San Francisco Archives — Page 266 of 517 — San Francisco Bay Guardian Archive 1966

Released, Steve Li urges passage of DREAM Act

Mary Magee

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November 24, 2010

On a cold and sunny morning in late November, as sharp winds stirred up fallen leaves, and most folks were beginning to slow down in anticipation of Thanksgiving, Shing Ma “Steve” Li, a 20-year-old nursing student from San Francisco who narrowly avoided deportation to Peru, whipped the local media into a energized frenzy by advocating for the passage of the DREAM Act during a press conference at the Asian Law Caucus, whose offices sits close to the Transamerica Pyramid, and a stone’s throw from the lantern-decorated streets of Chinatown and the neon-lit strip clubs of North Beach, in San Francisco.

The purpose of the press conference was to give thanks for Li’s release four days earlier from a federal detention facility in Arizona, outline why a hardworking student who has lived in San Francisco since he was 12, has no criminal record, and speaks Cantonese, English, French and Spanish, was incarcerated for two months and threatened with deportation. And ultimately, the event was aimed to stir up support for the DREAM ((Development, Relief and Education for Alien Minors) Act, bi-partisan legislation that leading congressional Democrats plan to put to a vote this month.

Senate Majority leader Harry Reid and House Speaker Nancy Pelosi have promised to move to a vote on the DREAM Act on November 29, during Congress’ lame duck session, a brief window of opportunity to complete action on stalled bills, before Republicans take charge of the House, and Democrats see their majority in the Senate shrink, come January 2011.

Li, his family and his legal counsel Sin Yen Ling, a senior staff attorney at the Asian Law Caucus, kicked off the press conference by acknowledging the many supporters whose phone-calling, letter writing and protesting outside Sen. Barbara Boxer’s offices in San Francisco, helped secure Li’s Nov. 19 release from a federal detention center in Arizona, after Sen. Dianne Feinstein introduced a private bill to delay Li’s deportation.

“I believe his removal would be unjust before the Senate gets to vote on the DREAM Act,” Feinstein said in a Nov. 19 press statement. Feinstein’s bill guarantees Li protection for 75 days after Congress’ lame-duck session end. And Li’s attorney Ling says Feinstein may reintroduce her private bill next year, and that ICE isn’t likely to deport Li in future, now that he is no longer considered a fugitive.

“We don’t feel that Feinstein’s private bill will pass, because of the result of the Nov. 2 election and the reality of partisan politics, but it’s unlikely that Steve will get deported again,” Ling said.

If passed, the DREAM Act would grant undocumented immigrants a pathway to citizenship, if they entered the United States before age 15 and have attended college or served in the military for two years.

Li’s ordeal—and his ensuing conversion to an ardent DREAM Act advocate—is happening against the backdrop of an increasingly anti-immigrant mood in the United States, as witnessed in Arizona, where state legislators passed SB 1070 earlier this year, and now in California, where a Tea Party member from Belmont wants California voters to weigh in on a similar initiative in 2012. And then there’s the sobering reality that come January, congressional Republicans, who are facing challenges from the far right-wing Tea Party, take control of the House and are unlikely to advocate for immigration reform.

But Li, who is ethnically Chinese, and was born and raised in Peru until he was eleven years old, after his parents left China in the 1980s to escape its one-child policy, remained optimistic, as he drew on his recent experience to illustrate why Congress needs to passes the bi-partisan DREAM Act now.

“I’m still at risk of being deported,” Li said, noting that, each year, about 65,000 U.S.-raised students graduate from high school and would qualify for the DREAM Act, which addresses the fact that federal immigration law has no mechanism to consider the circumstances of youth who were brought here as minors and call the U.S. home, but can’t work legally, face barriers to accessing higher education, and live in constant fear of deportation.

“We have to work to do something to stop these students from being deported,” said Li, who wasn’t aware that a final deportation order had been issued against his family, when he was 14 years old and the U.S. denied his parents’ application for political asylum. “It’s important we push Congress, so no other student has to go through the same thing I did.”

“How many future doctors, engineers and scientists will the US lose,” Li added, questioning whether the US could end up deporting geniuses who might otherwise have discovered a cure for cancer, or invented ground-breaking sustainable energy technologies. “We are America’s future and we want to make a difference,” he said. “I still believe America is a great nation, a moral nation, and that Americans, if given all the information, will do the right thing.”

Li’s legal counsel Ling, recalled how Li and his parents were arrested on Sept. 15 by Immigration and Customs Enforcement (ICE) agents, and detained at ICE’s offices in downtown San Francisco, before being transferred to a jail in Sacramento County. “They were arrested as part of ICE’s fugitive operations program, which targets people who have failed to comply with final deportation orders,” she said.

The family was held there for three weeks, Ling said, before Li’s parents were released back to San Francisco, wearing electronic monitoring anklets. But Li was involuntarily transferred to a federal detention facility in Florence, Arizona, where he remained until mid-November. His transfer also made it impossible for his parents to visit, since, under the terms of their electronically monitored release by ICE, they are not allowed to leave San Francisco.

Ling said ICE blames a lack of bed space in the Bay Area for why they must transfer folks from San Francisco to Arizona, Texas or a facility near Bakersfield, California. But either way, the practice serves to isolate immigrant detainees from family and friends as they await deportation.

“Steve was released from Florence, Arizona, on Friday, Nov. 19, and then took a Greyhound bus, which arrived in San Francisco Saturday afternoon,” Ling said, noting that ICE wasn’t planning to notify her or Li’s family of his release, and that they typically drive folks to Phoenix and drop them off at the bus station.

Li’s mother Maria addressed the media in Cantonese, as she thanked Sen. Feinstein for allowing her son “to return to his mother’s embrace.”

And then Li, who says he is “a huge Giants fan” and “grew up reciting the pledge of allegiance at school, just like everybody else”, described his ordeal
.
“I always viewed myself as an American,” Li said, recalling how that perception was challenged when ICE raided his home and threw him in jail, this fall.
“I was shocked and confused, I felt it must have been a mistake” Li said, recalling that he was in the bathroom getting ready for school when the doorbell rang on Sept. 15.
“I didn’t expect anyone, so I woke up my mother, and she answered the door,” Li said.“Next thing, immigration agents came into the house. I didn’t know what was going on.They said they had to take me somewhere, that I had to be deported. “

Li said he was immediately separated from his mother and not allowed to ask ICE questions.
‘They searched me, threw me in the car, handcuffed me and took me to the immigration center,” Li said, referring to ICE’s office in downtown San Francisco.
“It was intimidating. I was scared of what was going to happen to me,” Li continued, describing how he was held for the rest of the day in a cell that contained 20 other people, some of whom had been transferred from other detention facilities and were already wearing prison clothing.

“I was fingerprinted, my photograph was taken and my situation was explained to me,” Li said, describing his shock at then being transferred in handcuffs and shackles by bus to a jail in Sacramento County with his parents, who were also handcuffed and shackled.
“It was traumatic to see my parents, who are hard-working people, be treated like that,” he said,

In Sacramento County, Li and another detainee were placed in a cell that contained bunk beds, a small table, a toilet and a sink.
“We could only go to the day room and watch TV for one hour a day,” he said. “The immigration authorities didn’t tell me anything, they just threw me from place to place.”

After three weeks, Li thought he was going to be released, when the prison authorities returned his clothes and got him to sign some paperwork. But instead, he was transferred to ICE’s San Francisco office on Sansome Street, put him in a holding cell, and told him he was being sent to Arizona to be processed for deportation,

“My whole world came down,” Li said. “I couldn’t talk to my parents, who had already been released. I thought of never being able to see my family and friends again. It was depressing.”

Things got worse when he was shackled, handcuffed, and loaded onto a bus which took him to Oakland airport, where he was put on a plane with a bunch of other deportation detainees.
“We were handcuffed and shackled to our seats, and I wondered what would happen if the plane went down,” Li said, describing a seemingly interminable journey to Arizona, which involved making landings in Los Angeles and San Diego.
“In San Diego, they took Mexicans off the bus, presumably to drive them to the border,” Li said.

Arriving in Arizona the following morning, Li was driven to an isolated federal detention facility in Florence, which is about 800 miles from San Francisco, where he was only allowed outside his cell for an hour a day.
“We were incarcerated all day and body searched multiple times in a facility, where there were three toilets and four showers between 64 people,” he said.

Locked up with 400 fellow detainees, Li heard a lot of stories that were similar to his: students who’d received a higher education and were very talented, but didn’t have legal status.

In particular, Li remembers one student he met during his Arizona incarceration.
“Like me, he came here with his parents and had no say in that decision, but was picked up as a result of new legislation in Arizona, “ he said.

Li’s arrest means he missed a semester of school, but he vows to continue his studies. And despite his traumatic experience, Li says he is not bitter.
“It went through my mind,” he said, “But I have learned a lot, including the fact that we have a broken immigration system. I urge everyone who qualifies for the DREAM Act to use their voice. They need to find the courage to use it and fight to change the law.”

Good for the Jews vs. the San Franciscan Nazi

Andrew Lam

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November 24, 2010

0

Rob Tannenbaum is a man with opinions on holidays. Thanksgiving, transcendent: “if it were up to me, I would be drinking turkey gravy.” Christmas, yawn: “it’s the most boring time of year. There’s not too much to do past stay at home and watch It’s a Wonderful Life on TV.

And Hanukkah, time to go see his comedy-music duo Good for the Jews (Cafe Du Nord, Dec. 1): “There’s a long and storied tradition of Jews in San Francisco. I hope that we will see evidence of that.” Tickets would make a great present for the first of those eight crazy nights…

Tannenbaum and partner David Fagin (who respectively moonlight as music editor of Blender and frontman for nice guy-pop band The Rosenbergs) sing well placed mockeries of Jewaphrenalia, my favorite of which being “Rueben the Hook-Nosed Reindeer,” though I’m also partial to the lounge stylings of “Going Down to Boca.” Their work comes as a follow up to Tannenbaum’s previous comedy project: What I Like About Jew, an act performed at New York’s The Knitting Factory that sold out shows six years running.

Tannenbaum is aware of what his audience wants, mainly because it’s what he himself wants out of Judaic entertainment. “When I was kid and they played Jewish music in our synagogue, it was always so horrible. It was earnest and boring, like a cross between the Indigo girls and the Old Testament.” In Good for the Jews’ creation, he was looking to capitalize on the legacy of mischief and humor inherent in Jewish consciousness, the same legacy from whence he says come Sarah Silverman and Jon Stewart’s riffs. “I wanted to start a show that was traditionally Jewish but didn’t make being Jewish seem like the most boring thing in the world,” he says.

His tongue-in-cheek celebration of his faith – well hold up, because maybe “faith” is a bad word for how Tannebaum experiences being a Jew. He told me in our recent phone interview that he only darkens temple’s door a few times a year on the high holidays, but that he likes the idea of people getting into a room to celebrate shared heritage. “The same thing is true at our show, but at our show you can drink, which I don’t think you can do at temple,” he quips. His Jewishness, he says, lies in “the things I eat, the things I laugh at, the books I read, the TV shows I watch – they’re not Jewish themed, but my gestalt is Jewish. As is my circumsized penis.”

Okay, so his tongue-in-cheek celebration of his gestalt-penis, then, delights the crowds that go to see it, most of whom have been urban, many secular Jews like himself – but diverse in ways he didn’t expect they would be when the duo launched a tour that included dates in Utah, Colorado, and New Mexico earlier this year. He says at a few gigs Fagin and himself outnumbered the amount of Jews in the audience. “But sometimes those shows are more rewarding,” he says.

But the duo’s frank irreverence has been known to attract negative attention as well. Which brings us to our next topic: San Franciscan Nazis.

The last time the Good for the Jews duo played SF, they were greeted by a chap goose-stepping to some inner notion of bigot matyrdom: an Aryan Pride guy who’d come to protest their show. Tannenbaum recalls the situation in his standard one liner manner (“He felt that we were representative of the Jewish-owned media. If we’re representing Zionist power, then why am I staying at a Holiday Inn?”)

But somewhere in his memory of the event lurks the indignation it triggered: the experience of being a musician about to play a show at a respectable venue who runs into the very prejudice that his ironic music implicitly calls passé. Tannenbaum tells me he actually went outside to have a conversation with the fellow, but had to retreat when he felt himself approaching the thought of violence. “When you hear someone insulting your ancestors it tends to rile up the blood a little bit.”

The incident, in a strange way, speaks to why he’s looking forward to next week’s comedy show. “This sounds like malarky, but I really do love San Francisco. It’s the only city where I think, yeah I could live here.” Nazis and all. “It’s the end result of so much tolerance: if you’re going to tolerate people you have to tolerate Nazis, too.”

Good for the Jews

Wed/1 8 p.m., $12-15

Cafe Du Nord

2170 Market, SF

(415) 292-1233

www.cafedunord.com

Progressives show unity as board approves mayoral succession process

Sasha Cuttler

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November 24, 2010

21

Progressives show unity as board approves mayoral succession process

The San Francisco Board of Supervisors unanimously approved a process for replacing Mayor Gavin Newsom last night after the progressive majority stuck together on a pair of key procedural votes and some parliamentary jousting provided a preview of the high-stakes power struggle that will begin Dec. 7.

Sup. Sean Elsbernd led the board moderates (Sups. Carmen Chu, Michela Alioto-Pier, Bevan Dufty, and Sophie Maxwell) in trying to dilute the voting power of the six progressives on the board (Sups. David Chiu, Chis Daly, David Campos, Eric Mar, Ross Mirkarimi, and John Avalos) and ensure they can’t vote as a bloc to choose the new mayor.

State conflict-of-interest rules spelled out by the California Political Reform Act and associated rulings prevent supervisors from voting in their economic interests, as becoming mayor would be. So Board Clerk Angela Calvillo and the Santa Clara County Counsel’s Office (legal counsel in the matter after our own City Attorney’s Office recused itself) created procedures whereby all nominees leave the room while the remaining supervisors vote.

But as Daly noted, clearing several supervisors from the room would make it unlikely that those remaining to come up with six votes for anyone. He also said the system would deny too many San Franciscans of a representative in this important decision and allow sabotage by just a few moderate supervisors, who could vote with a majority of supervisors present to adjourn the meeting in order to push the decision back to the next board that is sworn in on Jan. 11.

“The process before us is flawed,” Daly said.

So Daly sought to have the board vote on every nomination as it comes up, but Elsbernd argued that under Robert’s Rules of Order, nominations don’t automatically close like that and to modify a board rule that contradicts Robert’s Rules requires a supermajority of eight votes. Calvillo, who serves as the parliamentarian, agreed with that interpretation and Chiu (who serves as chair and is the final word on such questions) ruled that a supermajority was required.

Although some of his progressive colleagues privately grumbled about a ruling that ultimately hurt the progressives’ preferred system, Chiu later told the Guardian, “I gotta play umpire as I see the rules…We need to ensure the process and how we arrive at a process is fair and transparent.”

Nonetheless, Chiu voted with the progressives on the rule change, which failed on a 6-5 vote. But Daly noted that supervisors may still refuse nominations and remain voting until they are ready to be considered themselves, which could practically have the same effect as the rejected rule change. “If we think that’s a better way to do it, we can do it, but we don’t need to fall into the trap and subterfuge of our opponents,” Daly told his colleagues.

Elsbernd then moved to approve the process as developed by Calvillo, but Daly instead made a motion to amend the process by incorporating some elements on his plan that don’t require a supermajority. After a short recess to clarify the motion, the next battleground was over the question of how nominees would be voted on.

Calvillo and Elsbernd preferred a system whereby supervisors would vote on the group of nominees all at once, but Daly argued that would dilute the vote and make it difficult to discern which of the nominees could get to six votes (and conversely, which nominees couldn’t and could thereby withdraw their nominations and participate in the process).

“It is not the only way to put together a process that relies on Robert’s Rules and board rules,” Daly noted, a point that was also confirmed at the meeting by Assistant Santa Clara County Counsel Orry Korb under questioning from Campos. “There are different ways to configure the nomination process,” Korb said. “Legally, there is no prohibition against taking single nominations at a time.”

So Daly made a motion to have each nominee in turn voted up or down by the voting board members, which required only a majority vote because it doesn’t contradict Robert’s Rules of Order. That motion was approved by the progressive supervisors on a 6-5 vote.

Both sides at times sought to cast the other as playing procedural games, and both emphasized what an important decision this is. “This is without a question the most important vote that any of us will take as a member of the Board of Supervisors and one that everyone is watching,” Elsbernd said of choosing a new mayor.

So after the divisive procedural votes played out, Chiu stepped down from the podium and appealed for unity around the final set of procedures. He said that San Franciscans need to have confidence that the process is fair and accepted by all, and so, “It would be great if we have more than a 6-5 vote on this.”

As the role call was taken, Carmen Chu was the first moderate to vote “yes,” and her colleagues followed suit on a 11-0 vote to approve the process. At that point, the board could have begun taking nominations, but it was already 7 p.m. and both Daly and Chiu argued to delay that process by couple weeks.

“We owe it to ourselves and this city to have a discussion [of what qualities various supervisors want to see in a new mayor] before we get into names and sequestration,” Daly said.

He and other progressive proposed to continue this discussion to Dec. 7, but Elsbernd – who was visibly agitated by the discussion – suddenly moved to table the item (which would end the discussion without spelling out the next step), a motion rejected on a 4-7 vote, with Maxwell joining the progressives.

The discussion ended with a unanimous vote to continue the item to Dec. 7, when supervisors will discuss what they want in a new mayor and possibly begin the process of making and voting on nominations. Anyone who receives six votes will need to again be confirmed during the board meeting on Jan. 4, a day after Newsom assumes the office of lieutenant governor.

Mädchen gone wild

Jesse Hawthorne Ficks

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November 24, 2010

1

Every nation had its distinct cinematic response to the sexual revolution of the 1960s and ’70s. Germany’s was characteristic in offering the pretense of order, “scientific” educational value, and encouraging a healthy collective morality — even if all this was usually mere gloss over the usual, more marketable qualities of copious T&A.

Encouraged by Scandinavian films already tearing down censorship barriers worldwide, Deutschland screens (the free-Western ones only, needless to say) began addressing the matter directly in 1968. Then, Oswalt Kolle, a psychiatrist’s son and tabloid journalist turned celebrity sex educator, commenced making features like Sexual Partnership (1968), The Sensual Male (1970), and Your Child, That Unknown Creature (1970). These fairly sober mixtures of documentary and dramatized “case histories” were as widely translated as his writings. (Nonetheless, Kolle and his family relocated to Amsterdam, citing constant harassment by conservative German politicians and media as the cause.)

Such success inevitably attracted imitation. Dr. Gunther Hunold’s Schulmädchen-Report had made best-seller waves with its collection of interviews with 14- to 20-year-old women about their sexual experiences and opinions. Enter Wolf C. Hartwig of Rapid Film, producer-distributor of such savory titles as Satan Tempts With Love (1960) and Your Body Belongs to Me (1959). He bought the book’s film rights, retaining Hunold as co-scenarist and consultant for 1970’s Schoolgirl Report: What Parents Don’t Think Is Possible, which proved so enormously popular that an entire national subgenre was born.

The resulting series of Schoolgirl Report features stretched through the entire Me Decade. All 13 are being issued on DVD by the Impulse Pictures label of South San Francisco’s CAV Distributing Corporation, a project that reaches its precise midpoint next month with 1974’s Schoolgirl Report Volume 7: What the Heart Must Thereby …. Watching too many of these interchangeable vintage sexploitation “documentaries” in close succession can be hazardous to your mental health, but in moderation — as with most things – — they prove instructive.

Volume 1 set the mold, sometimes in stone: factors like the groovy Farfisa-acid guitar-flute rock instrumental theme by Gert Wilden and His Orchestra (whose original soundtracks would continue to run a delightfully dated gamut from go-go discotheque to cocktail jazz to Mantovani-like schmuzak), cheap production values, Ernst Hofbauer’s on-the-nose direction, the wooden acting (despite allegedly “starring many anonymous youths and parents”), and an entire opening credits sequence would scarcely budge in film after film. More flexible within a limited range were the bodies bared by 20-something actors playing teens (seldom convincingly) and the framing devices for each installation of variably comic, dramatic, and tragic vignettes.

The first movie started with a flower-decal-covered VW full of hippie chicks and dudes driving by as a female voice says “That’s us: today’s youth. We want a new morality without hypocrisy.” Then an actor playing a reporter announces this “effective and spontaneous documentary shows our youth as they really are. [It] will open many parents’ eyes.”

More likely the Schoolgirl films opened a lot of men’s pants. For all the earnest jabber about “sexual prejudice and why German families hang on to it,” Hartwig, Hofbauer, scenarist Gunther Heller (Hunold split after the series’ launch) and company weren’t interested in liberating minds — let alone promoting feminism — so much as wrapping age-old male fantasies in a cloak of socioanthropological inquiry.

Women are occasionally victimized in the Schoolgirl universe: a lone black girl is set up for gang rape by racist classmates, a country lass is forced into prostitution by loutish dad, etc. But such instances usually end up with the protagonist rescued by a convenient Prince Charming, often as our narrator urges us to question whether they brought the abuse on themselves.

The overwhelming majority of tales present a brave new world of brazenly aggressive females demanding satisfaction whenever, wherever, with whomever. Particularly with older men, including priests, teachers, bus drivers, family friends, guest workers (Rinaldo Talamonti often appears as a comedy-relief Italian stereotype addressed in terms like “Hey, spaghetti! Show us your macaroni!”), even sexy older brothers.

Their behavior sometimes edges from fantasy fodder into the fanatical, as when a married fencing instructor tells his obsessed student, “You must be reasonable!” and she replies “I’ll be reasonable when I’m 75!” Or when another underage lassie brags that beyond regular partner sex, “I also do myself four or five times a day.” Most disturbing is a frequent refrain of blackmail, almost invariably used by nymphets on a reluctant authority figures to maintain a sexual relationship (and/or good grades). In the ickiest instance, Volume 5‘s 15-year-old Margit seduces Grandpa, saying if he refuses she’ll say he raped her; three months of action later he confesses to parents and police rather than endure more shame.

Ostensibly celebrating women’s newfound sexual freedom, the Schoolgirl Reports often seem to regard that as a menace to society as well. (At one curious point we’re informed “They’re all reading Valerie Solanas’ SCUM Manifesto, which turns men into slaves and a necessary evil for sex.”) Needless to say, the series’ major off-camera collaborators were an entirely penis-bearing roll call.

These films made tens of millions, not just in Western Europe but in overseas locations where their copious full-frontal nudity (nearly all female, of course) required cutting or fogging to meet local standards. Entries appeared around the globe under titles like Campus Pussycats, Smartie Pants, Further Confessions of a Sixth Form Girl, and Super Sexy Show. The 1980 final chapter didn’t hit American screens until three years later as Making Out — quite the reduction from an original German title translating as Don’t Forget the Love in Sex. Meanwhile Germany had been flooded with copycat “reports” (housewife, schoolboy, nurse, etc.), and in 1975 saw the legalization of hardcore porn. So a once ubiquitous, now quaint and bizarre example of mainstream softcore slowly petered (ahem) out.

The Impulse-CAV discs are notably stingy with extras — there aren’t any, not even trailers or a horrible-English-dubbing option — but in a way that suits their blunt appeal. After all, one shouldn’t expect many frills from movies wherein a dessert-spooning virgin (sex aside, ice cream appears this generation’s predominant onscreen indulgence) muses that a passing motorist “could help me get rid of that bothersome hymen,” or the “pathological dream world” of a girl troubled by incestuous thoughts features psychedelic imagery of Daddy menacing her nubile naked self with a shish kabob.

Shop with Your Mouth Full with eBay Mobile

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November 24, 2010

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Shop with Your Mouth Full with eBay Mobile

What: eBay Mobile is celebrating Black Friday with a free and open to the public event – Shop with Your Mouth Full. Skip the mall madness and come outside to 5^th and Mission to learn about eBay’s mobile apps. The new eBay iPhone 2.0 update, now with selling and RedLaser barcode scanning, launched today.

Join us for FREE lunch provided by Kung Fu Taco and Chairman Bao – two of San Francisco’s favorite food trucks! There will be lots of fun surprises, including iPad giveaways for those who tweet about the event with hashtag #ebaymobile.

Why: Free food, fun & skip the mall lines to shop outside!

When: Black Friday November 26^th from 11:30am to 1:30pm

Where: 5^th and Mission in front of the San Francisco Chronicle building; for more details see Facebook event

Who: eBay Mobile is the leader in mobile commerce with top free lifestyle apps including eBay Fashion, RedLaser and StubHub. eBay is available on major mobile platforms including: iPhone, iPad, Android, BlackBerry and Windows Phone 7.

Green vs. “green”

Jesse Hawthorne Ficks

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November 24, 2010

12

rebeccab@sfbg.com

Years ago, Greg Gaar was a scavenger, wandering the neighborhoods around Twin Peaks picking up bottles and other kinds of recyclable trash. He began working at the Haight Ashbury Neighborhood Council (HANC) Recycling Center in 1982.

During his tenure, a project designed primarily to divert waste from the landfill expanded to include a unique San Francisco native plant nursery. Located on a converted parking lot on Frederick Street near Lincoln Boulevard, the recycling center is a drop-off for recyclable materials, including used veggie oil, and a source for soil and 65 species of potted plants.

Gaar started small. “I took some seeds,” he explained, “and scattered them into a flat. They came up like fur on a dog’s back.” Over the years, he researched the natural history of the area, saved seeds, and cultivated the grounds surrounding the recycling center. HANC also converted a traffic triangle across the street into a thriving garden.

The Recreation and Parks Department, directed by Phil Ginsburg — former chief of staff to Mayor Gavin Newsom — is seriously considering a plan to evict HANC recycling center and replace it with a garden resource center.

While trading one garden center for another might not seem like a big deal, it appears to be an attack on poor people who make their living recycling cans and bottles, a group that organized to oppose Proposition L, the sit-lie ordinance that Newsom supported in this election.

Or as HANC Executive Director Ed Dunn put it: “He’s going to take it from his enemies and give it to his friends.”

The HANC recycling center has leased Rec and Park property since its inception in 1974, and it’s been at its current location for 30 years. HANC does not receive any city funding for the center, and it pays a small amount in rent for use of the parking lot. It processes roughly 160 tons of recycling per month.

Newsom has worked hard to cultivate his reputation as a green mayor and promote green-job creation, but evicting the recycling center would kill 10 green jobs. Many of the employees were formerly homeless and previously earned petty cash gathering cans to exchange at the center’s buyback station. They were hired without any help from San Francisco taxpayers and now they’re earning living wages while diverting waste from the landfill.

But some neighborhood residents are annoyed by the presence of people who arrive at the center with shopping carts filled to the brim with bottles and cans that they can exchange for cash. Buyback hours are held from 10 a.m. to 3 p.m., so during those times, people who haul around bundles of recyclables line up to receive modest rewards for their hours of effort.

HANC, a progressive organization, publicly and vehemently opposed Prop. L, the voter-approved ordinance that bans sitting and lying down on city sidewalks. Newsom enthusiastically endorsed Prop. L.

Dunn believes the recycling center is being targeted due to HANC’s position on that issue. “It’s all about political payback,” says Dunn. Incidentally, Haight voters rejected sit-lie and HANC sees the pending recycling-center eviction as part of the same agenda. “It’s all part of the gentrification that’s enveloping San Francisco,” said Jim Rhoads, who chairs the HANC Recycling Committee.

Once word of the plans got out, letters started pouring into to Newsom’s and Ginsburg’s offices from the Sierra Club, San Francisco Tomorrow, the Senior Action Network, and other organizations. Additionally, the center’s supporters mailed at least 400 postcards opposing the eviction.

Residents have voiced complaints about the shopping-cart recyclers, some of whom are homeless. The Inner Sunset Park Neighbors (ISPN), which is petitioning Rec and Park to evict the recycling center, has a message posted on its website linking the shopping-cart pushers with “quality-of-life issues such as aggressive panhandling, drug use/dealing, and public safety.” ISPN also charges that the recyclers swipe cans and bottles from rolling curbside bins. The neighborhood group had not responded to requests for an interview by press time.

Rhoads believes that if the recycling buyback program is removed, it would only encourage panhandling — after all, people already lacking basic resources would lose a critical source of income. “People will be very desperate,” he said. According to the results of a HANC survey, one in six recyclers regularly turning up at the center to exchange bottles for cash sleeps outside.

The Recreation and Park Commission will discuss the possible HANC eviction at its Dec. 2 meeting. And since the recycling center is on a month-to-month lease, the 36-year-old green resource could soon suffer eviction. There’s likely to be significant resistance, since the HANC Recycling Center has forged partnerships with urban-agriculture projects throughout the city.

It was a fiscal sponsor of the Garden for the Environment and donated several tons of cardboard for mulching at Hayes Valley Farm. The HANC nursery project has distributed plants to urban agriculture projects throughout the city, including school garden plots, urban habitat corridors designed to protect rare species, and the Mission Greenbelt Project, a network of sidewalk gardens in the Mission.

Details on the proposed garden resource center that would be installed in lieu of the HANC Recycling Center are sketchy. An artist’s rendering of the plan, drawn up by the city’s Department of Public Works, envisions an outdoor classroom amphitheatre, raised garden beds, a semi dwarf orchard, and a composting area. However, Guardian inquiries to Rec and Park requesting more specific details about funding and operation went unanswered by press time.

Boring through

Jesse Hawthorne Ficks

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November 24, 2010

2

news@sfbg.com

Despite an official groundbreaking ceremony last February, the Central Subway — an underground Muni connection to Chinatown — still doesn’t have its full $1.5 billion in funding lined up yet, and now the project is facing renewed criticism that the high cost isn’t worth the benefits.

The project was a promise by former Mayor Willie Brown to Chinatown leaders who were upset that the Embarcadero Freeway was torn down after the 1989 Loma Prieta earthquake and never rebuilt, leaving that densely populated part of town difficult to access. But not everyone in Chinatown wants the project.

Wilma Pang, founder and co-chair of A Better Chinatown Tomorrow (ABCT) stands firmly against it, while the Rev. Norman Fong, deputy director of programs for the Chinatown Community Development Center, takes a solid stand for building the project, as does Board of Supervisors President David Chiu, who represents the district.

Fong explains that the majority of Chinatown has united to make sure the subway comes through, and that he himself has never seen the community in Chinatown more set on something. “This is an environmental justice movement,” Fong said. “For me, this was the first time Chinatown had ever fought [for such a major infrastructure project].”

City staff is also focused on moving the project forward. “This project has been supported by our state, local, and federal officials,” Brajah Norris, external affairs manager for the Central Subway Project, told the Guardian.

But the group SaveMuni — formed last year by progressives, transit engineers, transit advocates, and other activists “working to reverse Muni’s death spiral” — recently called for the Central Subway to be shelved and its resources put to more efficient projects. “Now that the analysis has been done, it’s time to rethink the situation,” SaveMuni says in a white paper on the Central Subway.

The group argues that using the subway will take longer than other transit options, threatens many businesses on Stockton Street, and doesn’t even connect effectively with the Muni system. Even worse, they point out that Muni would have to spend an additional $4 million a year in local operating expenditures beyond the existing bus service, an expenditure that seems unnecessary to the organization members.

Although creating a subway for the crowded community seemed like a good idea initially, people like Tom Radulovich soon began to realize that a 1.7 mile subway stretch buried 20 feet underground is not the same as the plan he hoped for when considering an economically efficient transportation system for the people in Chinatown.

“People deserve a whole range of alternatives,” said Radulovich, executive director of Livable City and an elected member of the BART Board of Directors. “You have to be mindful of when the [current] project is not the same project you voted for.”

For those at SaveMuni, the project long ago strayed from its original goal. Although they agree that Chinatown community members deserve their own form of reliable transportation, they believe this is not the right way to be spending federal, state, and local money.

“It’s an important corridor, so funding should go there,” Radulovich said. But he thinks the same money could be better used other ways, such as for a dedicated Bus Rapid Transit (BRT) lane.

Jerry Cauthen, a retired SFMTA transportation engineer who cofounded San Francisco Tomorrow and SaveMuni, explained that he initially liked the concept of a subway but then became “bitterly disappointed” as the project progressed.

The subway line has three stops mapped out: one at Moscone Center, one at Union Square/Market Street, and one in Chinatown. From the Chinatown station, the tunnel will continue under Washington Square and remain there for future extensions to the subway, which is projected to begin service in 2018.

“There’s no reason to wait 10 years for a subway,” Cauthen said. “Because it is not going to do what it says it will do.”

Cauthen explained that the route for the Central Subway misses the most important lines anyway, which would be “serving Chinatown poorly.” Cauthen was not alone in his concern that the three-stop subway system will prove to be more of a hassle than a convenience.

But in a committee meeting held Nov. 16 at City Hall, the San Francisco County Transportation Authority (which oversees capital expenditures, while the SFMTA runs Muni) addressed the issue that the city in fact does not have all the money it needs to complete this project. While federal officials have already handed over $72 million out of $948 million, getting the rest of that federal money requires the city and its affected agencies to come up with local matching funds of between $137 million to $225 million.

Malcolm Yeung, public policy manager for the Chinatown Community Development Center, explained that based on the recent hearing, the SFMTA needs to find a viable source for the remaining $137 million. It has until February to inform the Federal Transportation Administration how it will obtain the rest of this money. The SFCTA meeting was an attempt to request an allocation of about $22 million in Proposition K (sales tax) funds.

Now that the city is having trouble meeting its fiscal goal by February 2011, the new question is, if city officials don’t come up with the money, will San Francisco lose the project and its funding?

“I don’t think it means that we lose the whole project,” Yeung said, but there could be delays. And every time there is a delay, there is also an associated cost to be paid.

According to SFMTA, the project received $948.2 million in federal money, $375 million from the state, and $255.1 million in local contributions. Norris explained that since the federal money was given for this specific New Starts program, then it can only be used for this project. And if the project comes to a halt, the money will go somewhere else. “People don’t realize that $948 million is part of the New Starts program,” Norris said. “If we don’t get it, we actually lose it.”

Fong, Chiu, and other supporters of the project rallied in its support outside City Hall on Nov. 15. As Fong told us, “[People against the project] don’t appreciate the hard work, that it takes a decade to get the federal funds … It cannot be simply shifted or “redirected” as some have said.”

For Fong, ending this project would be “disregarding two decades of hard work.” Although the ideas to improve Muni seem fair to Fong, moving forward with the subway is the only option for him right now.

*This article has been corrected from an original version.

The high harvest

Jesse Hawthorne Ficks

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November 24, 2010

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caitlin@sfbg.com

CULTURE “There was some sweet in there and some spice — it was like finger food, you could eat it like chips.” Larry Medders, 11-year resident of the Cecil Williams Glide Community House, is showing off the new rooftop garden, installed by the San Francisco Zen Center, on top of his nine-story supportive housing complex. He’s talking about his introduction to kale.

Medders cooks for himself in his studio apartment and used to stick to the same meals. He likes pasta and herbal teas, which he now brews with the mint and chamomile growing upstairs. An older man from the South endowed with a becoming drawl, he comes up once a day “to water and make sure everything’s in its place.” At the opening ceremony for the new green space, Medders tried the iron-rich greens for the first time. “Now I’m hooked,” he says.

If a once-bare Tenderloin rooftop seems like an incongruous spot to grow spinach, carrots, lemons, blueberries, parsley, onions, and tomatoes (a few of the nascent crops at the Community House), it shouldn’t. The buzzing streets below Medders’ feet offer sparse play areas for children, occasional safety risks, and few places to buy fresh veggies.

The city has tried to attract grocery stores to the area, so far unsuccessfully. “Grocery store operators and other retailers perceive that the area is unsafe and have expressed concerns about the safety of their employees and customers,” says Amy Cohen, director of neighborhood business development. TL residents largely must content themselves with corner stores for neighborhood shopping trips — a bummer for low-income seniors who live in the area.

For the residents of Community House’s 55 units — many dealing with life post-addiction and homelessness and all low income — the roof was already a place to gather. Building barbeques were common. But they knew the rooftop could be much more. “I just wanted to see more greenery, because it really is beautiful,” Medders says.

Enter the San Francisco Zen Center (www.sfzc.org). The center has operated in tandem with Muir Beach’s Green Gulch Farm since the early 1970s, providing a green dojo for meditation students and producing organic produce for restaurants such as Greens in Fort Mason. Says Zen Center vice president Susan O’Connell, “the color green alone is calming, the oxygen and the sense of being surrounded by life.” Gardening can aid in one’s quest for enlightenment, she says. “Zen takes a lot of different forms, it’s not just sitting down.”

Taking inspiration from a garden next door on top of Glide Church, the Zen Center pledged to fill Community House’s communal space with veggies. Now 15 planter boxes built by construction training nonprofit Youth Builds stand at different heights so children and residents in wheelchairs can work them. There are compost bins, shaded tables, chairs, a sink where cooking classes will be held once a local artist finishes painting a mural on the surrounding wall.

The roof’s design, plotted by ex-Green Gulch apprentice Jamie Morf, is laid out so residents can socialize (when Medders and I toured the roof, three children were eating a late lunch on one of the round tables) as well as sit and be thoughtful in nooks designed with peace in mind. “One of the most important precursors to being able to meditate is called taking refuge. But that’s really hard for people in the Tenderloin,” O’Connell says.

We are joined by Patty Rose and Arlinda Van Brunt, two other long-term residents who, with Medders, have stepped up to form the core gardening group. The three teach me about the challenges of running a plot that belongs to every one of the residents living in a nine-story building, including many who have never tended a kitchen garden before. The learning curve can include beginner’s missteps, like overpicking a hardy green onion plant that the trio laments.

“Look at this,” Van Brunt, an energetic woman whose father’s landscaping career left her with a severe aversion to seeing mistreated plants, is pointing at a vertical potato cage that doesn’t seem to be producing the same bushy green leafs as its neighbor. “They overwatered it! It’s our first year, we’re still finding a lot of things out.”

But these kinds of small setbacks show that the garden is being used — and often, they lead to new discoveries in and of themselves. The aforementioned rotting potato cage attracted the notice of the roof’s nightcrawlers, which must have scooted the 10 feet between their two massive bins to the cage, where they were discovered by Van Brunt.

The composting process in the worm bins is now one of her favorite parts of the garden. With the aid of Medders, she lifts the heavy metal lid of one of the bins and pulls aside the shredded newspaper piled on top of the composting material. Underneath, there is a teeming, squirming mass of pink worms. Van Brunt tenderly fingers a handful of them. “Look at that, are they really breeding in there? The nastier it is, the more they like it,” she says, exhibiting the satisfaction of a woman who has taken charge of her food system.

Critical care

Jesse Hawthorne Ficks

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November 23, 2010

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Sarah@sfbg.com

A complex and controversial project that would involve five San Francisco hospitals — including building a huge showcase facility for the wealthy atop Cathedral Hill — has prompted a debate about what average city residents need from the health care system.

California Pacific Medical Center, an affiliate of Sutter Health, proposes to downsize St. Luke’s Hospital, which primarily serves a low-income population in the Mission District, as part of a $2.5 billion proposal to renovate and retrofit three existing medical campuses, close another one, and build housing and a megahospital on Cathedral Hill that would draw patients from around the country.

CPMC’s grandiose plan was being considered strictly as a land use decision, despite its far-reaching impact on the city’s health care system. So Sup. David Campos created legislation calling for the city to create a citywide health services master plan and to use that as another tool for gauging future medical projects.

Debate over that legislation left some activists on both sides unhappy, with progressives disappointed that it won’t be able to stop a CPMC project they see as neglectful of the poor, and moderates wary of creating a new way to challenge development projects in the face of widespread unemployment in the construction industry.

But it struck a fine enough balance to win 8-3 approval by the board Nov. 16, enough to override a threatened mayoral veto. “I’m really happy and excited about the passage of this legislation,” Campos told the Guardian after the vote.

The legislation has a two-part mandate, with the first part kicking in as soon as it has final approval. It requires the Planning Department, with input from the Department of Public Health, to prepare a health care services master plan to identify current and projected needs for health care services and where they should be provided.

The second part, which begins in 2013, requires Planning to determine whether medical projects are consistent with the findings of this plan. That delay is credited to a last-minute amendment Campos granted during a Nov. 15 committee hearing after the hospital industry complained that the process could jeopardize its ability to meet state-mandated seismic retrofitting deadlines for projects already in the planning pipeline.

The passage of Campos’ legislation comes eight months after President Barack Obama signed the Patient Protection and Affordable Care Act. Hailed by its supporters as the most significant change to the U.S. health care delivery systems in 40 years, the reform package has also been greeted with criticism on both ends of the political spectrum. Progressives complain that it relies too heavily on private insurance companies and medical providers, while Tea Party supporters says that it’s government run amok and they have vowed to “kill the bill.” Senate Minority Leader Mitch McConnell (R-Ky) recently compared so-called Obamacare to “tyranny” in a speech to conservative legal scholars.

But here in San Francisco, the debate over Campos’ legislation — as heated and divisive as it was at times — yielded a surprising amount of consensus around the long-neglected idea that government should play a role in health care planning.

PULLING THE PLUG

The passage of Campos’ legislation marks the first time in 30 years that a government entity has mandated health care services planning in California. That approach West Bay Health Systems Agency, whose creation he opposed as governor of California.

Lucy Johns, a San Francisco-based health care planning consultant who wrote the only health care services master plan California has ever had, recalls what happened in the mid-1970s after President Gerald Ford signed legislation that established health system agencies nationwide.

“California established 14 health systems agencies, including the West Bay Health System Agency, which governed the nine Bay Area counties,” Johns told the Guardian. “The legislation mandated that they be established by every state, with the federal government providing the funding. So every state had to decide how many, how big, and how structured the health system agencies would be.”

Johns notes that state legislators were constrained when it came to the decisions these health service agencies made. “The governing bodies of the health systems agencies had to have a membership that was 51 percent consumer and 49 percent healthcare provider, which included doctors, nurses, and hospital administrators,” she said.

That history served as a backdrop for discussion of the Campos legislation, with the Planning Department staff report noting, “With the elimination of the West Bay Health Systems Agency in 1981, there is no longer a routine or comprehensive analysis of health service resources, needs, trends, and local impacts conducted for changes to or within medical uses.”

“It’s truly a historic moment for San Francisco,” Campos said after his legislation passed its Nov. 16 first reading (the second and final reading is set for Nov. 23, after Guardian press time). “We are the first city in the country to make sure land use decisions are aligned to our health care needs. That’s an unprecedented step that will shape the future of healthcare planning for years to come.”

Campos acknowledged that the passage of Obama’s heath reform package — which includes a mandate to purchase private health insurance beginning in 2014 — was also a catalyst for his legislation, along with the CPMC project.

“But it had more to do with seeing that the city didn’t have the tools it needed to evaluate projects in terms of whether they met the city’s healthcare needs and how they might impact people’s access to healthcare,” Campos said. “The main catalyst came from the community, which felt it was being asked to make decisions that will have long-lasting health care implications, but didn’t have any way to understand those needs. Those concerns were compounded by changes at the national level — and the recognition that these changes offer us an opportunity to engage in planning.”

Campos’ legislative victory came two months after members of the Cathedral Hill Neighbors Association joined nurses, medical workers, patients, and community groups in voicing concerns at a Sept. 23 public hearing about the draft environmental impact report for CPMC’s Cathedral Hill hospital and the other facilities that are part of its proposal.

These groups collectively expressed fear that downsizing St. Luke’s, closing the CPMC California campus, and transforming CPMC Pacific campus to an outpatient-only hospital will force low-income people to travel farther to access health care services while offering better service to the wealthy at Cathedral Hill. And neighbors worried that the proposed complex would increase traffic and require the demolition of rent-controlled apartments.

Formed in 1991 through the merger of Pacific-Presbyterian Medical Center and Children’s Hospital of San Francisco, CPMC has been affiliated with Sutter Health since 1996 and currently has four medical campuses in San Francisco: Pacific in Pacific Heights, California in Presidio Heights, Davies in the Duboce Triangle, and St. Luke’s in the Mission.

But CPMC’s longtime goal was to build a facility intended to be like the Mayo Clinic of the West Coast, a 15-story, 555-bed full-service hospital and specialty care facility at the corner of Van Ness Avenue and Geary Boulevard. Company officials have made approval for that project conditional on keeping St. Luke’s open in the face of the state’s deadline on seismic safety standards that the hospital doesn’t now meet.

“St. Luke’s Hospital was the big issue that got our attention,” Le Tim Ly, lead organizer for the Chinese Progressive Association, told the Guardian. His group has worked with residents in the city’s southeast sector around environmental justice, air quality, and pollution issues when they became aware of the threat to St. Luke’s. “All this, coupled with efforts to downsize Luke’s, left us alarmed by the disproportionate impact on an already impacted area.”

But alarm over CPMC’s plans has now revived the idea of healthcare planning.

MAKING A PLAN

As recently as the beginning of November, representatives for the Hospital Council of Northern and Central California — whose members include CPMC, Chinese Hospital, Jewish Home, Kaiser Permanente, Laguna Honda, St Luke’s, St. Mary’s, San Francisco General Hospital, and Veterans Affairs Medical Center — seemed opposed to any change in the way healthcare planning is done in San Francisco.

At a Nov. 1 hearing on the Campos legislation at the board’s Land Use and Economic Development Committee, Ron Smith, the Hospital Council’s senior vice president for advocacy, said his organization favored maintaining the city’s current procedures. “We would like to propose that the Health Commission does the planning, the Planning Commission does the land use, and that there is a required determination process which is in the current legislation,” Smith said. “We’re proposing that that continue.”

But two weeks later, after Campos amended his legislation so projects now in the planning pipeline are exempt from having to comply with the city’s health care services master plan, some members of the Hospital Council seemed to have a change of heart.

CPMC’s Chief Executive Officer Warren Browner surprised just about everybody when he publicly stated in mid-November that CPMC supports health care planning. “We strongly support the efforts of the city — we are in favor of health planning,” Browner said at a Nov. 15 hearing on the legislation.

“That statement was extraordinary,” said Lucy Johns, recalling CPMC’s history of resisting government control. “The conversation about this legislation has already changed the discourse, at least in public.”

Linda Schumacher, chief executive officer of Chinese Hospital, a community-owned, not-for-profit facility, explained at the same hearing that her organization had been concerned that Campos’ legislation would affect her hospital’s ability to move ahead with a $150 million project that has been in the pipeline since 2003.

“We thank you for that amendment that allows the effective date to be changed,” she said.

“It shows how much progress had been made, even before this legislation goes into effect,” Campos said of the hospital industry’s apparent shift in attitude. “It’s a monumental step, something that was not expected as recently as a few months ago.”

But Ly of the Chinese Progressive Association said he believes the Hospital Council still doesn’t want to see the city getting involved. “As recently as a month ago, their folks were speaking out against any kind of legislation. But I think they started seeing the writing on the wall.”

Ly fretted about the potential negative impact of Campos’ last-minute amendments. “Sup. Campos’ plan represents a victory. But we could use that information as soon as possible. The 2013 deadline means the city will be handicapped: it will have information it can’t use yet.”

Ly ventures that the hospital industry’s approach will be to try to lessen the impact of the legislation. “As written, it still provides the Planning Commission and the board with the discretion to approve projects,” Ly said. “Ultimately, the struggle is about values. Just because there are plans and guidance doesn’t mean the healthcare needs of the community will become a top priority — it just provides us with tools to make an assessment.”

Campos counters that his bill will allow the city to create incentives for, and apply pressure on, the hospital industry. “If they truly want their projects to be expedited and approved before state-mandated seismic retrofitting deadlines kick in, they’ll propose plans that work for the community,” Campos explained.

But even as it publicly vows to be supportive, the Hospital Council continues to express concerns about the Campos legislation. “It’s the council’s job is to be supportive now that the board has approved Campos’ plan,” Smith said. “And Sup. Campos was very generous. He started talking to us in June. But we really didn’t get a handle on his proposal until much later. We think the idea of healthcare planning is very good. We still have concerns about the process, but now the board has voted on the legislation, our goal is to do our best to work with the law.”

Concerns that the legislation would be used to mire projects in repeated appeals and give too much weight to critics’ concerns was raised at the Nov. 16 hearing by Sup. Sean Elsbernd.

“Right now, if anyone has concerns, there’s a conditional use process and a CEQA [California Environmental Quality Act] process,” Elsbernd told the Guardian. “But this turns up a brand new appeal. It means the appeals are heard at the same time, but you’ve now created a third route.”

Campos responded to these concerns by amending the legislation to clarify that the board must act on consistency determination appeals at the same time it acts on other related appeals, so projects won’t be delayed.

Evidently this wasn’t enough to appease the San Francisco Chamber of Commerce. “We cannot be supportive of that piece of legislation,” Rob Black, the Chamber’s vice president of public policy, told the Guardian after the legislation was approved. “We believe appeals should be done at the Department of Public Health in conjunction with service providers, since San Francisco provides 20 percent of service, and private organizations provide the remaining 80 percent.”

Black says the Chamber was pleased Campos amended his legislation so as not to slow down projects that are currently in the planning pipeline. But he claimed Campos’ legislation could actually limit access to healthcare services. “The Chamber is concerned that Campos’ legislation will make it harder for doctors to pool together in pods, and if we don’t do that, it won’t make healthcare more available because services will be more expensive,” Black said. “But we absolutely think” the city should analyze gaps in providing health care to San Franciscans.

Campos’ aide Hillary Ronen confirmed that Black is correct in saying that anyone can appeal a hospital project’s consistency determination. “But the final analysis will revolve around asking if the proposed project meets the health care needs of San Francisco,” she said. “If it doesn’t, and the board doesn’t believe there’s a compelling public policy reason to approve the project, [the board] can override the approval.”

PATIENTS VS. PROFITS

Mary Michelucci, a registered nurse for 40 years and a member of the California Nurses Association, is hopeful that Campos’ legislation will rein in the hospital industry.

“I hope that any plan that would favor patient care over profit would be the way to go,” Michelucci said. “Running a hospital is expensive. But with the profits that Sutter and CPMC are making, they can afford this.”

Michelucci says the dispute over St. Luke’s came to a head three years ago, when nurses began to suspect that CPMC was planning to let the facility fail, suspicions that intensified when CPMC closed St. Luke’s neonatal intensive care unit 18 months ago.

“Now the babies who need neonatal special care are transported to CPMC’s California campus, which is in the Richmond,” Michelucci said. “But the moms may be discharged and most of them live in the Mission or Bayview-Hunters Point.”

Michelucchi still fears that CPMC will wage “a horrific campaign” against the California’s Nurses Association as it continues to push the plan for its megahospital. “CPMC wants to be in complete control of the registered nurses,” she said. “We, unfortunately, are their conscience, while they are a business model in the business of healthcare. The decisions they make about healthcare are not in the interests of patients or nurses, and we are the thorn in their side.”

All this is happening against the backdrop of the worst economic recession since the Great Depression, and for construction workers facing high unemployment rates in San Francisco, CPMC’s megaproject clearly represents light at the end of a very dark tunnel.

“CPMC is my future,” William Hestor, a 28-year-old father of two and member of SEIU-United Healthcare Workers, said at the Nov. 15 hearing. “We worked hard on a contract and we just want to make sure our hospital is built on time.”

CPMC media spokesperson Kevin McCormack told the Guardian that the real issue between CPMC and the CNA is union membership at CPMC’s Cathedral Hill facility. “CPMC is reducing beds at St. Luke’s because the beds aren’t in use, but the facility will be able to take care of 90 percent of patients’ needs and if you need specialist care, a shuttle will take you to Cathedral Hill,” McCormack said. “This centralized arrangement is the best way to attract the best staff and equipment.”

McCormack noted that there are union members and 1,200 nonunion nurses working at CPMC facilities in San Francisco. “We are bringing together nonunion and union nurses together at this facility, and we don’t feel we have the right to force our nonunion nurses to join,” he said, adding that since the Teamsters, the Carpenters, and SEIU-United Healthcare Workers (UHW) are already unionized at the Pacific and California campuses, they’ll be allowed to unionize at Cathedral Hill.

CNA member Eileen Prendiville, who has worked in San Francisco as a registered nurse for decades, recalls the negative changes she has already seen at CPMC’s facilities, including eliminating registered nurses and specialty services.

“If you pull services, as they have, of course you’ll have fewer patients. And the physicians start leaving, so it’s a vicious cycle,” she said. “St. Luke’s was a small community hospital but now it’s all about corporate medicine.”

Sup. Eric Mar sided with those seeking to exempt current projects from the city’s health care services master plan. But Sup. Sophie Maxwell noted that the Planning Commission will take a facility’s historical role into account in determining whether projects are consistent with the city’s health care services plan.

“We believe that addressed community concerns,” Maxwell said. “St. Luke’s would never have been targeted for closure had this legislation been on the books in the past.”

Campos insists his legislation is not simply about CPMC. “Ultimately this legislation stems from a number of pleas we have heard in the last couple of years from people throughout the city,” he said. “It takes the institutional master planning process to the next level. We have tried to consolidate the appeal process under existing law. Important as the legislation is, it’s key to make sure we have the right master plan because that’s where the heavy lifting will take place.”

Meanwhile, the final EIR is being completed for the CPMC project, which should go before the Board of Supervisors for approval early next year.

The screwy rules for mayoral succession

Jesse Hawthorne Ficks

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November 23, 2010

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EDITORIAL The clerk of the Board of Supervisors, at the request of Board President David Chiu, has released a proposal for the selection process for a new mayor, and it’s about as complicated and confusing as everyone expected. That’s in part the result of the vagueness of the City Charter, which simply specifies that a vacancy in the office of mayor shall be filled by a San Francisco registered voter chosen by a majority of the supervisors but offers no procedural clues on how to get there. And the Political Reform Act sets very strict limits on conflicts of interest for elected officials in California; a supervisor, for example, can’t vote for himself or herself or do anything to promote his or her candidacy for an office that comes with a pay raise.

In the end, the proposal leaves limited room for public input — and makes it very difficult for any sitting supervisor, particularly one of the progressives, to wind up winning the job.

The way the rules are laid out, the board would accept nominations — but any sitting supervisor who accepted the nomination would have to leave the room at once, cease all communication with his or her colleagues, and play no role in further deliberations or voting. Since it’s entirely possible that several supervisors — and possibly several progressives — could be nominated, the process would cripple the final outcome since the only ones allowed to vote would be the remaining board members whose names aren’t in the mix.

That skews the outcome heavily toward one of two options: the supervisors appoint someone who isn’t on the board — or Chiu winds up as both acting mayor and board president because nobody else can muster six votes. The only other option: The progressives all stick together, line up in advance behind a candidate who’s currently on the board, and find one more vote for that person.

The whole thing is so screwy that the supervisors ought to make some changes before they adopt it and try, to the extent that it’s legal, to inject some sanity into the process.

For example: Instead of opening the nominations, collecting a long list of names, sending all of the sitting supervisors on that list out of the room and then voting, the board could take the names one at a time. A supervisor gets nominated, leaves the room, and the votes are tallied; if he or she has fewer than six, the process starts again. (The problem: who goes first — because the first person eliminated can’t be nominated again. To be fair, there would have to be some sort of random drawing of which supervisor could make the first nomination — which alone might add too much random chance to the outcome.)

Then there’s the question of when this all takes place. If the process starts now and an interim mayor is chosen, the board will have to reconfirm that person Jan. 4 when Gavin Newsom actually resigns to take over as lieutenant governor. There’s a chance something could go wrong in the meantime and the board would have to change its vote, and there’s a chance that state law would prevent a supervisor who won from acting in any way to influence the final vote. But those are better risks than the option of leaving everything to the last day. And if the board decides that it can’t or shouldn’t act until Jan. 4, special meetings ought to be calendared for Jan. 5, 6, and 7 to give the current board more than one day to make the final decision.

And before anything happens, the board needs to schedule at lest one open hearing to get input from the public on the qualifications for the next mayor and on potential candidates.

The bottom line: any candidate who wants to get progressive support needs to be willing to do more than sign legislation and manage the city. He or she needs to be willing to use political capital and the mayor’s bully pulpit to make the case for progressive change — on taxes, services, the budget, and an overall civic vision. And the six board members on the left need to stick together, or that won’t happen.

Heavenly landing

Jesse Hawthorne Ficks

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November 23, 2010

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arts@sfbg.com

THEATER A rare sighting the weekend of Nov. 18-20 at Yerba Buena Center for the Arts: Cynthia Hopkins, as intergalactic space pilot Ruom Yes Noremac, a post-human “Druoc” in a floppy silver space suit hovering high above the stage of the Novellus Theatre, returning from the far distant future … to do what? “Save the earth, of course.”

It was one of many memorable moments in The Success of Failure (Or, the Failure of Success), a comical operetta musing on “the pros and cons of evolution,” and part three in the wildly inventive Accidental Trilogy developed by the New York City–based artist and company Accinosco. Before a spacescape projected across an enormous screen, above a stage aglow and twinkling with arch sci-fi phantasmagoria, Hopkins appeared to defy gravity with her deft spectacle and ethereal song. The atmosphere was one of all-pervading nostalgia and regret.

The real high-wire act, however, lay ahead, in the second half of the piece, after the conclusion of a wacky and yearning sci-fi bedtime story narrated from a billion years hence by a silvery flashing orb to her smaller, highly inquisitive offspring. By that point, baby orb has rebelled against the downer ending of mama orb’s story, preferring to make up a happy conclusion instead — that childlike one in which human beings do manage to evolve past self-destruction just in time.

The stage emptied itself of all pretense and everything but the barest of effects, leaving just the 38-year-old Hopkins and her story. Surrounded by a cluster of musical instruments and backed by a hand-drawn star chart of personal crisis and loss, she managed a feat of confessional theater. With uncommon and at times unnerving frankness and poise, Hopkins’ planetary grief and trepidation gave way to a hauntingly brazen concern with saving herself.

Between the planetary and the personal there was no contradiction. The stated aim of the entire Accidental Trilogy is a “mediation on the miraculously powerful (though intensely challenging) process of self-transformation,” as well as the tension between unbearable truths and their transformation into entertainments. Hopkins makes that plain at several points along the way, but never more brilliantly than in the opening lines of the final monologue, as she verbally telescopes, by orders of magnitude, from the full expanse of time and space to her precise location before a San Francisco audience.

This soul-bearing, careening, and stunningly well-delivered monologue cracks open the trilogy’s slyly self-referential conceit, founded on the life of character and alter ego Cameron Seymour (spelled backward in the sci-fi joint to derive space pilot Ruom). Hopkins takes us without artifice — beyond the assistance of her luminous songs — to the darkest points of her own evolution. Amnesia, escapism, failure, and alcoholism: these points reaching back to the defining grief of a mother who died of cancer when Hopkins was a girl. Her mother’s resolute faith and early demise stand throughout in wrenching ironic contrast to both her own and her father’s willful yet unsuccessful attempts to “throw ourselves into the jaws of death.”

“This is a funeral pyre,” she tells us, “and onto it I’m going to toss this method of turning truth into grotesque fiction.” The end comes in a blaze of passion and pain and conjecture, frenetic and quasi-poetic reenactments of past mania, and almost sacramental bursts of quirky, moving song. But, through “a magical ritual called forgiveness,” from those ashes something else rises, mushroom-like, at the scene of disaster. The universe collapses even further — down from the distance of galaxies and tongue-in-cheek fantasy, the pretense of art and performance, and the nostalgia for the loss of it all — onto a single face, captured in a tight beam of slowly fading light, as above her own unamplified guitar a bare crystalline voice muses in song on the wonder of the sun.

As a close encounter, it was one of a kind.

Rep Clock

Andrew Lam

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November 23, 2010

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Schedules are for Wed/24–Tues/30 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $7. “Other Cinema:” “Testing…Testing…Odd Audio,” works by Lori Varga and more, Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Raging Bull (Scorsese, 1980), Wed, 2:05, 7, and Mishima: A Life in Four Chapters (Schrader, 1985), Wed, 4:30, 9:25. Kuroneko (Black Cat) (Shindo, 1968), Fri, 2:30, 4:45, 7, 9:15. •Pat and Mike (Cukor, 1952), Wed, 1, 5:05, 9:15, and Woman of the Year (Stevens, 1942), Sat, 2:50, 7. •Guess Who’s Coming To Dinner? (Kramer, 1967), Sun, 12:55, 5:55, 8:55, and Adam’s Rib (Cukor, 1949), Sun, 3, 7. Theater closed Thurs and Mon-Tues.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. The Girl Who Kicked the Hornet’s Nest (Alfredson, 2009), call for dates and times. Inside Job (Ferguson, 2010), call for dates and times. Leaving (Corsini, 2009), call for dates and times. Today’s Special (Kaplan, 2009), call for dates and times. Vision: From the Life of Hildegard Von Bingen (von Trotta, 2009), call for dates and times. “San Francisco Grand Opera Cinema Series:” Tosca, Thurs, 7; Sat, 10am.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Capitalism: A Love Story (Moore, 2009), Wed, 7:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Days of Glory: Revisiting Italian Neorealism:” Accattone (Pasolini, 1961), Fri, 5:30; Sunday in August (Emmer, 1950), Sun, 3. “Grin, Smile, Smirk: The Films of Burt Lancaster:” The Killers (Siodmak, 1946), Fri, 8; Trapeze (Reed, 1956), Sat, 6:30; Brute Force (Dassin, 1947), Sat, 8:40. “Carl Theodor Dreyer:” Ordet (1955), Sun, 4:50.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. Soul Kitchen (Akin, 2009), Wed, 2, 7:15, 9:25. The American (Corbijn, 2010), Fri-Sat, 7:15, 9:30 (also Sat, 2, 4:15). Aguirre: The Wrath of God (Herzog, 1972), Sun-Tues, 7:15, 9:15 (also Sun, 2, 4).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Exit Through the Gift Shop (Banksy, 2010), Wed, 9:45. “Magyar Tales of Kornél Mundruczó:” Delta (2008), Wed, 7; Johanna (2005), Wed, 9. “Nine Nation Animation,” Wed, 6:30, 8:10. Prince of Broadway (Baker, 2010), Nov 26-Dec 2, call for times. VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10. Kamu Gaidan (Sai, 2009), Wed, Fri, Nov 29-Dec 1, 4:45; Sat, 7:15; Sun, 6. “Mishima Retrospective:” Ken (Misumi, 1964), Fri and Tues, 7:15; Sat, 2:40; Sun, 1:30; Mishima: A Life in Four Chapters (Schrader, 1985), Sat, 12:15 and 4:45; Afraid to Die (Masumura, 1960), Sun, 3:45 and Mon, 7:15.

Music Listings

Andrew Lam

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November 23, 2010

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

WEDNESDAY 24

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8pm, $15.

Zach Deputy Boom Boom Room. 9:30pm, $10.

“Jason Bonham’s Led Zeppelin Experience” Warfield. 8pm, $29.50-47.50.

Myonics, Carnivores, Lens Hemlock Tavern. 9pm, $6.

New Riders of the Purple Sage Great American Music Hall. 8pm, $25.

Out of Cell Range, Introverts, SF Jukebox Bottom of the Hill. 9pm, $8.

Souls of Mischief, Candlespit Collective, Broken Complex, Uephoric, DJ Pause Slim’s. 9pm, $21.

*Unsane, Kowloon Walled City, Hazzard’s Cure, DJ BadJew Thee Parkside. 8pm, $12-14.

DANCE CLUBS

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

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Club Shutter Elbo Room. 10pm, $5. Goth with DJs Nako, Omar, and Justin.

Dark Sparkle’s 11th Annual Holiday Party Café Du Nord. 9:30pm, $5. New wave.

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

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

Jesse Rose, Claude Vonstroke, Solar, J Phlip Public Works, 161 Erie, SF; www.publicsf.com. 9pm, $20.

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

Red Wine Social Triple Crown. 5:30-9:30pm, free. DJ TophOne and guests spin outernational funk and get drunk.

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

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

THURSDAY 25

DANCE CLUBS

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

DJ Eva Von Slut Hemlock Tavern. 9pm, free.

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

Gigantic Beauty Bar. 9pm, free. With DJs Eli Glad, Greg J, and White Mike spinning indie, rock, disco, and soul.

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

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

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

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

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

FRIDAY 26

ROCK/BLUES/HIP-HOP

Billy No Mates, Kegels, Get Dead, Started-Its Thee Parkside. 9pm, $8.

Black Mountain, Black Angels Fillmore. 9pm, $20.

Blind Willies Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Dark Star Orchestra Regency Ballroom. 9pm, $33.

*Hi-Nobles, Unko Atama, Diemond Hemlock Tavern. 9:15pm, $6.

Prima Donna, White Trash Debutantes, Mystic Knights of the Cobra Bottom of the Hill. 10pm, $10.

Lavay Smith Biscuits and Blues. 8pm, $20.

Yard Dogs Road Show Independent. 9pm, $20.

FOLK/WORLD/COUNTRY

Brian Belknap Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Rayband Coda. 10pm, $10.

Richard Bean and Sapo, Mestizo, Ruckatan Slim’s. 8pm, $16.

Tuck and Patti Yoshi’s San Francisco. 8pm, $25.

“Turkey Trot 2010” Café Du Nord. 8pm, $15. With Good Luck Thriftstore Outfit, Misisipi Rider, Hang Jones, Walking in Sunlight, Blue Ribbon Healers.

DANCE CLUBS

Biscuits and Gravy Elbo Room. 10pm, free. Hip-hop, funk, reggae, and salsa with DJs Vinnie Esparza, Asti Spumanti, and Jonny Deeper.

Duniya Dancehall Blue Macaw, 2565 Mission, SF; (415) 920-0577. 10pm, $10. With live performances by Duniya Drum and Dance Co. and DJs dub Snakr and Juan Data spinning bhangra, bollywood, dancehall, African, and more.

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

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

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

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

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

Psychedelic Radio Club Six. 9pm, $7. With DJs Kial, Tom No Thing, Megalodon, and Zapruderpedro spinning dubstep, reggae, and electro.

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

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

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 27

ROCK/BLUES/HIP-HOP

Dark Star Orchestra Regency Ballroom. 9pm, $33.

Fantasia, Eric Benet, Kandi Warfield. 8pm, $42-65.

4OneFunktion Elbo Room. 10pm, $5-10.

Jackie Greene Fillmore. 9pm, $30.

Hollywood Hate, Fracas, DJ What’s His Fuck Thee Parkside. 9pm, free.

Man in Space, Maniac, 21st Century Great American Music Hall. 9pm, $13.

Meris Thee Parkside. 3pm, free.

Queers, Riptides, Kepi Ghoulie, Custom Kicks Bottom of the Hill. 8:30pm, $12.

Sassy, Burnt House Hemlock Tavern. 9:30pm, $6.

(the secret secretaries), Tokyo Raid, Nectarine Pie, Fox and Woman Café Du Nord. 9pm, $10.

Earl Thomas Biscuits and Blues. 8pm, $22.

Yard Dogs Road Show Independent. 9pm, $20.

Zoo Station, Petty Theft Red Devil Lounge. 9pm, $15.

JAZZ/NEW MUSIC

Giovenco Project Coda. 7 and 10pm, $7-10.

Tom Shaw and Roberta Drake Martuni’s, Four Valencia, SF; www.dragatmartunis.com. 7pm. With guest Pattie Lockard.

Joe Warner Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

FOLK/WORLD/COUNTRY

Tuck and Patti Yoshi’s San Francisco. 8pm, $25.

DANCE CLUBS

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

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon and Phillie Ocean plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Blowoff Slim’s. 10pm, $15. With DJs Bob Mould and Rich Morel.

Bootie DNA Lounge. 8pm, $6-12. The mash-up party celebrates the DNA’s 25th birthday; open bar until 9pm.

Bonobo, Andreya Triana, Tokimonsta Mezzanine. 9pm, $22.50.

Go Bang! Deco Lounge, 510 Larkin, SF; (415) 346 – 2025. 9pm, $5. Recreating the diversity and freedom of the 70’s/ 80’s disco nightlife with DJs Steve Fabus, Tres Lingerie, Sergio, and more.

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

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

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

SUNDAY 28

ROCK/BLUES/HIP-HOP

*Darkest Hour, Veil of Maya, Periphery, Revocation, Sol Asunder DNA Lounge. 6:30pm, $18.

Dimmu Borgir, Enslaved, Blood Red Throne, Dawn of Ashes Regency Ballroom. 7:30pm, $25.

Frames Fillmore. 8pm, $26.

Lucero, Drag the River Great American Music Hall. 8pm, $20.

Soulfly, Straight Line Stitch, Incite, Desperate Union Slim’s. 8pm, $26.

JAZZ/NEW MUSIC

Michael Smith Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

FOLK/WORLD/COUNTRY

Jason Lingo Band Thee Parkside. 4pm, free.

Tuck and Patti Yoshi’s San Francisco. 8pm, $25.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, roots, and dancehall with DJ Sep, Maneesh the Twister, and guest I-Vier.

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

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

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

Pachanga Coda. 5pm, $10. Salsa with DJs Fab Fred and DJ Antonio with Montuno Swing.

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

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

MONDAY 29

ROCK/BLUES/HIP-HOP

Cough, Flood, Prizehog Elbo Room. 9pm, $6.

*Grinderman, Armen Raw Warfield. 8pm, $29-35.

Weezer Nob Hill Masonic Center, 1111 California, SF; www.livenation.com. 8pm, $18.50-65.

DANCE CLUBS

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

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

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

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

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

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

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

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

TUESDAY 30

ROCK/BLUES/HIP-HOP

Ariel Pink’s Haunted Graffiti, Os Mutantes Regency Ballroom. 8pm, $27.

Books, Black Heart Procession Palace of Fine Arts, 3301 Lyon, SF; www.ticketmaster.com. 8pm, $39.50-45.

Dominant Legs, Magic Bullets Café Du Nord. 8:30pm, $10.

Grex, Efft El Rio. 7pm, free.

Mystic Man and Lakay, Sweetfoot Elbo Room. 9pm, $8.

Teers, Belly of the Whale, (the secret secretaries) Bottom of the Hill. 9pm, $8.

Weezer Nob Hill Masonic Center, 1111 California, SF; www.livenation.com. 8pm, $18.50-65.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. “Stump the Wizard” with DJ the Wizard and DJ What’s His Fuck.

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

DJ Rickless Hemlock Tavern. 9pm, free.

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

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

Stage Listings

Andrew Lam

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November 23, 2010

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.

THEATER

OPENING

The Lion in Winter Actors Theatre, 855 Bush; 345-1287, www.ticketweb.com. $26-38. Opens Fri/26, 8pm. Runs Wed-Sat, 8pm. Through Dec 18. Actors Theatre of SF presents James Goldman’s play of palace intrigue.

The Velveteen Rabbit Yerba Buena Center for the Arts, Novellus Theater, 700 Howard; 978-2787, www.ybca.org. Call for dates and times. Through Dec 12. ODC/Dance presents Margery Williams’ holiday favorite.

BAY AREA

A Christmas Carol: The Musical Novato Theater Company Playhouse, 484 Ignacio, Novato; 863-4498, www.novatotheatercompany.org. $10-18. Previews Fri/26-Sat/27, 8pm. Opens Dec 3, 8pm. Runs Fri-Sat, 8pm; Sun, 3pm. Through Dec 17. Novato Theater Company presents a new adaptation of the holiday classic.

Lemony Snicket’s The Composer is Dead Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. Previews Fri/26-Sat/27 and Tues/20, 8pm; Sun/28, 7pm. Opens Dec 2, 8pm. Call for dates and times. Through Jan 15, 2011. Berkeley Rep premieres the new musical, written by Lemony Snicket, with music by Nathaniel Stookey.

ONGOING

Absolutely San Francisco Phoenix Theater Annex, 414 Mason, 4th floor; 433-1235, www.absolutelysanfrancisco.com. $28. Fri-Sat, 8pm. Through Dec 18. Karen Hirst’s one-person musical about lost love.

Caligari Studio 385, 385A Eighth St; www.brownpapertickets.com. $10-30. Fri-Sat, 8pm. Through Dec 10. HurLyBurLy performs an original adaptation of the 1920 silent film, The Cabinet of Dr. Caligari.

Cavalia: A Magical Encounter Between Horse and Man White Big Top, adjacent to AT&T Park; www.cavalia.net. $39.50-239.50. Check website for shows and times. Through Dec 12. Over 100 performers, including 50 horses, take the stage in this circus-like show from Montreal.

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; 1-800-838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

It’s All the Rage The Marsh, 1062 Valencia; (800) 838-3006, www.brownpapertickets.com. $20-50. Sat, 8:30pm; Sun, 7pm. Through Dec 5. The Marsh presents a new solo show by Marilyn Pittman.

Match Royce Gallery, 2901 Mariposa; 1-866-811-4111, www.matchonstage.com. $12-28. Thurs-Sun, 8pm. Through Dec 18. Expression Productions presents Stephen Belber’s new suspense drama.

Or, Magic Theatre, Fort Mason Center, Marina at Laguna; 441-8822, www.magictheatre.org. $20-60. Wed-Sat, 8pm (also Sat, 2:30pm); Sun, 2:30pm; Tues, 7pm. Through Dec 5. The latest from New York playwright Liz Duffy Adams (Dog Act, One Big Lie) is a neo-Restoration romp with contemporary political overtones, sexual and otherwise, and a lot of winking, verse-bound, hit-and-miss humor. The play imagines Aphra Behn (Natacha Roi) in her modest mid-17th-century London living quarters (a spare, elegantly worn arrangement beautifully conceived by set designer Michael Locher) as she negotiates a notable professional transition from spy for the Crown to the country’s first female playwright (best known today for The Rover). But visits by secret and amorous patron King Charles II (Ben Huber), equally smitten leading lady Nell Gwynne (Maggie Mason), on-the-lam fellow spy William Scott (Huber), and several other major and minor people and personages (all played in quick-change style by Huber and Mason), presents Aphra with severe challenges as well as, of course, creative opportunities as a writer. Despite, however, generally sharp and energetic performances under Magic Theater artistic director Loretta Greco’s fluid staging, the farce itself feels too forced and thinly layered to really continue mounting as giddily as it should. The play’s self-conscious nod to contemporary American politics, meanwhile, unintentionally mimics an all-too-familiar course from enthusiasm for change to stagnant anti-climax.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through Dec 19. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

A Perfect Ganesh New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-40. Wed-Sat, 8pm; Sun, 2pm. Through Dec 19. New Conservatory Theatre Center presents the Terrence McNally play, directed by Arturo Catricala.

The Real Americans The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs-Fri, 8pm; Sat, 5pm; Sun, 3pm. Through Dec 4 (resuming in Jan 2011). Dan Hoyle’s acclaimed one-man show, directed by Charlie Varon, continues its extended run.

A Tale of Two Genres SF Playhouse, Stage Two, 533 Sutter; www.un-scripted.com. $10-20. Thurs-Sat, 8pm (also Sat, 3pm; no show Thurs/25; additional shows Dec 20-23). Through Dec 23. Un-Scripted Theater Company performs an improvised musical in the style of Charles Dickens.

The Tempest Exit on Taylor, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-20. Thurs-Sat, 8pm; Sun, 5pm (no show Thurs/25). Through Sun/28. In Cutting Ball’s latest foray into Shakespearean realms, three entangled subplots and eleven characters are enacted by just three actors, in order to explore the relationships between the principle characters by representing their internal characteristics through the actions of the more minor roles. Set on an enchanted island (or, in Cutting Ball’s interpretation, at the bottom of a swimming pool) The Tempest begins with stormy weather, but quickly grows into a full-blown hurricane of shipwrecked nobles, nymphs, and drunks, plus the turbulent awakenings of a teenage daughter’s libido, and the rumblings of her over-protective papa. The most effective dual-character is Caitlyn Louchard’s Miranda-Ariel, as both characters are quite under the stern control of Prospero (David Sinaiko) and equally deserving of release. Less affecting yet somehow equally congruous is Sinaiko’s comic turn as the buffoonish Stephano, who stumbles through the forest in his boxer shorts, yet somehow maintains an air of mock dignity that does parallel Prospero’s. Donell Hill’s Caliban-Ferdinand endures his lust-love for Miranda and servitude to Prospero alternating between raw physicality and social ineptness. But since “The Tempest” is littered with characters even more minor, the game cast is stretched too thinly to fully inhabit each, and the entire subplot involving King Alonzo, Gonzalo, and Antonio in particular suffers from this ambitious over-extension. (Gluckstern)

The Tender King Phoenix Theatre, 414 Mason, Sixth Flr; www.secondwindtheatre.com. $20-25. Fri-Sat, 8pm; Sun, 2pm. Through Dec 11. Second Wind Productions presents Ian Walker’s noir-tinged World War II drama.

*West Side Story Orpheum Theatre, 1192 Market; www.orpheum-theater.com. $88-378. Check website for dates and times. Through Nov 28. Opening night of the touring Broadway revival coincided with game two of the World Series, and giddy Giants fans were loath to put away their smart phones until the final plea from the house managers. But then the curtain rose on perhaps the finest and most moving display of athleticism, professionalism, and grace to be found outside of AT&T Park. The 1957 musical, which updated Romeo and Juliet with a cross-cultural romance between Tony (Kyle Harris) and Maria (Ali Ewoldt) amid immigrant gangland New York, came instantly alive with all its storied potency—revved up for new millennium audiences with less reserved violence and the addition of a smattering of real Spanish throughout. David Saint’s excellent cast—including standout Michelle Aravena as Anita—and a nicely dynamic orchestra under conductor John O’Neill do satisfying justice to the jagged, jazzy modernism of Leonard Bernstein’s score, Stephen Sondheim’s soaring lyrics, Arthur Laurents’ smart book, and Jerome Robbins’ mesmerizing choreography (here re-created by Joey McKneely). At intermission, the house manager graciously announced the final winning score from the ballpark, and everyone cheered. It was a win-win situation. (Avila)

BAY AREA

Cinderella, Enchanted Julia Morgan Center for the Arts, 2640 College, Berk; (510) 665-5565, www.berkeleyplayhouse.org. $15-33. Call for run times. Through Dec 5. Frenchie Davis plays the Fairy Godmother in this production of the Rogers and Hammerstein musical.

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Dec 19. Don Reed’s one-man show continues its extended run.

Happy Now? Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $32-53. Tues and Thurs-Sat, 8pm; Wed, 7:30pm; Sun, 7pm. Through Dec 5. Marin Theatre Company performs Lucinda Coxon’s stinging comedy about contemporary marriage.

Loveland The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Fri, 7pm; Sat, 8pm. Through Dec 11. Ann Randolph’s hit one-woman comic show continues its extended run.

Palomino Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Dec 5. David Cale brings his new solo play about a gigolo to Aurora Theatre for its Bay Area premiere.

*The Play About the Naked Guy La Val’s Subterranean, 1834 Euclid, Berk; (800) 838-3006, www.brownpapertickets.com. $10-20. Thurs-Sat, 8pm (no show Thurs/25). Through Dec 11. Impact Theatre presents an off-Broadway hit, written by David Bell and directed by Evren Odcikin.

PERFORMANCE/DANCE

Dane Cook Nob Hill Masonic Auditorium, 1111 California; (800) 745-300, www.ticketmaster.com. $49.50-95. Fri/26, 8pm. The comedian kicks off a national tour in SF.

Nutcracker at Zeum Zeum, 221 4th St; (800) 838-3006, www.brownpapertickets.com. $25. Sat, 11 am, 2 and 4pm; Sun, 11am and 2pm (through Dec 19). Mark foehringer Dance project/SF presents its second annual take on the holiday staple.

“Oy Vey in a Manger” Herbst Theater, 401 Van Ness; 392-4400, www.cityboxoffice.com. $25-35. Fri/26, 8pm. The Kinsey Sicks presents a show devoted to stomping out holiday good cheer.

“The Romane Event Comedy Show” The Make Out Room, 3225 22nd St; 647-2888, www.pacoromane.com. $7. Wed/24, 7:30pm. Paco Romne hosts guests John Hoogasian, Ronn Vigh, Edwin Li, and Lynn Ruth Miller.

BAY AREA

Aurora Theatre Company Script Club Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. Free. Mon/29, 7:30pm. The Script Club focuses on Tennessee Williams’ The Glass Menagerie.

The Christmas Ballet Lesher Center for the Arts, 1601 Civic, Walnut Creek; (831) 620-2048, www.smuinballet.org. Call for prices. Fri/26, 8pm; Sat/27, 2 and 8pm. Smuin Ballet presents their holiday show.

Mummenschanz Zellerbach Hall, UC Berkeley campus, Berk; (510) 642-9988, www.calperformances.org. $22-52. Fri/26, 2pm; Sat/27, 2 and 8pm; Sun/28, 3pm. Get your Mummenschanz on.

Film Listings

Andrew Lam

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November 23, 2010

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

OPENING

*Ahead of Time The tagline for Bob Richman’s documentary is "Ruth Gruber didn’t just report the news … she made it!", which is a pretty succinct way of summing up a rather incredible life. Just over an hour long, Ahead of Time mixes contemporary interviews with the pioneering writer (sharp as a tack, even in her late 90s) with footage (often shot by Gruber herself) of the historic events she witnessed, including, as an American Jew studying in Germany, a pre-World War II speech by Adolph Hitler. The native Brooklynite was a child prodigy of sorts, earning a PhD at age 20; throughout her career, she went where no journalist (and certainly no female journalist) had gone before, including the Soviet Arctic, and was an eyewitness to the Nuremberg Trials and the formation of Israel. Gruber’s life story has already been made into a feature film (2001’s Haven), but to hear these fascinating tales from the woman who lived them is a recommended experience. (1:13) Opera Plaza. (Eddy)

Burlesque This looks horrifically clichéd. But: Cher! (1:48) Presidio, Shattuck.

Faster Dwayne Johnson disregards posted speed limits in the name of vengeance. (1:35) Shattuck.

Love and Other Drugs Whatever kind of movie you think Love and Other Drugs is, you’re wrong. To be fair, it’s hard to pin down. This is a romantic comedy about two people who can’t commit, a serious drama about a young women living with Parkinson’s, a dark satirical look at the pharmaceutical industry, and — well, you get the idea. Love and Other Drugs shouldn’t work, really: the story is overstuffed and the script isn’t always cohesive. But leads Jake Gyllenhaal and Anne Hathaway sell the material well. In the end, it almost doesn’t matter that the film isn’t sure what it wants to be. "Almost" is key: there are moments in which Love and Other Drugs slips into Judd Apatow comedy territory, and others when it completely devolves into a sexual farce. It works on several different levels, but all together, it’s admittedly a bit of a mess. No bother. Just focus on the attractive naked people making out and you’ll likely enjoy the movie regardless. (1:53) Four Star, Presidio. (Peitzman)

Made in Dagenham Sally Hawkins stars in this tale of female factory workers struggling for equal pay in the 1920s. (1:53) Embarcadero.

The Nutcracker in 3D Subtract ballet, add 3D. (1:41)

Prince of Broadway Attention struggling actors in NYC: quit. Just give it up, go into publishing or investment banking. Directors in your town are borrowing a trick from Italian Neorealism and pulling nonprofessional actors off the street. Ramin Bahrani did it a few times with Man Push Cart (2005) and Chop Shop (2007), and now Sean Baker repeats the successful formula in Prince of Broadway. Lucky (Prince Adu, in his film debut) is an illegal immigrant from Ghana earning a meager living hustling knock-off Gucci bags and Air Force Ones. When some girl he hooked up with a year before reappears out of nowhere and drops a toddler in his lap, every day becomes take your son to work day. The film avoids broad humor and plays out with the subtle tension of an extended Maury episode. Not to rub it in for Julliard-trained thespians, but even the kid gives a naturalistic, convincing performance. (1:42) Roxie. (Prendiville)

Tangled In its original form, Rapunzel‘s a pretty brutal fairy tale: barely pubescent girl gets knocked up by a prince — who’s then blinded by her evil witch guardian — leaving Rapunzel to fend for herself as she’s exiled into the desert and bears twins. Relax, that isn’t the story Tangled tells. The new Disney film is a complete revamping of the tale: Rapunzel (Mandy Moore) escapes the clutches of Mother Gothel (Donna Murphy) with the help of ne’er-do-well Flynn Ryder (Zachary Levi). Along the way, there are songs and slapstick moments and, yes, anthropomorphic animals. But unlike the classic feel of last year’s The Princess and the Frog, Tangled comes across as recycled. It’s just not as fresh and sharp as it should be, especially given recent Disney accomplishments like Toy Story 3. Kids will enjoy it and adults won’t be bored, but it’s a step backward for the House of Mouse. And don’t expect to be humming any of the songs after you exit the theater. (1:32) Four Star, Presidio. (Peitzman)

Welcome to the Rileys As Doug Riley, the husband half of the semi-estranged, grief-stricken couple in this film by Jake Scott (spawn of Ridley), James Gandolfini plays a man slightly less at home in a low-rent strip club than Tony Soprano, but who nonetheless finds himself in one, on a business trip to New Orleans, long enough to make the acquaintance of a 16-year-old stripper. Mallory (a stage name) is played by Kristen Stewart, who looks even more uneasy in the skin of this badly wired, trigger-tempered child, though given the wreck of a life Mallory has cobbled together, it’s probably not a comfortable place to be. Rounding out the cast of damaged characters moving around in the ruins of personal catastrophe is Doug’s shut-in wife, Lois (Melissa Leo), who seemingly hasn’t left the quiet, static safety of their suburban Midwestern home since the death of their 15-year-old daughter eight years earlier. Doug’s, and to a lesser extent Lois’s, attempts to construct out of whole cloth some sort of parental relationship to Mallory feel slightly unreal and a shade or two creepy, the kind of creepy you’re not sure the filmmakers noticed. Gandolfini makes the best of an odd situation — more moving and less difficult to be in the same room with are the scenes of Doug painfully faking a congenial public life, then escaping to sit in a dark garage (or strip joint) and smoke and grieve. (1:50) Metreon. (Rapoport)

*White Material See "Darkest Heart." (1:42) Bridge.

ONGOING

Client 9: The Rise and Fall of Eliot Spitzer Was Eliot Spitzer’s very public disgrace the result of his own hubris or a loose conspiracy of business interests and conservative politicians aligned against him? Documentary filmmaker Alex Gibney (2007’s Taxi to the Dark Side) gives credence to both explanations in Client 9, though his sane interest in revisiting the case stems from knowing what happened next: Spitzer left office in March 2008, months before the economy shattered. As New York’s hard-charging Attorney General, Spitzer made his reputation prosecuting white-collar crime in lieu of meaningful regulatory action at the federal level. This earned him several powerful enemies (among them former AIG CEO Hank Greenberg and billionaire Ken Langone) as well as the general scorn of Wall Street (we see footage of the market floor breaking out into cheers when Spitzer announces his resignation). Gibney scores exclusive sit-downs with the former governor as well as his regular "escort" (not pseudo-celebrity Ashley Dupré), and the multiple cameras on Spitzer (as well as the attendant "rise and fall" structure of a born fighter) makes me think the prolific filmmaker thought Client 9 might be his Tyson (2008). But alas, Spitzer merely appears diplomatic, expressing contrition and leaving the raised eyebrows to an indistinguishable slew of talking heads. And while Gibney seems to be saying that most of the tabloid sensationalism was a distraction from more serious problems, Client 9 is constantly distracted by the same material. The many titillated screen shots of the "Emperor’s Club" website are indicative of the film’s unfortunate ratio of chaff to wheat. (1:57) Opera Plaza. (Goldberg)

Conviction A cross between 2001’s Legally Blonde and 1999’s The Hurricane, Conviction tells the real-life story of Betty Anne Waters, a high school dropout who spent 20 years trying to overturn her brother’s life sentence for murder. As this is clearly a film designated for Oscar season, Hilary Swank plays Betty, delivering another performance that is easy to appreciate, yet hard to enjoy. To her heavy gravity, Sam Rockwell brings a little levity as her brother Kenneth, once again playing a guy you can’t help but like, even if there’s no reason. If Conviction does anything perfectly, it’s casting, almost to a comedic degree, particularly with Clea DuVall and a scenery-devouring Juliette Lewis as Kenneth’s trashy exes. Otherwise, the story fails to convey an appropriate sense of struggle and time, as two decades behind books and bars pass onscreen all too easily. (1:47) SF Center. (Prendiville)

Due Date One delayed appearance for a baby’s birth does not a Hangover (2009) make. After all, even the most commited baby daddy isn’t totally required to be at the blessed event, unlike a wedding ceremony. So even two films into what seems like a trilogy of bromancey men’s coming-of-age terror, director Todd Phillips already seems to working a tired old bone. Slick LA architect Peter (Robert Downey Jr.) has a self-satisfied mean streak that doesn’t seem to be abating with the birth of his first child halfway across the country, or his run-ins with budding thespian Ethan (Zach Galifianakis) — the two collide cute in the airport on their way to the so-called Best Coast. One no-fly list leads to another, and Peter is reluctantly hightailing it by rental car with the uncoolest dude in school. Oh dear: Roadtrip for Schmucks, anyone? Due Date proves that, yes, contrary to what I once believed, there is such a thing as too much Galifianakis, in perpetual shtick mode here. And even though the weathered, well-textured Downey can build character with a single well-placed, black-hearted glare, he’s saddled with such a sorry misanthropic creep here that the audience is hard-pressed to care. (1:35) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Chun)

*Fair Game Doug Liman’s film effectively dramatizes yet another disgraceful chapter from the last Presidential administration: how CIA agent Valerie Plame (Naomi Watts), who’d headed the Joint Task Force on Iraq investigating whether Saddam Hussein had WMDs, was identified by name in the Washington Post as a covert agent — thus ending her intelligence career and placing many of her subordinates and sources around the world in danger. This info was leaked to the press, it turned out, by highest-level White House officials as "punishment" for the New York Times editorial former ambassador Joe Wilson (Sean Penn) — Plame’s husband — wrote condemning their insistence on those WMDs to justify the Iraq invasion by then already well in progress. (The CIA task force had also found zero evidence of mass-destruction weapons, but Bush and co. chose to come up with their own bogus "facts" to sway US public opinion.) Purportedly, Karl Rove clucked to CNN’s Chris Matthews that Wilson’s awkwardly-timed dose of sobering truth rendered his spouse "fair game" for exposure. Unfortunately opening here several days after it might theoretically have done some election-day good — not that many Republican voters would likely be queuing up — Fair Game may be a familiar story to many. But its gist and details remain quite enough to make the blood boil. While the political aspects are expertly handled in thriller terms, the personal ones are a tad less successful. That’s partly because we never quite glimpse what brought these two very busy, business-first people together; but largely, alas, because so many of Wilson’s diatribes come off all too much as things that might be said by Sean Penn, Rabble-Rouser and Humanitarian. This is perhaps a case of casting so perfect it becomes a distracting fault. (1:46) California, Embarcadero, Piedmont, Sundance Kabuki. (Harvey)

*Four Lions If you think terrorism is no laughing matter you might resist English director-cowriter Chris Morris’ first film, which does make it pretty damn funny — it being the fanaticism, doggerel, and dim-bulbdom that can create suicide bombers, not the suicide bombing (or other murderous acts) themselves. Yes, people get hurt here, but within the Three Stooges tradition of folks who can’t stop boinking themselves or one another with mallets, or in this case (somewhat) more sophisticated weaponry. The protagonists here are working-class Sheffield Muslims, two of whom (Kayvan Novak, Riz Ahmed) just spectacularly flunked out of terrorist training camp in Pakistan. The others include a recent convert to Islam (Nigel Lindsay) who seems to be in it solely to lend his all-purpose rage an excusing "cause," and a guy (Adeel Akhtar) training crows to deliver bombs — well, he’s trying. Their goal: getting blown to smithereens (hopefully taking as many infidels with them as possible) during the London Marathon. So … what’s their jihad? Let’s just say zeal outstrips cogency of moral mission, let alone competency at becoming a public threat, amongst these arbitrarily Koran-misquoting bozos. Four Lions manages to mix the credible and farcical, satirizing holy-terrorism without insulting religion (or culture, or ethnicity) itself. Despite very deft performances, script and direction remain hit ‘n’ miss to a point — but at that point, encompassing the long
marathon-centered climax, it all turns freakin’ hilarious. (1:42) Lumiere. (Harvey)

*Genius Within: The Inner Life of Glenn Gould The Canadian piano virtuoso acquired a cult of personality granted very few 20th century classical musicians. His onstage manner was as strikingly idiosyncratic as his technique: the former marked by his sitting very low to the keyboard, often absentmindedly humming or singing along with the composition played; the latter by an exceptional clarity and control much influenced by a teacher’s formative training in "finger tapping" discipline, though also vulnerable to criticism in the realm of interpretive validity. (That debate commenced with his very first recording, the astonishingly popular 1955 Bach Goldberg Variations.) Offstage, his perceived eccentricities ranged from curious clothing to hypochondria, from the unreliable (frequently canceling gigs or whole tours) to the inaccessible (he retired from concert performance at age 32 in 1964, turning to the recording studio as better suited to his control-freakdom). He was a loner so demanding of his few trusted friends, lovers, and collaborators that one of the latter sighs in retrospect, "It was a whole career, being Glenn’s friend." His ideas about health maintenance being bizarre to say the least, he died just after turning 50, the premature demise only enhancing his allure as artist and enigma. This documentary by fellow Canucks Michele Hozer and Peter Raymont is fascinating whether or not you’re already acquainted with Gould, or even a classical music enthusiast. A lot of the subject’s contemporaries are still around to reminisce about him, but most compelling here is the copious footage of him in performance, or as a surprisingly witty and relaxed interviewee. It doesn’t hurt that, while not quite so conventionally handsome, he holds the camera as magnetically as Chet Baker in 1988’s Let’s Get Lost. (1:46) Opera Plaza, Shattuck. (Harvey)

*The Girl Who Kicked the Hornet’s Nest If you enjoyed the first two films in the Millennium trilogy — 2009’sThe Girl With the Dragon Tattoo and The Girl Who Played With Fire — there’s a good chance you’ll also like The Girl Who Kicked the Hornet’s Nest. Based on the final book in Stieg Larsson’s series, the film begins shortly after the violent events at the conclusion of the second movie. There are brief flashes of what happened — the cinematic equivalent of TV’s "previously on&ldots;" — but it’s likely an indecipherable jumble to Girl first-timers. Hornet’s Nest presents the trial of Lisbeth Salander (Noomi Rapace), the much-abused, much-misunderstood, entirely kick-ass protagonist of the series. With the help of journalist Mikael Blomkvist (Michael Nyqvist) and his sister Annika (Annika Hallin) as her lawyer, Lisbeth finally gets her day in court. The conspiracy that drives the story is somewhat convoluted, and while it all comes together in the end, Hornet’s Nest isn’t an easy film to digest. Still, it’s a well-made and satisfying conclusion to the trilogy — as long as you caught the beginning and middle, too. (2:28) Albany, Clay, Piedmont, Smith Rafael. (Peitzman)

Harry Potter and the Deathly Hallows — Part 1 As enjoyable as the Harry Potter films are for fans, they never really hold their own. And that’s OK. They’re not Oscar bait the way the Lord of the Rings movies were, but they’re competent adaptations of a much beloved book series. While Harry Potter and the Deathly Hallows — Part 1 may not be a perfect film, it’s a solid translation of the source material, sure to appease the loyal readers who still can’t quite cope with the fact that the saga is nearly over. I count myself among them, and I’ll admit that it’s difficult to look at any Harry Potter movie with a critical eye. But even for an outsider, part one of Harry’s final chapter is likely to entertain, with plenty of action and a streamlined pace that helps the film move faster than past entries in the series. For devotees, the effect is greater, and the emotional wallop Deathly Hallows packs should not be underestimated. (2:26) Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Peitzman)

Hereafter Clint Eastwood’s latest directorial effort starts out with an unusually flashy (for him) but effective setpiece: Parisian TV journalist Marie (Cécile De France) is at the end of a beach resort vacation with producer/lover Didier (Thierry Neuvic) when a tsunami hits, turning the market street on which she’s shopping into a rapids of rushing water and crushing debris. Meanwhile, two inseparable young London twins (Frankie and George McLaren), already coping with social service workers who want to take them from their junkie mother (Lyndsey Marshal), get duly separated in a less anticipated, cruel-hand-of-fate manner. And in San Francisco, loner George (Matt Damon) struggles to forget his "curse" — since a childhood near-death incident he’s been able to communicate with the dead — while an insensitive brother (Jay Mohr) insists this "gift" is a surefire moneymaker. What our main protagonists have in common is an unwanted ability, or desperate need, to glimpse the "hereafter." It takes a very long time for Peter Morgan’s script to orchestrate their inevitable, accidental (or is it…??) paths-crossing. You might conjecture that at age 80, Eastwood felt ready to deal with the subject of mortality in a gentler, more mystical fashion than before. Perhaps Morgan wanted a break from his excellent usual docudrama terrain (2009’s The Damned United, 2008’s Frost/Nixon, 2006’s The Queen) by doing something purely, even fancifully fictive. But nothing in the film’s execution (after that startling beginning) indicates the very literal-minded Eastwood feels comfortable with or even interested in this story’s supernatural gist — was he mostly attracted by the opportunity to shoot in three swell cities? While just possibly the screenplay might have worked in other hands (Peter Weir? Werner Herzog?), here it marches listlessly toward increasing implausibility and boredom. The performers do what they can, although in the case of the child actors that’s very little indeed, while Bryce Dallas Howard overacts horribly in a support role. As composer,
Eastwood does what he does — which means blanketing this DOA dud, which so badly needs tension and atmosphere, in the kind of cocktail-lounge noodling best suited for waiting rooms and pre-operative sedation. (2:09) Empire, 1000 Van Ness, SF Center, Shattuck. (Harvey)

Inside Job Inside Job is director Charles Ferguson’s second investigative documentary after his 2007 analysis of the Iraq War, No End in Sight, but it feels more like the follow-up to Alex Gibney’s Enron: The Smartest Guys in the Room (2005). Keeping with the law of sequels, more shit blows up the second time around. As with No End in Sight, Ferguson adeptly packages a broad overview of complex events in two hours, respecting the audience’s intelligence while making sure to explain securities exchanges, derivatives, and leveraging laws in clear English (doubly important when so many Wall Street executives hide behind the intricacy of markets). The revolving door between banks, government, and academia is the key to Inside Job‘s account of financial deregulation. At times borrowing heist-film conventions (it is called Inside Job, after all), Ferguson keeps the primary players in view throughout his history so that the eventual meltdown seems anything but an accident. The filmmaker’s relentless focus on the insiders isn’t foolproof; tarring Ben Bernanke, Henry Paulson, and Timothy Geithner as "made" guys, for example, isn’t a substitute for evaluating their varied performances over the last two years. Inside Job makes it seem that the entire crisis was caused by the financial sector’s bad behavior, and this too is reductive. Furthermore, Ferguson does not come to terms with the politicized nature of the economic fallout. In Inside Job, there are only two kinds of people: those who get it and those who refuse to. The political reality is considerably more contentious. (2:00) Embarcadero, Shattuck, Smith Rafael. (Goldberg)

*Leaving Few beauties — French, English, French-English, or otherwise — have managed the transformation Kristin Scott Thomas has, in using her considerable beauty to convey unfathomable hunger. In this romantic thriller with a touch of Madame Bovary and more than a dab of noir, Scott Thomas is Suzanne, the efficient if somewhat taken-for-granted wife of a doctor (Yvan Attal, director of 2001’s My Wife Is an Actress and Charlotte Gainsbourg’s partner), whose marriage resembles a business arrangement more than a love match. The couple enlist Catalan ex-con Ivan (Sergi Lopez) to build an office for her budding physical therapy practice, and after a minor car accident, Ivan falls into Suzanne’s care, and as she grows to care more deeply about him, an affair begins. Director Catherine Corsini’s tough-eyed look at what follows — concerning the economics of marriage and the price of one woman’s individuation and passionate choices — calls to mind women’s melodramas of the ’40s and ’50s, though Corsini renders her oft-told tale of awakening with considerably less heavy-handedness and minimal condescension. That approach and Scott Thomas’ performance — the movie almost turns on the motionless, slowly evolving look in Suzanne’s eyes when she realizes what she must do — makes Leaving a departure from your average coming-of-liberation romance. (1:30) Smith Rafael. (Chun)

*Megamind Be careful what you wish for, especially if you’re a blue meanie with a Conehead noggin and a knack for mispronunciation and mayhem. Holding up hilariously against such animated efforts as The Incredibles (2004) and Monsters, Inc. (2001), Megamind uses that nugget of wisdom as its narrative springboard and takes off where most superhero-vs.-supervillain yarns end: the feud between baddie Megamind (voiced by Will Farrell) and goody-two-shoes Metro Man (Brad Pitt) goes waaay back, to the ankle-biter years. They’ve battled so often over intrepid girl reporter Roxanne Ritchi (Tina Fay) that she’s beyond bored by every nefarious torture device and disco crocodile the Blue Man throws at her. When Mega finally, unexpectedly vanquishes his foe, he finds himself with a bad case of the blues. With the help of his loyal Minion (David Cross), he decides to change the game and create his own worthy opponent, who just happens to be Roxanne’s schlubby cameraman (Jonah Hill). Chortles ensue, thanks to the sarcastic sass emanating from the Will and Tina show, although the 3-D effects seem beside the point. The resemblance to this year’s Despicable Me is more than a little passing, from the bad guy on the moral turnaround to the adorable underlings, but Megamind‘s smart satire of comic hero conventions, its voice actor’s right-on riffs, and the rock and pop licks on the soundtrack make it the nice and nasty winner. (1:36) 1000 Van Ness, Sundance Kabuki. (Chun)

Morning Glory Unless you’ve never seen a romantic comedy before, there’s not much in Morning Glory that will surprise you. It’s about exactly what you’d expect —but that doesn’t actually make it any less charming. Morning Glory rests on the appeal of its leads: Rachel McAdams as our heroine Becky, Diane Keaton as the self-obsessed Colleen Peck, and Harrison Ford as crotchety newscaster Mike Pomeroy. All three of these actors, despite their talents, have made bad movies. But Morning Glory succeeds despite itself — the formulaic script, the shoehorned romance, and the predictable twists are all secondary to the undeniable chemistry between the actors. Will Becky be able to rejuvenate the morning show she’s executive producing? Will Colleen learn to be a team player? Will Mike drop the ego and show America his tender, frittata-loving heart? You know the answers already, but that doesn’t mean you won’t smile broadly when all the pieces fall into place. (1:47) Marina, 1000 Van Ness, Shattuck. (Peitzman)

The Next Three Days The new Paul Haggis human dramedy is so overripe and ludicrous it already seems set for satire: "Hey, honey, I’m home – and guess what, I’m getting put away for life for supposedly murdering my boss." "Oh, awesome, hon, I’ll just break you out of prison — right after I pick up the kids. No problemo." But no, all involved in this far-fetched, morally ambiguous exercise take it dead seriously. The Next Three Days starts with the absurd premise that the likable, chatty every mom Laura (Elizabeth Banks) could have possibly offed her coworker in a fit of office-politics pique. Desperate to save his suicidal spouse, Laura’s college instructor hubby John (Russell Crowe) must turn into a ferociously quick study in DIY jail breaking. The things we do for love, darling. This remake of 2008 French film Anything for Her certainly plays to a kind of noirish romantic willing to suspend disbelief at all costs — and Crowe throws all his sweaty, beady-eyed passion into his performance (though Banks seems somewhat overstretched in what’s kind of a Gloria Grahame role) — but bets are that most viewers with even a slight grasp of reality will simply roll their eyes in disbelief at the denouement, even while their most outlandish fantasy is fulfilled. (2:02) 1000 Van Ness, SF Center, Shattuck. (Chun)

127 Hours After the large-scale, Oscar-draped triumph of 2008’s Slumdog Millionaire, 127 Hours might seem starkly minimalist — if director Danny Boyle weren’t allergic to such terms. Based on Aron Ralston’s memoir Between a Rock and a Hard Place, it’s a tale defined by tight quarters, minimal "action," and maximum peril: man gets pinned by rock in the middle of nowhere, must somehow free himself or die. More precisely, in 2003 experienced trekker Ralston biked and hiked into Utah’s Blue John Canyon, falling into a crevasse when a boulder gave way under his feet. He landed unharmed … save a right arm pinioned by a rock too securely wedged, solid, and heavy to budge. He’d told no one where he’d gone for the weekend; dehydration death was far more likely than being found. For those few who haven’t heard how he escaped this predicament, suffice it to say the solution was uniquely unpleasant enough to make the national news (and launch a motivational-speaking career). Opinions vary about the book. It’s well written, an undeniably amazing story, but some folks just don’t like him. Still, subject and interpreter match up better than one might expect, mostly because there are lengthy periods when the film simply has to let James Franco, as Ralston, command our full attention. This actor, who has reached the verge of major stardom as a chameleon rather than a personality, has no trouble making Ralston’s plight sympathetic, alarming, poignant, and funny by turns. His protagonist is good-natured, self-deprecating, not tangibly deep but incredibly resourceful. Probably just like the real-life Ralston, only a tad more appealing, less legend-in-his-own-mind — a typical movie cheat to be grateful for here. (1:30) California, Embarcadero, Piedmont, Sundance Kabuki. (Harvey)

Red Boomers — and rapidly aging Gen-Xers — rejoice: you’re still a force to be reckoned with, even as the hairline recedes and the paunch descends. The sleeker Hollywood companion to Michael Caine’s recent turn as a killer pensioner "Dirty Harry" in 2009’s Harry Brown, Red (based on a graphic novel by Warren Ellis and Cully Hamner) turns the world of black ops, convert assassinations, and the government-approved killers that make it all happen — and happen to survive long enough to retire into humdrum civilian life — into the stuff of action comedy. Frank Moses (Bruce Willis) isn’t quite ready to go quietly into the good night: he’s restless, bored, and lonely enough to strike up a telephone flirtation with Sarah, the woman charged with issuing his pension checks. Luckily she’s Mary-Louise Parker, applying the wide-eyed and game yet sarcastic and knowing qualities she brings to Weeds to the current "situation": an assassination plot against Frank via the archetypal "Company" man (Karl Urban). The thrown-together couple is swiftly tracked from city to city while Frank rounds up the old gang, namely the very charismatic and watchable Morgan Freeman, John Malkovich, and Helen Mirren. Half the fun here, evident in the TV teasers, is watching Mirren quickly switch from Martha Stewart-like flower arranging to the steely application of machine gun fire, in a full-tilt formalwear. Consider Red the action-dappled, lightly entertaining wish fulfillment of so many oldsters, who have found themselves still toiling for a paycheck at time when they hoped to retire, frustrated and feeling betrayed by the so-called system and wishing they could also take it out on the proper baddies with seriously effective firepower. (1:51) 1000 Van Ness, SF Center. (Chun)

Skyline (1:40) 1000 Van Ness, SF Center.

*The Social Network David Fincher’s The Social Network is a gripping and entertaining account of how Facebook came to take over the known social-networking universe. In this version of events — scripted by Aaron Sorkin and based on Ben Mezrich’s book The Accidental Billionaires, in turn based substantially on interviews with FB cofounder Eduardo Saverin, with input from Mark Zuckerberg icily absent — a girlfriend’s dumping of Zuckerberg (Jesse Eisenberg) on a crisp evening in 2003 is the impetus in his headlong quest for a "big idea." The film is structured around the conference-room depositions for two separate lawsuits, brought against Zuckerberg by Saverin (Andrew Garfield) and by fellow Harvard entrepreneurs Tyler and Cameron Winklevoss (Armie Hammer) and Divya Narendra (Max Minghella) for crimes involving intellectual property and vast scads of retributive money. Unless Zuckerberg decides to post it on Facebook (which he probably shouldn’t, given the nondisclosure vows that capped off the first round of lawsuits), we’ll never know what truly motivated him and how badly he screwed over his friends and fellow students. But Fincher and Sorkin have crafted a compelling, absorbing, and occasionally poignant tale of how it could have happened. (2:00) 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Rapoport)

*Today’s Special This food comedy, written by and starring the Daily Show‘s Aasif Mandvi, is not an original recipe. It opens with an appetite-igniting cooking montage à la Eat Drink Man Woman (1994) and follows The Big Night (1996) structure. Samir (Mandvi) is a sous chef in a modern NYC restaurant, laboring under the dickish Dean Winters and next to the patently unnattractive Kevin Corrigan. He’s never made Indian food, despite his parents’ owning a struggling restaurant called Tandoori Palace. What is Samir to do when he gets turned down for a promotion, because his cooking is soulless? Things pick up in the film with the arrival of Mary Poppins in the form of worldly taxi driver and master chef, Akbar (Naseeruddin Shah). The course of this voyage of personal and cultural discovery is obvious, but the humor is as genuine as the performances, with the ingredients just needing a bit of time to come together. (1:39) Albany, Opera Plaza, Smith Rafael. (Prendiville)

The Town While not quite on par with The Departed (2006) or Gone Baby Gone (2007), The Town is a solid entry into the Boston crime drama genre. Ben Affleck directs — it’s his second full-length feature after Gone Baby Gone — and stars as Doug MacRay, a lifelong bank robber who wants out of the family business. His desire to change is further complicated when he falls for Claire (Rebecca Hall), the woman he and his gang took hostage during their latest robbery. The Town doesn’t offer much in the way of surprises: if you’re familiar with the genre, you know what to expect. But it’s sleek and well-paced, with a script that at least raises some thought-provoking questions. The film also boasts a universally accomplished cast. Affleck, Hall, and Academy Award nominee Jeremy Renner are predictably good, but the two standouts are actors better known for their television work: Mad Men‘s Jon Hamm as an FBI agent and Gossip Girl‘s Blake Lively (yes, really) as a drug-addled single mom. (2:10) SF Center. (Peitzman)

Unstoppable After a dunderheaded train-yard worker essentially flicks the "hellbent" switch on an unmanned train loaded with hazardous materials, it’s up to odd-couple operators Denzel Washington (old; cranky; in endearing subplot, his daughters work at Hooters) and Chris Pine (young; cocky; in weirdly off-putting subplot, his wife has a restraining order against him) to chase down that loco-motive and prove the movie’s title wrong. The film mostly darts between the interior of a train car, for Washington-Pine bickering; railroad mission control, where a miscast Rosario Dawson literally phones in her performance; TV news reports, lazily illustrating the train’s flight through rural Pennsylvania; and various low angles relative to the speeding train, so sinister it’s bright red and numbered 777 (which is, like, almost 666!) Veteran action director Tony Scott does what he can with the based-on-true-events storyline, but Unstoppable is so deadly serious and predictable it just gets boring after awhile. At least the runaway vehicle in 1994’s similar Speed had a villain to enjoy; here, there’s just an angry choo-choo. Miss you, Dennis Hopper. (1:38) Empire, 1000 Van Ness. (Eddy)

*Vision: From the Life of Hildegard von Bingen Born almost a 1,000 years ago and long regarded a feminist groundbreaker, Hildegard von Bingen was a composer, scientist, healer, writer, visionary, and game-changer in her humanist view of faith. A Benedictine nun who became the noted female spiritual leader when there were none, she built her own convent, and attracted the attention of the Pope with her waking visions, images she would interpret as dispatches from God. The feminist director of such classics of German new wave moviemaking as The Lost Honor of Katharina Blum (1975), Marianne and Juliane (1981), and Rosa Luxemburg (1986), Margarethe von Trotta is still focused on revolutionary women, albeit, with Vision, one who finds a way to work nonviolently, within the system. The challenge here is to bring the potentially stolid and static life of a medieval mystic to the screen — there are few concrete historical details about everyday life within a convent. But aided by Barbara Sukowa — the fiery radical center of both Marianne and Juliane and Rosa Luxemburg — von Trotta manages to give Hildegard human dimensions: the abbess is far from modest and retiring when, for instance, she needs to navigate the byzantine politics of the church or when her most devoted acolyte Richardis (Hannah Herzsprung) is wrenched away. Ornamented by Hildregarde’s compelling compositions and careful never to stray into kitsch, Vision only occasionally lapses into the flatness of a standard biopic — Hildegard (and Sukowa) are too fascinating, and von Trotta has been too long absent from moviemaking. (1:51) Lumiere, Shattuck, Smith Rafael. (Chun)

*Waste Land English documentarian Lucy Walker accompanied internationally successful artist Vik Muniz back to his native Brazil, where he settled in for a long-term project benefiting poor favela dwellers living the life he narrowly escaped. His object is to photograph workers who collect recyclable materials from the Jardim Gramacho — largest garbage dump in the world, located on the outskirts of Rio — and turn their portraits into massive mixed-media works. Their scaled-down reproductions will eventually fetch tens of thousands on Christie’s high-end auction block in London. The gap between subsistence-scrabbling in a landfill and the world of high-end art dealers, collectors, and institutions is a dizzying one. It might easily have made Waste Land a depressing measure of globalization’s un-equalizing impact. Yet Muniz’s impoverished subjects have an amazingly positive attitude despite all adversity, and their benefactor (who himself runs an emotional gamut from merely happy to giddy) really does improve their lot, as well as that of their community in general. Adding to this upbeat document’s appeal is an original score by Moby. (1:38) Lumiere, Shattuck. (Harvey)<\!s>

Live Review: Deerhunter turns up the volume at Great American

John Elberling

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November 23, 2010

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Live Review: Deerhunter turns up the volume at Great American

Before our car ride home discussion of some of our favorite parts of the show, my friend and I had already agreed on something; holy shit that was loud. Playing to a sold-out crowd in its first of two back-to-back San Francisco shows (10/29), Deerhunter put on a raw, visceral, sometimes loose but often amazing set that pierced through the relatively small confines of the Great American Music Hall.

Walking onstage, front man Bradford Cox grabbed the mic and gazed into the crowd. “You guys look like you wanna have fun. I like that in an audience,” he said. After someone screamed out his love for him, Cox quickly replied, “Don’t forget about Lockett Pundt (guitar),” just as the band launched into the Pundt-penned and -sung “Desire Lines.” While Cox usually and deservedly gets a lot of Deerhunter’s press attention, it should be noted that Pundt is a spectacular guitarist and songwriter in his own right, and seems to be a huge part of the band’s sound.

The opener set the tone for what naturally would be a set heavy on tunes from the band’s excellent new album, Halcyon Digest (4AD). What I hadn’t expected was the blistering distortion and pounding drums that a couple of that album’s mellower, poppier songs would take on. The twisted, bubblegum pop of “Don’t Cry” transformed into a grungy monster with a life of its own, while “Memory Boy” sped up a tad to add to the urgency of Cox singing “It’s not a house anymore” in the chorus.

A couple opportunities to show off the band’s more precise, ambient style arose throughout the set. The deceptively dreamy “Helicopter” translated perfectly and drummer Moses Archuleta included what sounded like sampled drum hits coupled with his live kit. Halcyon Digest’s closer, the seemingly African-influenced “He Would Have Laughed” floated along on a repeating, looped guitar line while waves of controlled noise and feedback ebbed in and out.

After a few minutes offstage, Cox came back solo for an encore that started with him covering Scott Walker’s “30 Century Man” with just an acoustic guitar. He played it straight, which was nice and almost surreal to see after the wall of noise throughout the night. Next, the rest of the band rejoined him and launched into a ten-minute jam that had Cox aggressively attacking his guitar to pull out short bursts of dissonant squeals and screeching solos. The song built up tension slowly (maybe a little too slowly) and then eventually released with a closing minute or so of loud thrashing. A little more paring down would have added to the overall effect, but it was still a solid way to end the evening.

Deerhunter’s widening appeal became glaringly obvious as I walked out amongst groups of grungy teenagers, appreciative old-timers, stoic hipsters, and the annoying drunk guy who had been stepping on everyone’s feet and obnoxiously trying to start out-of-rhythm, mid-song clap-along sessions all night (Hey man, you’ve successfully pulled everyone’s attention away from the band and onto you. You win!). But ultimately, even the kid holding his head throughout the show with a look of “I didn’t realize I’d signed up for this eardrum fucking” walked out with a big smile on his face.

Editorial: The screwy process for selecting a mayor

Zelda Bronstein

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November 23, 2010

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The clerk of the Board of Supervisors, at the request of Board President David Chiu, has released a proposal for the selection process for a new mayor, and it’s about as complicated and confusing as everyone expected. That’s in part the result of the vagueness of the City Charter, which simply specifies that a vacancy in the office of mayor shall be filled by a San Francisco registered voter chosen by a majority of the supervisors but offers no procedural clues on how to get there. And the Political Reform Act sets very strict limits on conflicts of interest for elected officials in California; a supervisor, for example, can’t vote for himself or herself or do anything to promote his or her candidacy for an office that comes with a pay raise.