddYhtDw

For those itching to see the band live again, its next local show is the Treasure Island Festival on Oct. 16.

J-Pop Summit 2011: Style shots

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Outside on Post Street and in the Japantown Peace Plaza, pastel-colored babydoll dresses flounce past homemade space-samauri hoods. Everyone’s wearing really long turquoise wigs (they’re clones of the Vocaloid character Hatsune Miku, try to stay with us here), gaudy plastic baubles glued to their fingernails. A judge at the Baby The Stars Shine Bright runway contest is pleased with one contestant’s canny use of a plush llama as accessory. “I like how you incorporated alpaca — that’s really ‘in’ in Japan these days.”

Whimsy was a central characteristic at the heart of this year’s J-Pop Summit Festival. But it wasn’t all eye-popping plastic and the gluing of themed objects to your pigtail hairpiece. Inside the welcome cool of the New People mall’s top-floor Superfrog Gallery, a more sober form of fashion was being explored. Sou Sou‘s Takeshi Wakabayashi was explaining his brand’s commitment to blending traditional forms of Japanese clothing with modern textiles.

“Downstairs there are a lot of people excited about Lolita fashions,” Wakabayashi says. “I hope next time they come they will be excited about Sou Sou fashions.”

Sharing the stage with the designer was five of his looks — handsome, dark colored kimonos, some with bold, geometrically patterned scarves and sashes would about. At their feet, the clothing items that the company is perhaps best known for: cloven-foot sneakers in vivid color combinations. 

They look a little space age, these shoes. They perhaps wouldn’t be out of place with the anime royalty strutting to the next Danceroid show on the Peace Pagoda stage. But Wakabayashi explains that the design is meant to be functional.

“You can actually get a very stable grip on the ground,” he says. He recommends the split-toe shoes for everything from sports to carpentry to mining and traditional festivals, his slide show clicking through photo examples of individuals using them for just those things. 

“We’re helping preserve traditions in Japan,” he tells the audience. He might just be right on that — his own outfit, flowing and kimono-y though it is, smacks of urbanity. The patterns are sleek, even if the profile is a bit billowing. He shows a slideshow of his production facilities, where textiles are designed on 100-year old looms made by Toyota (the designer tells us that a representative from the car company visited the factory once — now one of the looms are in the corporation’s musem for posterity).

New People founder Seiji Horibuchi introduced Wakabayashi to the audience assembled at Superfrog. He says he had trouble at first convincing the designer to open his mini-store in his San Francisco Japanese pop culture mall at first. But after a little convincing, he’s been there since day one of New People’s opening. Now, Wakabayashi says “simply put, it just thrills me [to see Americans wearing our designs]. I think that the craftsmen, they really get a kick out of seeing our designs in the States.”

Sou Sou’s textile designs are the true center of its traditional-modern aesthetic blend. Many of the colorful prints are modeled off of old patterns. One line is based around traditional Japanese sweets. At the reception hosted by the Japanese consulate following Wakabayashi’s presentation, these make an appearance on the refreshment table: candies placed carefuly on top of decorative postcards, meant to be souvenirs of culture sampled. 

Which is not to say that the circus-themed Lolita fashion show outside was any less cultural. “A” for inclusive, J-Pop Summit.