San Francisco

Film listings

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

SAN FRANCISCO JEWISH FILM FESTIVAL

The 30th San Francisco Jewish Film Festival runs through Mon/9 at the Roda Theatre, 2025 Addison, Berk; Christopher B. Smith Rafael Film Center, 118 Fourth St, San Rafael; and the Jewish Community Center of San Francisco, 3200 California, SF. Tickets (most shows $11) are available by calling (415) 256-TIXX or visiting www.sfjff.org. For schedule, see www.sfjff.org.

OPENING

The Concert A former Bolshoi Orchestra conductor scrambles to reassemble his musician friends to play a last-minute concert. Mélanie Laurent (2009’s Inglourious Basterds) co-stars. (1:47) Embarcadero.

*The Disappearance of Alice Creed The reliably alarming Eddie Marsen (concurrently Life During Wartime‘s pederast) plays bullying Vic, one-half of a criminal duo — with puppyish Danny (Martin Compston) his younger subordinate — who abduct grown child of wealth Alice (Gemma Arterton) for ransom in a carefully-thought-out kidnapping. This simple setup, for the most part very simply set in the two abandoned-apartment-complex rooms where Alice is held captive, allows talented British writer-director J. Blakeson to spring a number of escalating narrative surprises. The whole endeavor is almost too chamber-scaled to justify being seen on the big screen (let alone being shot in widescreen format). But it does have some mighty satisfying tricks up its sleeve. (1:40) Sundance Kabuki. (Harvey)

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

*Life During Wartime See "The Kids Aren’t All Right." (1:37) Clay, Shattuck.

Making Plans for Lena Christophe Honoré’s latest presents an ensemble of difficult characters related to or entangled with a recently divorced mother of two. The titular Lena (Chiara Mastroianni) feels somewhat like a Noah Baumbach protagonist, a failing human being who is nonetheless pitiable and even relatable. At the core of this tense family drama are Lena’s relationships with her young son Anton (Donatien Suner), who is in many ways more mature than she is, and with her ex-husband Nigel (Jean-Marc Barr), whose name inspired the pun of the title, which refers to the XTC track "Making Plans for Nigel." In the film’s most intriguing sequence, bookworm Anton reads his mother a story, which is in turn reproduced onscreen, of a woman who kills many suitors by dancing them to death. Besides that fantastical interlude, which hardly lightens the movie’s fundamental sadness, the film’s naturalistic depiction of family life rings true if also worryingly dissonant. (1:47) Sundance Kabuki. (Sam Stander)

Middle Men George Gallo’s Middle Men, though far beyond the salvage of so-bad-it’s-good, makes for the ultimate airplane movie (re: mind-numbing). Nothing audible is ever interesting, there are visual gimmicks galore, and you can more or less doze off and avoid missing much. Purportedly the events that unfold, from the 80s onward, are based on actual ones — but that’s like the Coen Brothers claiming Fargo (1996) was a true story. Pish posh. Jack (Luke Wilson) is a Texan who cleans up people’s messes. He gets entangled with the biggest idiots of all time, played by Giovanni Ribisi and Gabriel Macht, and soon they launch what will become the bastion of Americana: Internet porn. Everything is tits-and-giggles until the Russian mob wants a cut. It’s downright apoplexing how shallow, flashy, and lazy this movie is. If you must go, bring a friend and play I Spy A Desperate Has-Been (James Caan, Kelsey Grammer, Kevin Pollak). And Luke Wilson, formerly known as Fire of My Loins? Definitely not cute anymore. (1:45) Presidio, Shattuck, Sundance Kabuki. (Ryan Lattanzio)

The Other Guys Another buddy-cop movie — though in this case, the buddies are the has-potential combo of Will Ferrell and Mark Wahlberg. (1:47) California, Presidio.

Step Up 3D It’s official: 3D has jumped the shark. And done the worm. (1:46)

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

ONGOING

Agora There’s a good movie somewhere in Agora, but finding it would require severe editing. It’s not that the film is too long, though it does drag in stretches. The problem is that there are too many stories being told: Hypatia of Alexandria, the central figure, only emerges as the focus well into the film. Meanwhile, there’s Davus (Max Minghella), the slave boy in love with her; Orestes (Oscar Isaac), the student who tries to win her affection; Synesius (Rupert Evans), the devout Christian. We jump from character to character and plot to plot — the conflict between the pagans and the Christians, the conflict between the Christians and the Jews, and Hypatia’s studies in astronomy. Agora is so scattered that by the time it reaches its tragic conclusion — only a spoiler if you haven’t already Googled Hypatia — there’s little room to breathe, let alone grieve. While Hypatia herself is a fascinating subject, Agora is weighed down by all the stories it’s intent on cramming in. (2:06) Lumiere, Shattuck. (Peitzman)

*Alamar Pedro González-Rubio’s gorgeous Alamar ("to the sea") is set between landscapes (land and sea) and ways of telling (fiction and documentary). The bare frame of a plot places a young boy with his father and grandfather, Mayan fishermen working the Mexican Caribbean. The sweetness of this idyll is tempered by its provisional bounds: the boy will return to his mother in Rome at the end of his compressed experience of a father’s love. Every shot is earned: there are several in which the camera bucks with the boat, physically linked to the actors’ experience. The child is at an age of discovery, and González-Rubio channels this openness by fixing on the details of the fisher’s elegant way of life and the environmental contingencies of their home at sea. (1:13) Sundance Kabuki. (Goldberg)

*Anton Chekhov’s The Duel Conformity vs. freedom, small-town whispers vs. the heavy hand of the law — Georgian director Dover Kosashvili successfully teases out some of the tensions in the Anton Chekhov novella, encapsulating the provincial pressures brought to bear on deviants and nonconformists during a steamy summer in a seaside resort town in the Caucasus. Dissolute civil servant and would-be intellectual Laevsky (Andrew Scott) is in the bind, as he gripes to the town doctor Samoylenko (Niall Buggy). Laevsky has everything he wants: he’s coaxed the creamy, married Nadya (Fiona Glascott) into living with him openly, yet now that her husband has died, he desires nothing more than to be free of her. In the meantime upstanding zoologist Von Koren (Tobias Menzies) simmers in the background, gaging Laevsky’s social mores and practically oozing contempt. Matters come to a head as Laevsky begs a loan from Samoylenko to escape his ripening paramour, who is also beginning to feel the gracious perimeters of the town closing in around her. From the buttons-and-bows millinery details to the oppressive dark wood furnishings, Kosashvili even-handedly builds a compelling Victorian-era mise en scene that seems to perfectly evoke the Chekhov’s milieu — it’s only when the title entanglement comes to pass that we finally see which side he’s on. (1:35) Smith Rafael. (Chun)

Cats and Dogs: The Revenge of Kitty Galore (1:40) 1000 Van Ness, SF Center.

Charlie St. Cloud The best thing one can say about Charlie St. Cloud is that it isn’t quite as terrible as the trailers would have you believe. Yes, the story is Nicholas Sparks-level silly: the eponymous Charlie (Zac Efron) loses his brother Sam (Charlie Tahan) in a tragic drunk driving accident, then spends the rest of the film playing baseball with his ghost. Add to that a romantic subplot involving fellow sailor Tess (Amanda Crew). There’s nothing you don’t already know about Charlie St. Cloud: each scene is laid out far in advance. So while the film itself is reasonably competent, it never surprises or unnerves an audience well-versed in its tropes. Efron, star of Disney’s delightful High School Musical series, is predictably charming, but even a few wet t-shirt scenes — yes, really — don’t distract from the story. Not to mention the fact that Tahan’s Sam is seriously grating. You’re dead, it sucks: no need to whine about it. (1:40) 1000 Van Ness. (Peitzman)

Countdown to Zero "Every man woman and child lives under a nuclear Sword of Damocles, hanging by the slenderest of threads." So said John F. Kennedy when he addressed the UN in 1961. It’s a quote that’s oft repeated in Countdown to Zero, a fear-mongering horror film disguised as a documentary. Yes, nuclear war is a serious threat. Yes, the world would be a better place without any nuclear weapons. But exactly what is the point of a movie like Countdown to Zero, which serves only to remind us how fucked we truly are? There are no solutions offered, no real insight into how we got here. Instead, we get lots of facts and figures that underline how quickly and easily a country, a group of terrorists, or even a lone nut could end it all. At one point a series of disembodied voices describe — in endless detail — the result of a nuclear attack. And to what end? It’s unclear what Countdown to Zero realistically hopes to accomplish: worldwide disarmament is a lofty feat. Unsettling viewers, on the other hand — that’s cheap and easy. (1:30) Opera Plaza, Shattuck. (Peitzman)

Cyrus It’s tempting to label Mark and Jay Duplass’ Cyrus as "mumblecore goes mainstream." Yes, the mumblecore elements are all there: plentiful moments of awkward humiliation, characters fumbling verbally and sometimes physically in desperate attempts to establish emotional connections, and a meandering, character-driven plot, in the sense that the characters themselves possess precious little drive. The addition of bona fide indie movie stars John C. Reilly, Catherine Keener, and Marisa Tomei — not to mention Hollywood’s chubby-funny guy du jour, Jonah Hill — could lead some to believe that the DIY-loving Duplass brothers (2005’s The Puffy Chair, 2008’s Baghead) have gone from slacker disciples of John Cassavetes (informally known as "Slackavetes") to worshippers at the slickly profane (with a heart) altar of Judd Apatow. But despite the presence of Apatow protégé Hill (2007’s Superbad) in the title role, Cyrus steers clear of crowd-pleasing bombast, instead favoring small, relatively naturalistic moments. That is to say, not much actually happens. Mumblecore? More or less. Mainstream? Not exactly. Despite playing a character with some serious psychological issues, Hill comes off as likeable. Unfortunately the movie is neither as broadly comic nor as emotionally poignant as it needs to be — the two opposing forces seem to cancel each other out like acids and bases. (1:32) Shattuck, Sundance Kabuki. (Devereaux)

Despicable Me Judging from the adorable, booty-shaking, highly merchandisable charm of its sunny-yellow Percocet-like minions, Despicable Me‘s makers have more than a few fond memories of the California Raisins. That gives you an idea of the 30-second attention-span level at work here. Thanks to Pixar and company, our expectations for animated features are high, but despite the single lob at Lehman Brothers aimed toward the grown-ups, the humor here is pitched straight at the eight and younger crowd: from the mugging, child-like minions to the all-in-good-fun, slightly quease-inducing 3-D roller-coaster ride. Gru (Steve Carell) is Despicable‘s also-ran supervillain — a bit too old and too unoriginal for a game that’s been rigged in the favor of the youthful, annoyingly perky Vector (Jason Segel), who’s managed to swipe the Giza Pyramids and become the world’s number one bad dude. When Vector steals away the crucial shrink ray needed for Gru’s plot to thieve the moon, the latter pulls out the big guns: three adorable orphans who have managed to penetrate Vector’s defenses with their fund-raising cookie sales. It turns out kids have their own insidiously heart-warming way of wrecking havoc on one’s well-laid plans. Filmmakers Pierre Coffin and Chris Renaud do their best to exploit the 3-D medium, but Avatar (2009) this is not. Nor will many adults be able to withstand the onslaught of cute undertaken by all those raisins, I mean, minions. (1:35) 1000 Van Ness, SF Center. (Chun)

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

Farewell (1:53) Embarcadero, Shattuck.

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

*The Girl With the Dragon Tattoo By the time the first of Stieg Larsson’s so-called "Millennium" books had been published anywhere, the series already had an unhappy ending: he died (in 2004). The following year, The Girl With the Dragon Tattoo became a Swedish, then eventually international sensation, its sequels following suit. The books are addicting, to say the least; despite their essential crime-mystery-thriller nature, they don’t require putting your ear for writing of some literary value on sleep mode. Now the first of three adaptive features shot back-to-back has reached U.S. screens. (Sorry to say, yes, a Hollywood remake is already in the works — but let’s hope that’s years away.) Even at two-and-a-half hours, this Girl With the Dragon Tattoo by necessity must do some major truncating to pack in the essentials of a very long, very plotty novel. Still, all but the nitpickingest fans will be fairly satisfied, while virgins will have the benefit of not knowing what’s going to happen and getting scared accordingly. Soon facing jail after losing a libel suit brought against him by a shady corporate tycoon, leftie journalist Mikael Blomkvist (Michael Nyqvist) gets a curious private offer to probe the disappearance 40 years earlier of a teenage girl. This entangles him with an eccentric wealthy family and their many closet skeletons (including Nazi sympathies) — as well as dragon-tattooed Lisbeth Salander (Noomi Rapace), androgynous loner, 24-year-old court ward, investigative researcher, and skillful hacker. Director Niels Arden Oplev and his scenarists do a workmanlike job — one more organizational than interpretive, a faithful transcription without much style or personality all its own. Nonetheless, Larsson’s narrative engine kicks in early and hauls you right along to the depot. (2:32) Opera Plaza, Shattuck, Smith Rafael. (Harvey)

*I Am Love I Am Love opens in a chilly, Christmastime Milan and deliberately warms in tandem with its characters. Members of the blue-blood Recchi family are content hosting lavish parties and gossiping about one another, none more than the matriarch Emma (Tilda Swinton). But when prodigal son Edoardo befriends a local chef, Emma finds herself taken by both the chef’s food and his everyman personality, and is reminded of her poor Soviet upbringing. The courtship that follows is familiar on paper, but director Luca Guadagnino lenses with a strong style and small scenes acquire a distinct energy through careful editing and John Adams’ unpredictable score. Swinton portrays Emma’s unraveling with the same gritty gusto she brought to Julia (2008), and her commitment to the role recognizes few boundaries. You’ve probably seen this story before, but it has rarely been this powerful. (2:00) Opera Plaza, Shattuck. (Galvin)

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

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

*The Kids Are All Right In many ways, The Kids Are All Right is a straightforward family dramedy: it’s about parents trying to do what’s best for their children and struggling to keep their relationship together. But it’s also a film in which Jules (Julianne Moore) goes down on Nic (Annette Bening) while they’re watching gay porn. Director Lisa Cholodenko (1998’s High Art) co-wrote the script (with Stuart Blumberg), and the film’s blend between mainstream and queer is part of what makes Kids such an important — not to mention enjoyable — film. Despite presenting issues that might be contentious to large portions of the country, the movie maintains an approachability that’s often lacking in queer cinema. Of course, being in the gay mecca of the Bay Area skews things significantly — most locals wouldn’t bat an eye at Kids, which has Nic and Jules’ children inviting their biological father ("the sperm donor," played by Mark Ruffalo) into their lives. But for those outside the liberal bubble, the idea of a nontraditional family might be more eye-opening. It’s not a message movie, but Kids may still change minds. And even if it doesn’t, the film is a success that works chiefly because it isn’t heavy-handed. It refuses to take itself too seriously. At its best, Kids is laugh-out-loud funny, handling the heaviest of issues with grace and humor. (1:47) Bridge, California, 1000 Van Ness, Piedmont, SF Center. (Peitzman)

*Let It Rain Well-known feminist author Agathe Villanova (writer-director Agnès Jaoui) is taking a rare break from her busy Paris life, visiting her hometown to see family, vacation with boyfriend Antoine (Frédéric Pierrot), and do a little stumping for her nascent political career. But despite the ever-picturesque French countryside as background, all is not harmonious. Antoine complains Agathe’s workaholism (among other things) is killing their relationship, particularly once she agrees to be time-consumingly interviewed for film about "successful women" by shambling documentarian Michel (coscenarist Jean-Pierre Bacri) and local Karim (Jamel Debbouze). Her married-with-children sister Florence (Pascale Arbillot) is having a secret affair with Michel, but seems more focused on old resentments springing from Agathe being their late mother’s favorite. Karim — son of the family’s longtime housekeeper (Mimouna Hadji) — bears his own grudge against the clan and brusque, officious Agathe in particular. Being happily wed, he’s further bothered at his hotel day job by his attraction to co-worker Aurélie (Florence Loiret-Caille). These various conflicts simmer, then boil over as the documentary shooting goes from bumbling to disastrous. In 2004, Jaoui delivered a pretty near perfect Gallic ensemble seriocomedy in Look at Me. This isn’t quite that good. Still, her seemingly effortless skill at managing complex character dynamics, eliciting expert performances (including her own), and weaving it all together with insouciant panache makes this a real pleasure. The problem with Agnès Jaoui: she’s so good it chafes that (acting-only gigs aside) she’s made just three films in ten years. Pick it up, girl! (1:39) Smith Rafael. (Harvey)

Predators Anyone who claims to be disappointed by Predators has clearly never seen parts one and two in the series; all three are straight B-movie affairs (though 1990’s Predator 2 takes everything oh-so-slightly over the top. Gary Busey’ll do that). And if you’ve seen either of the recent Predator-versus-Alien flicks, Predators should feel like a masterpiece. Nimród Antal directs under the banner of Robert Rodriguez’s production company, which explains the presence of Danny "Machete" Trejo in the cast. Adrien Brody stashes his Oscar in a safe place to star as Royce, a well-armed mercenary who awakes to find himself in free fall, plummeting into a strange jungle along with other elite-forces types (including Brazilian Alice Braga, playing an Israeli soldier). It doesn’t take long before Royce realizes that "this is a game preserve, and we’re the game." I wish Predators had allowed itself to have a little more fun with its uniquely skilled characters (the yakuza guy does have a nice, if culturally-stereotyped, swordplay scene); there’s also an underdeveloped "plot twist" involving the presence of the decidedly un-badass Topher Grace among the human prey. But all is forgiven when Laurence Fishburne turns up as Crazy Old Dude Who’s Been Hiding Out With Predators a Little Too Long. Fishburne’s presence also adds to the heart-of-darkness vibe the movie seems vaguely interested in conveying. (1:51) 1000 Van Ness. (Eddy)

Ramona and Beezus (1:44) 1000 Van Ness.

*Restrepo Starting mid-’07, journalists-filmmakers Tim Hetherington and Sebastian Junger spent some 15 months off and on embedded with a U.S. Army platoon in Afghanistan’s Korengal Valley, a Taliban stronghold with steep, mountainous terrain that could hardly be more advantageous for snipers. Particularly once a second, even more isolated outpost is built, the soldiers’ days are fraught with tension, whether they’re ordered out into the open on a mission or staying put under frequent fire. Strictly vérité, with no political commentary overt or otherwise, the documentary could be (and has been) faulted for not having enough of a "narrative arc" — as if life often does, particularly under such extreme circumstances. But it’s harrowingly immediate (the filmmakers themselves often have to dive for cover) and revelatory as a glimpse not just of active warfare, but of the near-impossible challenges particular to foreign armed forces trying to make any kind of "progress" in Afghanistan. (1:33) Empire. (Harvey)

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

The Sorcerer’s Apprentice Socially awkward science nerd Dave (Jay Baruchel) toils away on his suspiciously elaborate NYU physics project, unaware that he’s about to have a Harry Potter-style moment of awakening. Enter Balthazar (Nicolas Cage), a centuries-old, steampunky sorcerer who believes Dave to be "the Prime Merlinian" — i.e., the greatest conjurer since Merlin himself. (Literally) rising from ashes to provide conflict are fellow sorcerers Horvath (Alfred Molina) and Morgana (Alice Krige); signing on for romantic-interest purposes are Monica Bellucci and newcomer Teresa Palmer. The Sorcerer’s Apprentice spins off Disney classic Fantasia (1940) in only the loosest sense, though there is a scene of dancing brooms. The bland Baruchel’s rise to fame continues to mystify, but at least Cage and Molina seem to be having a blast exchanging insults and zapping each other around. (1:43) 1000 Van Ness, SF Center. (Eddy)

*Toy Story 3 You’ve got a friend in Pixar. We all do. The animation studio just can’t seem to make a bad movie — even at its relative worst, a Pixar film is still worlds better than most of what Hollywood churns out. Luckily, Toy Story 3 is far from the worst: it’s actually one of Pixar’s most enjoyable and poignant films yet. Waiting 11 years after the release of Toy Story 2 was, in fact, a stroke of genius, in that it amplifies the nostalgia that runs through so many of the studio’s releases. The kids who were raised on Toy Story and its first sequel have now grown up, gone to college, and, presumably, abandoned their toys. For these twentysomethings, myself included, Toy Story 3 is a uniquely satisfying and heartbreaking experience. While the film itself may not be the instant classic that WALL-E (2008) was, it’s near flawless regardless of a viewer’s age. Warm, funny, and emotionally devastating—it’s Pixar as it should be. (1:49) 1000 Van Ness, Piedmont, Shattuck, Sundance Kabuki. (Peitzman)

The Twilight Saga: Eclipse The only person more bored by the Twilight franchise than I am is Kristen Stewart. In Eclipse, the third installment of the film series, she mopes her way through further adventures with creepily obsessive vampire Edward (Robert Pattinson). Look, you’re either sold on this star-crossed love story or you’re not, and it’s clear which camp I fall into. Besides, Eclipse is at least better than New Moon, the dreadful Twilight film that preceded it last year. But the story is still ponderous and predictable — Eclipse sets up a conflict and then quickly resolves it, just so it can spend more time on the Bella-Edward-Jacob love triangle. (As if we don’t know how that ends.) Then there’s the unfortunate anti-sex subtext: carnal relations are cast as dirty, wrong, and soul-destroying. I’m not saying we should be encouraging all teenagers to have sex, but that doesn’t mean we should make them feel ashamed of their desires. And what parent would approve of Eclipse‘s conclusion? Marrying your first boyfriend at 18 — not always the best move. (2:04) 1000 Van Ness, Shattuck. (Peitzman)

Winnebago Man (1:15) Lumiere.

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

Stage listings

David Talbot
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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.

THEATER

OPENING

Divalicious New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $22-28. Previews Thurs/4, 8pm. Opens Sat/7, 8pm. Runs Wed-Sat, 8 p.m.; Sun, 2pm. Through August 22. Leanne Borghesi takes on the music of legends ranging from Garland to Midler.

Sex Tapes for Seniors Victoria Theatre, 2961 16th; (800) 838-3006. $20-40. Previews Thurs/5, 8pm. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through August 22. An original musical by Mario Cossa, with a cast of characters between the ages of 52 and 75.

Show and Tell Thick House, 1695 18th St; (800) 838-3006, www.symmetrytheatre.com. Opens Fri/6, 8pm. Runs Thurs-Sat, 8pm (also Sat/7, 5:30pm); Sun, 5:30 pm. Through August 22. $25. Symmetry Theatre Company presents a play by Anthony Clarvoe.

This is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Previews Fri/6 and Sun/8, 8pm. Opens Mon/9, 8pm. Runs Thurs-Sun, 8pm. $15-20. The kinetic company Mugwumpin presents a new show.

This World and After Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Previews Fri/5-Sat/6, 8pm. Opens Sat/7, 8pm. Runs Thurs-Sat, 8pm. Through August 28. $18-24. Sleepwalkers Theatre presents a trilogy of plays by J.C. Lee.

BAY AREA

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Opens Fri/6. Through Sept. 5. Dates and times vary. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/5, Aug 12, 19, 26, 9pm. Through Aug 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Agnes the Barbarian EXIT Theatre, 156 Eddy; 289-6766, www.thunderbirdtheatre.com. $20-25. Thurs-Sun, 8pm. Through August 14. Thunderbird Theatre Company presents a new comedy by Lusty Booty author Jason Harding.

*Cat on a Hot Tin Roof Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $26-38. Wed-Sat, 8pm. Through Sept. 4. Boxcar Theatre begins an ambitious three-play repertory salute to Tennessee Williams with this swift, lean and thoughtful production of the 1955 Pulitzer Prize–winning family drama set on the embattled Mississippi estate of Big Daddy Pollitt (Michael Moerman) on the evening of his 65th (and final) birthday. The play’s action unfolds inside the fraught bedroom of favored son and former star athlete Brick (Peter Matthews)—a depressed and repressed alcoholic, literally and symbolically hobbled by a fresh fall on the track field the night before—and his frustrated but determined wife, Maggie “the Cat” (Lauren Doucette), the play’s irrepressible life force and gleaming wit who will get her man back and fend off a property-grab from her conniving in-laws (Brian Jansen and Hannah Knapp) to boot. Boxcar artistic director Matthews’ Brick is an apt tangle of glassy-eyed testiness, haunted moroseness, and grudging respect and compassion. He shares viable chemistry with Doucette, who ably summons an intelligent vitality and frank sensuality in the central role. Director Jeffrey Hoffman gets enjoyable performances all around—Moerman’s tyrannical yet concerned, vulnerable Big Daddy is especially fine—and his staging, set in the round in knee- and should-rubbing proximity to the audience, invites a rare sense of intimacy. This is further heightened, if only minimally, by his use of an actor (Seth Thygesen) as the palpable presence of Brick’s grief, in the form of dead friend and closeted love, Skipper. (Avila)

Dead Certain Royce Gallery, 2901 Mariposa; (866) 811-4111. $12-28. Thurs-Sat, 8pm. Through August 14. Expression Productions presents a psychological thriller by Marcus Lloyd..

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun, 8pm. Through August 29. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through August 29. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

Piaf: Love Conquers All Eureka Theatre, 215 Jackson; (800) 838-3006, www.brownpapertickets.com. $25-36. Tues-Fri, 8pm; Sat, 2 and 8pm. Through Sat/ 7. Naomi Emmerson’s solo performance as the iconic French diva is expertly crafted and fully committed, and as such makes just worthwhile Roger Peace’s otherwise pedestrian musical stagger down memory lane with the lovelorn, increasingly drug addled and generally tragic (if also spunky) heroine of postwar French culture. Amid the chronological recap of Édith Piaf’s storied career, aficionados in particular should be pleased with Emmerson’s evocative presence, including a confident tremolo voice and cool élan, which holds its own against Marion Cotillard’s turn in La Vie En Rose. (Avila)

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Auctioning the Ainsleys Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sun/8. TheatreWorks begins its 41st season with a world premiere of a play by Laura Schelhardt about a family putting their lives up for sale.

Blithe Spirit Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkely.org. $12-15. Fri-Sat, 8pm; also August 19, 8pm. Through August 21. Actors Ensemble of Berkeley essays the eternal Noel Coward comedy, about a (naturally) Coward-esque writer (Stanley Spenger) who for the purposes of research and any passing amusement it may provide invites over a celebrated medium (an amusingly puffed-up Chris Macomber), only to have her inadvertently summon the ghost of his ex-wife (Erin J. Hoffman), who mischievously begins to drive a wedge between him and his new wife (Shannon Veon Kase). Director Hector Correa’s not-always-fitting casting choices contribute to a drearily perfunctory tone at the outset, which makes the first scenes somewhat painful going. However, Spenger proves admirably dry and restrained in the lead, and things pick up measurably with the arrival of the titular ghost, played with playful, bounding energy and notable grace by Hoffman. (Avila)

*Machiavelli’s The Prince Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centrailworks.org. $14-25. Thurs-Sat, 8 p.m.; Sun, 5pm. Through August 22. Set in an intimate salon-space in the Berkeley City Club, this stage adaptation of one of the most famous documents on political power ever written gains a certain conversational quality. In fact, the script, penned by Gary Graves, is really just one long conversation—an imagined encounter between Nicolo Machiavelli and the man he dedicated his treatise to, Lorenzo de Medici II. Machiavelli (Mark Farrell) has been called by de Medici (Cole Alexander Smith) to possibly regain favor in his court after a long banishment. With him he brings a notebook of his musings on gaining and retaining political power, which he bestows on Lorenzo for him to read. As the Duke of Florence, Smith plays his character with the measured dignity and watchful countenance of a career mobster. He protests the extremism of his former teacher’s philosophy of rule even as he is casually seduced by its implications. Farrell’s Machiavelli tries to play his position with calculated Mephistopheles cool. However, he cannot escape the obvious taint of his own failures, and eventually, for all his talk of power, he is revealed to be ultimately powerless, though his ideas remain with de Medici, long after he himself is let go. (Gluckstern)

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept. 26. Marin Theatre Company presents a swashbuckling version of the classic.

PERFORMANCE/DANCE

“AfroSolo Arts Festival” Yerba Buena Gardens, 701 Mission; (415) 771-AFRO, www.afrosolo.org. Sun/8, 5:30pm. The festival continues with a performance by the Junius Courtney Big Band Orchestra.

BAY AREA

“New Works Festival” Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Through August 22. $15-25 ($75 for festival pass). TheatreWorks presents its ninth annual festival, with a reading of Great Wall by Kevin Merritt and Kevin So.

Reinventing San Francisco

David Talbot
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8
Reinventing San Francisco

By Christopher D. Cook, Karl Beitel, and Calvin Welch. 

OPINION It’s hard to trust hope these days — to imagine that our world, or even our city — could be different. But for the next 10 or 15 minutes, as you read this, we invite you to suspend the cynicism and disbelief that hang over contemporary life, and allow your mind to imagine that, yes, a different San Francisco is possible. Just for 15 minutes, although we hope this helps kick-start a much longer-term revival of hope and urban reimagining.

It’s time to create something new in San Francisco — a visionary movement for constructive change that’s bold and unapologetic. Imagine, for instance, if San Francisco became a national model for how cities can reinvest local profits (public and private) and assets to expand economic opportunity and social equity. Imagine if, instead of promoting a dispiriting and volatile blend of corporate development and Darwinian “free-market” anarchy, San Francisco transformed how American cities define success by creating concrete alternatives to the chaos of capitalism.

Now imagine that San Francisco had its own public bank — a fiscally solvent, interest-generating financial force (potentially a half-billion dollars strong) dedicated to public financing and economic stimulus, that functioned as a vigorous incubator for homegrown industries and sustainable, true-green job creation.

We are proposing no less than a reinvention of San Francisco — a dramatic shift in priorities, resources, politics, and culture that marries the very best in both creative innovation and urgently needed reforms to make our city socially equitable and sustainable, both ecologically and economically.

Toward this end, the Community Congress, Aug. 14-15 on the University of San Francisco campus, will stimulate ideas, discussion, and planning to reinvigorate civic engagement and inspiration and create a concrete, locally actionable agenda for reshaping the city. You’re invited. (Visit www.sfcommunitycongress.wordpress.com for more information.) The congress is a conversation starter and idea incubator — an opportunity to begin reimagining San Francisco as a socially equitable, racially inclusive, ecologically sustainable city that grows its own food, supplies its own energy, and is an affordable haven for working-class people, immigrants, artists, and creative folk of all stripes.

We humbly propose a city that embraces cosmopolitanism and international exchange while empowering its residents to achieve a decent and livable quality of urban life. We are not trying to turn back the clock; we are trying to create new forms of social and economic value that give people meaning and sustenance, and hope.

 

WHY A COMMUNITY CONGRESS—WHY NOW?

Couldn’t we save such sweeping aspirations for a rainy day? The sky isn’t falling yet, is it? Not quite, but the present constellation of crises San Francisco is ensnarled in — massive and rising structural deficits, a boom/bust economy that’s profoundly unstable and inequitable, deepening economic and social divides that destabilize communities, to name a few — is simply unsustainable.

San Francisco’s economic and fiscal crisis is not a passing moment. Rather, it signals long-term structural flaws in the city’s economic policies and planning. San Francisco has lost roughly 45,000 jobs since 2000, and each “recovery” is marked by steadily higher unemployment rates (currently resting at 9.2 percent). More critically, as jobs and wages have grown more precarious and housing prices have steadily risen (over the long term), thousands of San Franciscans have been displaced.

Any serious vision for change must incorporate race and class dynamics. Consider the economic evisceration of much of the city’s African American population, which has plummeted from 13.4 percent of the population in 1970 to just 6.5 percent today (more than 22,000 African Americans left the city between 1990 and 2008). The gutting of communities of color is intrinsically intertwined with issues of job and wage loss and soaring housing costs. This is particularly acute in the geographic and political dislocation of African Americans in San Francisco. Add to this picture intense overcrowding and poverty in Chinatown and in Latino and immigrant communities, and you get a set of inequities that are morally unacceptable and socially untenable.

Like other major American cities, San Francisco faces a crucial historical moment. Global warming and fast-dwindling oil supplies require a transformative shift in how we conceive (and implement) economic development far beyond the city’s current piecemeal approach to “green procurement.” The Peak Oil Preparedness Task Force, appointed by the Board of Supervisors in 2007, concluded that a full 86 percent of San Francisco’s energy use comes from fossil fuels, primarily petroleum and natural gas, and a small amount of coal. Given the world’s fading oil supplies and mounting climate chaos, this is simply unsustainable.

The specter of a looming energy and environmental crisis, combined with economic instability marked by persistently high unemployment, rising income inequality, systemically entrenched homelessness, consumer debt, and the deepening crisis of cutbacks to critically needed human services and affordable housing call for a radical shift in how society — and San Francisco’s economy — are run.

Transforming San Francisco into a truly sustainable city will mean dramatic shifts in what (and how) we produce and consume, and aggressive city policies that promote local renewable energy. Our economy — how our food, housing, transportation and other essential goods are made — will have to be rebuilt for a world without oil.

These and other limits mean we must redefine growth and profit—fast. Work and sustainability must become fully intertwined, and we must think creatively about how jobs can produce social and community value, instead of profits concentrated at the top.

Creating truly sustainable and equitable cities for the 21st century will also mean dramatic shifts in how we produce and consume. There is no better place to begin than here in San Francisco, long an incubator in progressive thinking and genuine grassroots action and innovation. In an earlier Community Congress in 1975, residents and groups from across San Francisco united in a movement of ideas and organizing that led to district supervisorial elections and successful campaigns to stem the tide of downtown corporate development, helping to democratize politics and economics in San Francisco.

The 2010 Community Congress is aimed at reinvigorating local movements for lasting change, both on the policy level and in the relationship between people and their government. We hope to inspire a spirited and creative shift in the city’s culture and politics — with concrete, politically actionable policies to democratize planning and development and a more sweeping transformation of our expectations — toward a far richer and deeper engagement of people and communities in their own governance.

 

A NEW FRAMEWORK FOR URBAN DEVELOPMENT

What would this City of Hope look like, and how would it work? Consider what we could accomplish with a municipal bank. The City and County of San Francisco currently has almost $2.6 billion in highly liquid reserves, about $500 million of which could be used to fund a Municipal Bank of San Francisco. Once established (and federally insured), the Municipal Bank could take additional deposits and use this to issue more loans. The bank could promote economically viable worker-run cooperatives that produce goods and services addressing community needs — be it day care, urban gardening, or ecologically sustainable light industry that creates meaningful employment for local residents. The bank could provide competitive small-interest loans to help stimulate small-business development — the key economic engine of the city. Currently, access to credit is one of the primary impediments to small business growth in San Francisco.

The city could also start a Municipal Development Corporation to produce goods and services that meet essential needs, boost local employment, and generate surpluses that would be available for local reinvestment. San Francisco could launch itself on the path to local energy self-reliance with funds from the Municipal Bank, together with revenue bonds—raising large pools of capital to finance large-scale alternative energy investments such as solar panels to generate energy for sale to local businesses and households.

The proceeds could help subsidize community-based development such as urban farming projects that could grow food for our public schools. The Municipal Development Corporation could explore other initiatives like large-scale medical marijuana cultivation and development of a commercial fiberoptic network. Other ideas can be developed; we need to engage our collective imagination to envision what can exist if there’s enough people power and political will.

By expanding access to credit, municipalizing a chunk of the city’s assets, establishing an economically viable municipal development enterprise, and democratizing city planning and development, San Francisco can enable long-disenfranchised communities to create sustainable and diversified development — instead of fighting over “jobs versus the environment” and other false choices and getting nowhere for decades.

It’s time for proactive, community-led economic development that addresses urgent needs, from local hiring and training, to creating a diverse base of neighborhood-serving businesses, to ecologically sustainable and healthful development and planning that is driven by communities and residents.

San Francisco’s job creation policies can be transformed to prioritize community needs over corporate profits by linking major development contracts to strict local hiring and training, community benefits agreements that invest in social goods like childcare and in-home health services, and ensuring dramatic increases in the city’s stock of affordable housing.

We need to build new forms of public participation in local government in ways that address people’s everyday needs. For instance, the congress will propose a new partnership between residents and Muni to make Muni work better, involving current riders and drivers in a new, more powerful role in how Muni lines function.

We need to find better ways to sustain a diverse population of working-class, people of color, artists, writers, musicians, and others. We need to make sure development isn’t just code for finding new ways to gentrify neighborhoods and displace existing residents.

Specific proposals will address how the city and community-based nonprofits deliver critical health and human services to our neediest residents. We propose making this an integrated part of the budget process, not a last-minute afterthought. Toward this end, the Community Congress will present actionable proposals to create innovative “resident/government” partnerships to improve local government responsiveness and efficiency.

 

RAISING—AND SPENDING—THE BENJAMINS

One of the keys to unlocking the city’s stagnating economy is progressive revenue generation and more democratic participation in budgeting. We must enlarge the public pie while reapportioning it in a way that stimulates job creation and shifts the tax burden onto the large businesses that reap vast private benefits from public goods and services. The city’s budget process must be dramatically reshaped and democratized. Communities need a seat at the fiscal table when the budget is being crafted — instead of lobbying tooth and nail at the end of the process just to retain funding that barely keeps programs afloat.

How can we build a participatory budgeting movement that brings residents and communities into the process? For instance, community budget councils composed of elected and appointed residents from every supervisorial district could assess neighborhood needs and incorporate them into drafting the budget. Whatever form this takes, the goal is to put the needs of residents at the forefront of how the city spends its resources.

The Community Congress can also help redefine fiscal responsibility. Taxing and spending must be accountable and transparent and respect the fact that this is the public’s money. Let’s be honest: much of what passes for government excess is due to management and executive bloat at the top, not salaries of frontline workers like bus drivers, social service providers, and hospital workers. True fiscal responsibility also means investing in prevention: education, healthcare, and services that help people build their lives.

 

RECLAIMING HOPE

It’s time to reclaim the public sector as the sphere of our shared interest. Rather than thinking in terms of the old paradigm that counterpoises “government” and “the market,” let us envision a new citizen movement to create a more participatory, democratic, and accountable system of self-government.

The San Francisco Community Congress is about bringing people together — community activists, those working in the trenches of our increasingly strained social services, our environmental visionaries, our artists, the urban gardeners and permaculturists, poets, bicycle enthusiasts, inventors … in short, assembling our pool of collective knowledge and wisdom, and yes, our differences — in a forum to discuss, debate, share concerns and viewpoints, and ultimately produce a working template that is both visionary and can be implemented.

The Community Congress will create a space for all of us to participate in defining our own vision of San Francisco. It is a first step toward reasserting popular control over economic development. It is an invitation to be visionary, rethinking in fundamental ways what it means to live in the 21st century city, and a forum for creating real, practical platforms and proposals that can be implemented using the powers of local government.

We want to propose a new vision of urban governance. Not more bureaucracy, more commissions, more departments, but the creation of new institutions that are democratically accountable and place new kinds of economic and political resources in the hands of ordinary citizens.

We don’t have any illusions. There are limits to what local government can do. Ultimately, deep change will require actions by higher levels of government. More profoundly, it will require a deeper change in citizen awareness, a rejection of life dominated by the pursuit of narrow self-interest, in favor of a more ecologically sustainable, socially just, and more democratic way of life.

But we can begin at the local level, here and now, to envision and implement the kind of changes that will need to take place if we want to insure that our city, our country, and our planet will be the kind of place we want our children to live. Please come. Bring your hopes, passions, and ideas. This is our collective project, our shared wisdom, our joint vision of the kind of city and society in which we want to live.

Christopher D. Cook is an author, journalist, and former Bay Guardian city editor (www.christopherdcook.com). Karl Beitel is a writer, scholar, and activist. Calvin Welch is the director of the San Francisco Information Clearinghouse and a long-time affordable housing advocate. This story was funded in part by www.spot.us

 

A new community congress

David Talbot
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0
A new community congress

EDITORIAL The first time a group of activists from across San Francisco met in a Community Congress, it was 1975 and the city was in trouble. Runaway downtown development was creating massive displacement and threatening the quality of life. Rents were rising and tenants were facing eviction. An energy crisis had left residents and businesses with soaring power bills. The manifesto of the Congress laid out the problem:

"Every poor and working class community in San Francisco has learned the hard way that its interests are at the bottom of the list as far as City Hall is concerned. At the top of the list are the banks, real estate interests, and large corporations, who view San Francisco not as a place for people to live and work and raise families, but as a corporate headquarters city and playground for corporate executives. By using their vast financial resources, they have been able to persuade local government officials that office buildings, hotels, and luxury apartments are more important than blue-collar industry, low-cost housing and decent public services and facilities."

The Community Congress hammered out a platform — a 40-page document that pretty much defined what progressive San Francisco believed in and wanted for the city. It included district elections of supervisors, rent control, public power, a requirement that developers build affordable housing, and a sunshine ordinance — in fact, much of what the left has accomplished in this town in the past 35 years was first outlined in that document.

Beyond the details, what the platform said was profound: it suggested that the people of San Francisco could reimagine their city, that local government could become a force for social and economic change on the local level, even when politics in Washington and Sacramento were lagging behind. It called for a new relationship between San Franciscans and their city government and looked not just at what was wrong, but what was possible.

That’s something that too often gets lost in political debate today. With urban finances in total collapse, the progressives are on defense much of the time, trying to save the basic safety net and preserve essential programs and services. It seems as if there’s little opportunity to talk about a comprehensive alternative vision for San Francisco.

But bad times are great times to try new ideas — and when the second Community Congress convenes Aug. 14 and 15 at the University of San Francisco, that’s exactly what they’ll be trying to do. It’s not going to be easy — the left in San Francisco has always been fractious, and there’s no consensus on a lot of central issues. But if the Community Congress attracts a broad enough constituency and develops a coherent platform that can guide future political organizing efforts, it will have made a huge contribution to the city.

The event also offers the potential for the creation of a permanent progressive organization that can serve as a forum for discussion, debate, and action on a wide range of issues. That’s something the San Francisco left has never had. Sup. Chris Daly tried to create that sort of organization but it never really worked out. The city’s full of activist groups — the Tenants Union, the Harvey Milk LGBT Club, the Sierra Club, and many others — that work on important issues and generally agree on things, but there’s no umbrella group that can knit all those causes together. It may be an impossible dream, but it’s worth discussing.

The organizers of the Community Congress discuss some of their agenda in the accompanying piece on this page. It should be based on a vision of what a city like San Francisco can be. Think about it:

This can be a city where economic development is about encouraging small businesses and start-ups, where public money goes to finance neighborhood enterprises instead of subsidizing massive projects.

This can be a city where planning is driven by what the people who live here want for their community, not by what big developers can make a profit doing.

This can be a city where housing is a right, not a privilege, where new residential construction is designed to be affordable for the people who work here.

This can be a city where renewable energy powers nearly all the needs of residents and businesses and where the public controls the electricity grid.

This can be a city where the wealthy pay the same level of taxes that rich people paid in this country before the Reagan era, where the individuals and corporations that have gotten filthy rich off Republican tax cuts give back a little bit to a city that is proud of its liberal Democratic values.

This can be a city where it’s safe to walk and bike on the streets and where clean, reliable buses and trains have priority over cars.

This can be a city where all kids get a good education in public schools.

Despite all the economic woes, this is one of the richest cities in one of the richest countries in the history of human civilization. There are no economic or physical or scientific or structural constraints to reimagining the city. The only obstacles are political.

In the next two years, control of City Hall will change dramatically. Five seats on the Board of Supervisors are up in November, and the mayor’s office is open the year after that. The progressives have made great progress in the past few years — but downtown is gearing up to try to reverse those advances. The community congress needs to address not just the battle ahead, but describe the outcome and explain why San Francisco’s future is worth fighting for.

A new community congress

David Talbot
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2

Bad times are great times to try new ideas – the second Community Congress convenes Aug. 14 and 15 at the University of San Francisco

EDITORIAL The first time a group of activists from across San Francisco met in a Community Congress, it was 1975 and the city was in trouble. Runaway downtown development was creating massive displacement and threatening the quality of life. Rents were rising and tenants were facing eviction. An energy crisis had left residents and businesses with soaring power bills. The manifesto of the Congress laid out the problem:

“Every poor and working class community in San Francisco has learned the hard way that its interests are at the bottom of the list as far as City Hall is concerned. At the top of the list are the banks, real estate interests, and large corporations, who view San Francisco not as a place for people to live and work and raise families, but as a corporate headquarters city and playground for corporate executives. By using their vast financial resources, they have been able to persuade local government officials that office buildings, hotels, and luxury apartments are more important than blue-collar industry, low-cost housing and decent public services and facilities.”

The Community Congress hammered out a platform — a 40-page document that pretty much defined what progressive San Francisco believed in and wanted for the city. It included district elections of supervisors, rent control, public power, a requirement that developers build affordable housing, and a sunshine ordinance — in fact, much of what the left has accomplished in this town in the past 35 years was first outlined in that document.

Beyond the details, what the platform said was profound: it suggested that the people of San Francisco could reimagine their city, that local government could become a force for social and economic change on the local level, even when politics in Washington and Sacramento were lagging behind. It called for a new relationship between San Franciscans and their city government and looked not just at what was wrong, but what was possible.

That’s something that too often gets lost in political debate today. With urban finances in total collapse, the progressives are on defense much of the time, trying to save the basic safety net and preserve essential programs and services. It seems as if there’s little opportunity to talk about a comprehensive alternative vision for San Francisco.

But bad times are great times to try new ideas — and when the second Community Congress convenes Aug. 14 and 15 at the University of San Francisco, that’s exactly what they’ll be trying to do. It’s not going to be easy — the left in San Francisco has always been fractious, and there’s no consensus on a lot of central issues. But if the Community Congress attracts a broad enough constituency and develops a coherent platform that can guide future political organizing efforts, it will have made a huge contribution to the city.

The event also offers the potential for the creation of a permanent progressive organization that can serve as a forum for discussion, debate, and action on a wide range of issues. That’s something the San Francisco left has never had. Sup. Chris Daly tried to create that sort of organization but it never really worked out. The city’s full of activist groups — the Tenants Union, the Harvey Milk LGBT Club, the Sierra Club, and many others — that work on important issues and generally agree on things, but there’s no umbrella group that can knit all those causes together. It may be an impossible dream, but it’s worth discussing.

The organizers of the Community Congress discuss some of their agenda in the accompanying piece on this page. It should be based on a vision of what a city like San Francisco can be. Think about it:

This can be a city where economic development is about encouraging small businesses and start-ups, where public money goes to finance neighborhood enterprises instead of subsidizing massive projects.

This can be a city where planning is driven by what the people who live here want for their community, not by what big developers can make a profit doing.

This can be a city where housing is a right, not a privilege, where new residential construction is designed to be affordable for the people who work here.

This can be a city where renewable energy powers nearly all the needs of residents and businesses and where the public controls the electricity grid.

This can be a city where the wealthy pay the same level of taxes that rich people paid in this country before the Reagan era, where the individuals and corporations that have gotten filthy rich off Republican tax cuts give back a little bit to a city that is proud of its liberal Democratic values.

This can be a city where it’s safe to walk and bike on the streets and where clean, reliable buses and trains have priority over cars.

This can be a city where all kids get a good education in public schools.

Despite all the economic woes, this is one of the richest cities in one of the richest countries in the history of human civilization. There are no economic or physical or scientific or structural constraints to reimagining the city. The only obstacles are political.

In the next two years, control of City Hall will change dramatically. Five seats on the Board of Supervisors are up in November, and the mayor’s office is open the year after that. The progressives have made great progress in the past few years — but downtown is gearing up to try to reverse those advances. The community congress needs to address not just the battle ahead, but describe the outcome and explain why San Francisco’s future is worth fighting for.

Is a serial killer with a knife on the loose in SF?

Mary Magee
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6
Is a serial killer with a knife on the loose in SF?

That’s the question Melissa Nix, ex-girlfriend of Hugues de la Plaza posed, on reading in the Examiner that Philp DiMartino, 36, had been found dead from multiple stab wounds inside an apartment in San Francisco.
It’s definitely a scary thought—one that Nix kept raising when she was fighting with the San Francisco Police Department over de la Plaza’s cause of death. The San Francisco Medical Examiner initially ruled that de la Plaza’s cause of death was “undetermined.”
But Nix, who challenged the notion that de la Plaza would ever have killed himself, kept worrying that de la Plaza had been murdered—and that his killer was still on the loose, and possibly walking the streets of San Francisco.
In February, de la Plaza’s father announced that the SFPD was now considering the case as a murder. And Nix uncovered another forensic report that supported her belief that her ex had been stabbed by someone else.

Either way, the two men certainly died in close proximity to one another: de la Plaza’s apartment was on Linden Street, Martino’s was at 138 Hermann Street.

Filing fees and public financing as clues to 2010 supervisor races

Mary Magee
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5
Filing fees and public financing as clues to 2010 supervisor races

For months now–and in a few cases, over a year- a bunch of dedicated residents have been campaigning in the hopes of becoming the next supervisor in districts 2,4,6,8 and 10. But now comes the moment of truth:

Between July 12 and August 6, all these potential candidates must file all necessary paperwork and pay all necessary fees to qualify for the November ballot.

And, provided they get enough signatures, they can submit a petition in which each signature represents 50 cents towards offsetting their $500 candidate-filing fee.

These signatures are called signatures-in-lieu (or SIL) and they provide an interesting data point if you are trying to figure out who has community support and/or money.

A spokesperson for the San Francisco Elections Department recently told me that the point of the signature-in-lieu petition is to allow anyone to get on the ballot, regardless of their financial circumstances—provided they have valid support.

“If they were to collect, let’s say, 1,000 valid signatures, then that totally offsets their candidate filing fee,” the Elections spokesperson said. “But if they go over 1,000 signatures, they don’t get extra money back.”

And, as of July 26, Elections started to look at candidates’ SIL petitions to get an idea of who will owe what come Friday, when the filing fees are due. This is done by figuring out of the signatures are valid or not. To be valid, a signature must come from a person who resides in the geographical area that is covered by the race.

So, D. 2 candidates must gather signatures from D2 residents, and so on.

“Let’s say the candidates didn’t want to do all that, they just file and write a check,” the Elections spokesperson said. “But they must collect at least 20 valid nominating signatures.”

These signatures can be the same as those on the SIL petition, but they must be re-submitted on a nominating petition. And these signatures must come from folks residing in the district covered by each race. So, D 10 nominators must also be D. 10 residents.

“We expect a long line on Friday, which is when we’ll see a lot of people,” the Elections Department representative added. “And we will be working through the weekend to create an ‘unofficial’ official list of candidates by Monday [August 9]. A list we call “unofficial’ because we may need to check out some of the signatures.”

So, what do the candidates’ signature-in-lieu submissions reveal, so far?

Leading the pack in terms of candidates who submitted the least amount of valid signatures-in-lieu is D. 6 supervisor candidate Theresa Sparks.
As of July 27, Sparks had submitted 20 signatures, but only 19 were valid.

Sparks is closely followed, in terms of low SIL numbers, by D.6 candidate Jim Meko: Meko submitted 33 signatures, and only 28 were valid.

Now, this paucity of signatures-in-lieu could suggest that Sparks and Meko do not have massive grassroots support in D. 6. It could also mean that Meko and Sparks are focusing their campaign energies elsewhere. And, to be fair, both could submit more signatures by Friday.

Meko admitted that his campaign did not spend time gathering signatures-in-lieu.

‘We did not devote a whole lot of energy on that,” Meko told me today.”You can only spread yourself so far.”

To date, Sparks’ signatures only count towards $19.50 of her $500 filing fee. This suggests Sparks will pay for the filing fee herself. (Or from the $10,000 public financing that she had qualified for, as of July 14, with a possible increase coming soon, as Elections examines her filings.).

Likewise for Meko: His 28 signatures-in-lieu means $14 off his $500 filing fee. Meko has already qualified for $10,000 in public funds and has an application for another $22,000 in publid funds in the works. This combined with the $7,000 Meko raised in 2009, and the $6,000 he has raised in the first half of 2010, means Meko will have $45,000 in hand to run his campaign.

“That’s no small potatoes to run a campaign in little old District 6,” Meko observed.

Unlike signatures-in-lieu, which must be from within the geographical boundaries of the race, candidates can qualify for public financing based on their ability to raise $5,000 in contributions of less than $100 each, with no requirement that those contributions come from within their electoral district. If the candidates raise $5,000 in this way, the city will double it, meaning that the candidates will receive  $10,000 in public funds. And if candidates raise another $10,000, the city will match those funds by a 1:4 ratio.

But unlike Meko, Sparks still appears to need another valid nominating signature from a D. 6 resident to qualify, since 20 sigs is the nominating minimum. So, someone do her a favor and sign the petition, why don’t you.

Sparks’ and Meko’s numbers stand in stark contrast to D6 candidates Jane Kim and Debra Walker.
Kim has already submitted 1,732 signatures-in-lieu, and 1,281 are valid. This means Kim qualifies to have her filing fee waived and to complete her nominating petition.

The same holds for Walker. She submitted 1,107 signatures, and 1,041 are valid.

Kim also leads the pack with $71,148 in public funds, followed by Walker ($57,344) and Elaine Zamora (S50, 999) with Sparks a distant fourth ($10,00). So, again, it looks like Kim and Walker are running strategic grassroots campaigns, compared to Sparks and Meko. (I left a message with Sparks campaign manager Chris Lee today, and if there are any updates that shed more light on these numbers, I’ll be sure to post them here. Same for Meko.)
Combined, D.6 candidates have seen $199,491 in public funds disbursed.

Over in  D. 4, incumbent Carmen Chu has submitted 401 signatures, and only 282 are valid. But judging from the megabucks that Chu raised from wealthy contributors in 2008, including $11,500 from PG&E, a $500 filing fee is probably the least of her worries.

In D. 8, Rebecca Prozan submitted 1,147 sigs, and 1,056 were valid, so she cleared the waiver and nominating petition requirements, as did Scott Weiner (1,479 sigs submitted, 1,264 valid) and Rafael Mandelman (1,036  sigs submitted, 1,011 are valid.)

In D. 10, none of the candidates has so far succeeded in qualifying for a complete waiver, which is an interesting statistic in a race that remains wide open at this point.
But Steve Moss came close (1097 sigs submitted, 955 are valid). Chris Jackson came fairly close (904 submitted, 802 valid), Marlene Tran got half way (718 submitted, 574 valid) as did Lynette Sweet (509 submitted, 479 valid), and Malia Cohen secured a third of needed sigs to waive the fee (504 submitted, 338 valid).

Fellow D. 10 candidate Tony Kelly told me that he decided not to concentrate his energies on signature-in-lieu gathering, based on on-the-ground intel that Jackson and Moss had already done a thorough job of knocking on doors and asking for folks’ sigs.

Kelly said he’s focusing his efforts on qualifying for increasing levels of public financing. And so far, Kelly is one of eight candidates in D. 10, who have either qualified or are under review for public financing, making D. 10 the top public financing district, citywide, with $233,065 distributed, as of July 30.

Leading the D. 10 public financing pack is Malia Cohen with $53,671 in public funds disbursed. She is followed by Moss ($53,284) and Jackson ($50,220). Kelly is in fourth place ($39,548), Kristine Enea is in fifth ($26,342), DeWitt Lacy is sixth—and Lynette Sweet and Eric Smith’s public funds applications are still under review.

In D. 8, Rafael Mandelman is one of only two candidates to qualify for public financing. Mandelman has received $62,153, placing him ahead of Scott Weiner ($10,000.)

And in D. 2, Kat Anderson has received $40,480, followed by Abraham Simmons ($36,160) but neither made inroads on the signatures-in-lieu front: Anderson submitted 99 and 82 were valid, while Simmons appears not to have submitted any. Of course, everything in D. 2 is up in the air, now that a judge has ruled that incumbent Michela Alioto-Pier can run again this fall, and D. 2 candidate Janet Reilly has not yet decided whether to run. With the latest campaign finance disclosure reports due this week, stay tuned…

Appetite: 2 sodas for the epicure

Jesse Hawthorne Ficks
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2
Appetite: 2 sodas for the epicure

I’ll get this out of the way: I am not a soda drinker. I stopped drinking Coke in high school when I was getting a lot of headaches, in an attempt to eliminate excess sugar from my diet, and not only did it help, but I never cared to revisit the habit. Of course, there are always exceptions and certainly I have tasted a number of worthy sodas over the years. Here are two of the best producers out there.

TAYLOR’S TONICS
Almost savory, spicy, herbal, Taylor’s Tonics are newer, local sodas, and ones that truly stand out. I love the traveling sideshow, Vaudeville-like spirit to the website and packaging, which reflects the passion for performance art and flair of founder, Taylor Peck, who once even worked as ringmaster for small circuses in San Francisco and New York City. His tonics evoke an old fashioned, American medicine show vibe. Healing powers seem possible in the spicing. They also thankfully uphold a trend away from too-sweet or cloying.

Chai Cola has elements of a traditional chai but a soda effervescence and strong, pleasant bitterness. Mate Mojito is a brilliant refresher that takes the tart of lime and balances it with hints of vanilla, spearmint and Yerba Mate tea. Cola Azteca is a bold, spicy mix of coffee, cocoa and cinnamon bark. I recommend the entire line. Check out Imbibe magazine’s story of these unique sodas and their creator.

Taylor’s Tonics are available in the Rancho Parnassus cafe and at Whole Foods.

FENTIMANS
Another yesteryear presentation comes with Fentimans botanically brewed beverages, around since 1905. Fentimans covers a range of sodas from a Victorian Lemonade or Mandarin & Seville Orange Jigger (jigger being an old English word for “good measure”), the latter balancing various orange juices with fermented ginger and juniper. There’s a shandy, ginger beer, and popular Curiosity Cola, a more herbal, apothecary-style soda. I find Dandelion & Burdock flavor an intriguing, traditionally English soda, infused with dandelion leaves, burdock root, pear juice and a hint of ginger and anise.

Fentiman’s gains rogue status when you find out it were banned in the state of Maine to minors (read more on the company’s blog). Why? Because the sodas are just under 0.5% alcohol by volume, which even the FDA considers “non-alcoholic,” but apparently not Maine, which won’t allow minors to purchase a Curiosity Cola.

Email info@drinkfentimans.com for where to buy it in your area.

Check out Virginia’s culinary itinerary site, www.theperfectspotsf.com

Celebrate popped 16

Sasha Cuttler And Mary Magee
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2

Pacific Gas & Electric Co. invested some $45 million into a June ballot initiative known as Proposition 16, a change to the state constitution that would have impeded the creation of green municipal electricity programs by requiring a two-thirds majority vote at the ballot. Widely viewed as a bid to secure its lucrative monopoly by snuffing out competitors before they could get on their feet, the utility’s bubble went pop when voters — especially those from PG&E service territory — rejected it.
 
Despite the utility’s deep pockets, a small cadre of public-power advocates and consumer watchdogs across the state worked tirelessly to defeat Prop. 16, employing creativity and volunteer efforts to counter PG&E’s slick, well-funded marketing campaign.

On Thursday, Aug. 5, the No on 16 Campaign Committee and a host of other individuals and organizations who helped defeat PG&E’s ballot initiative will hold a victory workshop and celebration at The Merchants Exchange Building in San Francisco.

The event is two-fold: From 1 p.m. to 5 p.m., a workshop will be held to examine California’s grassroots response to Prop. 16, and to discuss strategies for building a renewable, clean-energy infrastructure throughout the state. At 5:30 p.m., a celebration will get under way with food, music, and a campaign awards ceremony. For more information and to RSVP, attendees should visit www.celebrateno16.org

Sup. Ross Mirkarimi, Marin County Sup. Charles McGlashan, former California Energy Commissioner John Geesman, and others will lead a panel discussion during the workshop. In San Francisco, Mirkarimi was a key opponent of Prop. 16, bringing the Board of Supervisors on board in opposing the initiative, and traveling to Sacramento to speak out against it. He chairs a local commission working to implement CleanPower SF, an ambitious citywide clean-energy program.

No on 16 Victory Workshop and Celebration (free)
Thursday, August 5, 2010; Workshop 1:00-5:00 p.m., Celebration 5:30 p.m. 
The Merchants Exchange Building, Julia Morgan Ballroom, 465 California St, San Francisco

My buddy and meme: Winnebago Man’s unlikely star turn

Andrew Lam
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0

An irascible ex-TV news anchor shoots a promo video for Winnebago in Iowa in the summer of 1988. It’s hot out, the crew isn’t giving him what he needs, and he swears. A lot. Fast forward 20 years, and the video that damn crew complied of his least flattering outtakes has garnered over 20 million hits on YouTube. Filmmaker Ben Steinbauer hired a detective to find out what happened to the star of his favorite viral video, and the ensuing film, Winnebago Man (which starts Fri/30), turns up some surprising conclusions about the notion of, as Steinbauer put it to me in our recent interview at the Mark Hopkins Hotel, “accidental notoriety.” Some people are calling the film an exploitation of the alternately crude and eloquent Jack Rebney, a new media naïf – but my half hour with the pair raised questions in my eyes of who was using who to tell what story.   

 

San Francisco Bay Guardian: So Jack, tell me about the last time you were in San Francisco. That’s the climax of the film.

Jack Rebney: Well of course, just when we were finishing the movie we had the opportunity to be up in the Haight playing [at the 2008 Found Footage Festival at Red Vic Movie House] and that was the first opportunity for Ben and I to do our dog and pony show. We had just an incredible time.

Ben Steinbauer: You’l l never guess who the pony is.

JR: The people were just, it was electric. It was just quite unusual. I was enormously taken with it. You could feel the vibes between the people and Ben and I. 

 

SFBG: That’s Haight-Ashbury for you. Ben, I have a question for you. Did your intent and motivation for this film change throughout filming it?

BS: No question. I started out making the movie because I was a big fan of the clip. I got the VHS tape in 2001, my friends and I would all quote it. Cut to four years later when YouTube was popping up and there was this idea of accidental celebrity, or unwanted notoriety. I thought, I wonder how the star of my favorite clip is dealing with this same thing? It just started from there with me as a fan wanting to meet Jack and understand this new technological and cultural phenomenon.

 

SFBG: Jack, do you remember the original Winnebago shoot?

JR: Like a boil. It was horrible, it was a violent, violent moment in my life. I was used to operating with camera crews, and audio people, and grips, ecetera who were at the highest levels of media. I never had to do a damn thing. All I had to do was babble, do my patented babble. As it was the middle of the summer in Iowa it was 100 degrees or more. The humidity was 98%. There were billions upon billions of flies. There’s a quote that always amuses me, apparently a lot of other people too: God in his infinite wisdom created the fly and they’re all in Iowa. But you have to keep in mind that there was never any of what today we categorize as anger. Its been said I’m the angriest man on earth — that’s actually not true at all. The Winnebago corporation had hired me to do the very best possible marketing film I could do, they percieved that I would be able to do a good film for them. So when it didn’t work right, I swear. Because I think it’s marvelously expressive. If you hit your thumb with a hammer, you don’t say golly wompers.

BS: Jack worked in media at a time when the news was shot on 16mm film. The concept that you could leave the cameras rolling to capture outtakes was foreign, let alone the idea that you could rapidly share video like this and 20 plus years later people in Japan could be laughing – it’s literally science fiction.

 

SFBG: Jack, did you know the cameras were rolling?

JR: No! Because I would say “cap it!” which in the vernacular means shut it down, stop rolling. 

 

SFBG: Do you guys think after going through this process that it’s important for people these days to be aware of what’s going on with the Internet?

BS: My interest in this was the realization that we all have digital reputations. That’s a new concept.

JR: Harry Truman made the comment, if you can’t stand the heat, get out of the kitchen. It is for me a total absence of interest. I get a lot of film shot at me, I’ve shot a lot of film at people, stuck a lot of microphones in the face of a lot of people who are actually of some consequence. This was an irrelevancy. But now it’s taken on something else, a life unto itself. 

 

SFBG: When did you become vested in this film, Jack?

JR: After the first time Ben came up to my little cabin. As is explained in the film, I was on my best behavior, Mary Poppin-esque.

BS: He basically fooled me.

JR: There are two things that are terribly important here. One, this kid knows what he’s doing: he teaches media at the University of Texas. Could this be an adjunct at the beginning of what is possibly his film career? Could this help him? Could this be something? I have people that when I was a youngster make it possible  for me to get positions that normally I could never have attained. On the other hand, for years and years I’ve been a socio-political commentator and I’ve attacked very nearly everything, and I love it because it strikes that the vast majority of people are not thinking, they’re not given anything in media. They’re given milk and honey. Well there’s no more milk and honey! It’s over. It’s time to either fall into a very deep abyss or we’re going to pull ourselves up by our bootstraps and I thought wait a minute, I can enunciate this. I thought well, okay, this kid wants to shoot me? He wants to turn the camera on? I’ll give him something to think about.

 

SFBG: Are you having a good time traveling together? You’re spending a lot of time together.

BS: Well we just had the best lunch I think I’ve ever eaten –

JR: Years ago when I had the opportunity to come to SF, I would eat lunch or dinner at Scoma’s [random note: this year’s Best of the Bay seafood restaurant!]. It is absolutely nonpareil.

BS: We tried to order that on the menu.

JR: Shut up Ben. In any event, it was absolutely magnificent. San Francisco is a city that has – there is nothing lacking here. There’s an enormous number of absolute nutcases running around, but that what gives it it’s vitality. 

 

Winnebago Man 

Starts Fri/30 2:25, 4:45, 7:15, and 9:45 p.m.

 With introduction by the Dead Kennedys East Bay Ray and post show Q&A with Jack Rebney and Ben Steinbauer at Fri/30 and Sat/31’s 7:15 and 9:45 shows

Landmark Lumiere Theatre

1572 California, SF

(415) 267-4893

www.landmarktheatres.com

 

also playing at Shattuck Cinemas (2230 Shattuck, Berk. (510) 464-5980, www.landmarktheatres.com)

Legal Brahmins organize against Nava

Zelda Bronstein
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19
Legal Brahmins organize against Nava

Some of the most prominent lawyers in San Francisco, including two high-ranking judges, have launched a full-scale political campaign to protect Judge Richard Ulmer, a straight white former Republican and Schwarzenegger appointee, against a challenge by a gay Latino Democrat.


Among the Ulmer supporters, who have vowed to raise a substantial amount of money for the fall judicial election, are J. Anthony Kline, presiding justice of the state Court of Appeal in San Francisco and James McBride, presiding judge of the San Francisco Superior Court. They’re joined by a surprising number of leading liberal lawyers, including James Brosnahan, senior partner at Morrison and Foerster, Joe Cotchett, the widely known trial lawyer, and Sid Wolinsky, a founder of Disability Rights Advocates and a lifelong public interest attorney.


And John Burton, the chair of the California Democratic Party, is contacting members of the San Francisco County Central Committee to try to get that panel to rescind its endorsement of Ulmer’s opponent, Michael Nava.


It is, by any standard, an astonishing amount of political firepower for a local judicial race – and it’s all being done in the name of avoiding politicizing the judiciary.


Nava, a former prosecutor who now works as a staff attorney for state Supreme Court Justice Carlos Moreno, finished first among three candidates in the June primary election, and will face Ulmer in a November runoff. Nava finished with 45 percent of the vote, Ulmer with 42. Dan Deal, also a gay man, won 11 percent of the vote, and most observers agree that if he hadn’t been in the race, Nava would have exceeded 50 percent of the vote and won the seat outright.


So Ulmer heads into the fall with a significant disadvantage — Nava needs only another five percent to put him over the top, and has the endorsement of the local Democratic Party, a major factor in a race that typically doesn’t attract much public attention.


That, by all accounts, has given the local judiciary a bit of a scare. Judges by law serve six-year terms, and can face a challenge when they come up for election, but it doesn’t happen often. And there aren’t many elections for open seats. That’s because the vast majority of Superior Court judges retire or step down in mid-term, giving the governor the opportunity to appoint somenone to the post.


And judges typically don’t like running for re-election; it forces them to raise money from people who might appear in their courtroom and makes them get out and about and glad hand in the community — something that isn’t a normal part of a judge’s life.


Ulmer’s only been on the bench a little more than a year, and hasn’t done anything unprofessional or inappropriate; most attorneys who’ve appeared before him consider him an honest, competent judge. But he was appointed by a Republican governor to a bench that critics say is not reflective of the diversity of San Francisco, and if a local Democrat can unseat him, a lot of other judges could be vulnerable.


That’s what drove McBride, who told me he normally avoids politics, into the fray. Early in July, McBride sent an email to every past president of the Bar Association of San Francisco, inviting (some would say summoning) them to a July 7th meeting at the law office of Pillsbury, Madison and Sutro. The tagline talked about the “independence of the judiciary,” but the event turned out to be something of a pep talk and rally for Ulmer.


According to several accounts, Kline made the main pitch: He called this a “game-changing judicial election,” and made the arguments he would publish two days later in an opinion piece in the Recorder, a legal newspaper.


“The unseating of Judge Ulmer, widely considered an outstanding judge, would have a far greater politicizing effect than many realize,” his piece stated.


He added:


“If challenges to sitting judges without regard to their competence and character become acceptable in California, the consequences for our judiciary will be transformative. Exceptionally able but politically inexperienced lawyers will be less likely to seek judicial appointment. Lawyers who do seek appointment might feel it necessary to seek and obtain the political support of well-financed or influential groups, which may want to know where they stand on issues courts decide. Governors will favor judicial candidates possessing the political skills and financial resources necessary to defend themselves. Some judges may think twice about ruling against politically influential parties, lawyers, or interest groups. Judges may establish campaign funds to discourage potential challengers, and lawyers who appear before such judges may feel compelled to contribute.”


And in a move that disturbed some of those present, Kline argued, in essence, that the local court already has considerable diversity, and that the fact that Ulmer is a straight white male shouldn’t be an overriding factor in the race.


“With the election of Linda Colfax,” his Recorder article states, “25 of the court’s 51 members will be women, 10 gay men or lesbians, 9 Asian-Americans; 3 Latinos; and 3 African-Americans. The court must already be the most diverse in the United States.”


McBride told the group that Ulmer would need money — substantial sums of money — to compete against Nava, and made it clear that he needed help raising it. According to some accounts, there was discussion of seeking a war chest of $350,000. The presiding judge also asked the former bar presidents to sign a letter asserting that the election of Nava would be an attack on the judiciary.


Peter Keane, dean emeritus of the Golden Gate University Law School, was among those invited, and the meeting left him deeply disturbed. “It was something disgraceful, the tone of opposition from people like Kline,” he told me. “It felt like a Dick Cheney weapons of mass destruction speech, this fear about the independence of the judiciary. I raised my hand and said I disagree.”


Keane said that “to frame this as an independence of the judicary question cheapens that argument.” Nava, he said, has every legal right to run and make the case that he’d be a better judge than Ulmer. “Ulmer’s been endorsed by the Republicans,” Keane said. “So what’s wrong if Nava is endorsed by the Democrats?”


Keane said he’d voted for Ulmer in June, but was switching to supporting Nava this fall, in part because he sees a powerful attack coming down against the challenger. “A lot of Brahmins in the legal society have gotten stampeded into the lynch mob against Michael,” he said.


In the end, the bar presidents agreed to what Keane called a mild statement saying that party affiliation shouldn’t be the sole basis for making judicial election decisions.


Kline, a former judicial appointments secretary for Gov. Jerry Brown who is widely considered one of the most liberal judges in the state, told me that he barely knows Ulmer, but knows of his pro bono work cleaning up the California Youth Authority. But he said he will continue to speak out for the incumbent because he fears the election of Nava would open the floodgates to challenges against judges on purely political grounds.


McBride confirmed that he called the July 7th meeting and was happy to discuss what happened and his perspective. He told me that it’s difficult and often inappropriate for judges to raise money for campaigns, since the people most likely to be interested in those races — lawyers — often have business before the courts. And he argued that the fear of a challenge could make judges hesitant to rule against powerful interest groups.


“One of the things that came up at the meeting,” he said, “is that judges are the only public officials who are required by the Constitution and their oath of office to act against their constituents.”


But Nava points out that state law provides for judges to face the voters — and potential opponents — once every six years. “This is simply the judges trying to establish standards for the voters to decide when and under what circumstances a judge can be challenged,” he told me. “They want to decide what qualifies someone to be a judge and what doesn’t.”


He said that the argument that the court is already diverse is “offensive.” The court’s own statistics, he noted, show that 70 percent of the judges are white and “most have been appointed by governors of a particular partisan and ideological bent.”


That, of course, is one reason Nava is running against an incumbent: He thinks (probably correctly) that Gov. Schwarzenegger would never appoint him to the bench, and unless Jerry Brown wins this fall, he’ll be essentially unable to become a local judge for years. Of course, if more judges retired at the end of their terms, and create more openings, there’d be less of a problem; lawyers who want to ascend to the bench would have a fair shot at running without taking on any incumbents.


Nava agreed that it was unpleasant and unseemly for judges, or judicial candidates, to go around raising money — but he thinks there’s another solution. “Why don’t they work to make all judicial campaigns fully publicly financed?” he asked. “If Justice Kline wants to do that, I’ll be happy to join him.”


Although McBride said he hopes the Ulmer campaign will be able to raise enough money to reach the voters directly this fall, the focus right now is on the DCCC. “Since the Democratic Party is so dominant in this town, having the endorsement of the party shifts the balance way towards Nava,” McBride told me. Everybody knows the party won’t endorse Ulmer, who was a Republican until he was appointed to the bench, at which point he switched his registration to decline to state. But McBride hopes enough DCCC members will agree to reverse the Nava endorsement to leave the local party neutral in the race.


That’s going to be difficult – it takes a two-thirds vote to change an endorsement. But Ulmer supporters are pulling out all the stops – Burton has written a letter, prominent local lawyers who support Ulmer are calling DCCC members,  and in some cases, cornering them in person.


“I was at an event the other day, and Joe Cotchett comes up and tells me he needs to talk to me,” DCCC member Alix Rosenthal told me. “He corners me and starts talking about how I need to reverse the endorsement of Nava.”


And the power of the Brahmins seems to be having at least some impact – a few of the members who supported Nava in the spring appear to be wavering, and some newly elected progressives are still undecided.


Reversing an endorsement would be highly unusual. “I’ve never seen anything like this done in my eight years on the committee,” member Gabriel Haaland told me.


But no matter what happens at the DCCC in August, when the issue will come up, the relatively low-profile race for Superior Court judge is going to get heated this fall – and Nava will be in the crosshairs.

Congestion pricing plan headed to board this fall

Sasha Cuttler
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10
Congestion pricing plan headed to board this fall

San Francisco is now one step closer to becoming the first American city to implement a congestion pricing plan as the San Francisco County Transportation Authority staff prepares to present their final study findings to the Board of Supervisors this fall.

Dubbed the San Francisco Mobility and Access Pricing Study, the investigation considered the costs and benefits of charging drivers a fee to enter or leave the most traffic-burdened areas of the city. The million-dollar study was funded through the Federal Highway Administration’s Value Pricing Pilot program.

“We’ve been looking at how we improve transportation options and conditions today and also how our city can grow in a sustainable and competitive way in the future,” SFCTA deputy director for planning Tilly Chang said Tuesday in the first in a series of public meetings.

According to the Transportation Authority, congestion pricing generally tends to “pick off people on the margin,” prompting drivers who don’t really need a car to ride the bus, walk or bike instead. If the system runs according to plan, commuters would see a 21 percent reduction in time spent on roadways and cause a 5 percent reduction in local greenhouse gas emissions.

“We also want to solve very real and current congestion problems, particularly for our surface transportation,” Chang said. “Our buses are operating on our city streets at rather low speeds.”

What’s more, the system is projected to bolster city revenue by more than $60 million annually. Zabe Bent, SFCTA principal transportation planner, said that extra revenue would be a necessity considering the enormous boom predicted for the city.

“Over the next 20 years, the region expects to add 150,000 residents and 230,000 more jobs,” Bent said. “This is essentially the population of Santa Rosa and all the jobs in Oakland today. So that’s pretty significant growth by 2030.”

Congestion pricing, Bent said, is an option that will both remedy the population increase and lighten the load of an underfunded public transportation system.

“We need to have solutions that are both managing demand and also generating revenue so that we can fund much needed improvement projects,” Bent said. “Some of that, we want to spend on capital improvements that could be provided up front or over the course of the program as well as Muni operating improvements on an annual basis.”

The toll zone has yet to be determined and the exact amount to charge drivers remains subject to change. Bent said that the model evaluated fees between 50 cents and $5. “A $3 fee in peak periods seems like the most viable option,” she said. “We’ve found that cost to be the most balanced. It encourages a substantial number of people to reduce congestion but yet doesn’t overwhelm the system.”

The most likely candidate for paid use is the area east of Laguna and Guerrero streets and north of 18th Street, a section the group is calling the Northeast cordon. A similar program was implemented in London more than five years ago, with drivers subject to fees upon entering central parts of the city. Stockholm, Singapore, and Rome also have congestion charges in place. Most recently, the city of New York supported charging drivers $8 upon entering the highly congested streets of Manhattan. However, the fledgling plan died after reaching the State Assembly last year.

Although the program was modeled after pricing plans in other countries, transportation officials said that the plan intends to account for the uniqueness of San Francisco, perhaps even using current electronic collection technology such as FasTrak.

“We want to preserve the urban design of the city,” Bent said. “We’ve heard ideas of mounting camera-based detectors on our existing mast arms or, potentially, new signs on the streets. Essentially, it would look very much like a red light running camera.”

The Transportation Authority held two informational meetings this week and has plans for two lunchtime webinars in August. Transportation officials said that the meetings were arranged with public feedback in mind, with each session containing an electronic polling segment and ample time for dissenters to ask questions.

To ease the minds of skeptics, Chang was careful to note that the congestion pricing plan would not be approved or finalized immediately.

“By no means would we be looking at doing anything tomorrow,” Chang said. “We understand that now is not any time to be adding to existing burdens and costs, but what we are trying to do is anticipate the city’s growth and development needs.”

Despite the lengthy timeline, the plan has come under attack by business owners and regional commuters. Hut Landon, executive director of San Francisco Locally Owned Merchants Alliance, worried that a $3 fee might deter customers from visiting shops within the cordon, thereby slashing profit.

“Any policy that will have a negative affect on businesses is misguided,” he said. “Local businesses are revenue and job generators and doing something that gives people less incentive to shop in certain areas is, I would argue, bad for San Francisco.”

Mid season huddle: roller derby’s Bay Bombers talk track

Andrew Lam
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6

Oh Bay Bombers, won’t you stop in your roller derby tracks and tell us how you’ve been? San Francisco’s famed co-ed blocking, pivoting, jamming squadron has been packing ever-increasing crowds into Kezar Pavilion, their historical home this year – and no wonder, they’re killing it on track. To tell us by just how much, we wrangled a phone interview with general manager Jim Fitzpatrick, who we last checked in with shortly before his home opening match with league Lucifer Georgia Hase’s Brooklyn Red Devils.

 

San Francisco Bay Guardian: Jim you old so-and-so! We hear you’ve been hit with a typhoon of reality TV shows [this year Bombers have been featured on both Jerry Seinfeld’s Marriage Ref and TLC’s Ultimate Cake-Off] What’s up with that? Is derby just the larger than life kind of visuals those shows look for?

Jim Fitzpatrick: We’ve been hit with a lot of great media coverage. We even have the German version of Borat coming to film the tournament next month and there’s another potential project – that’s what’s so bizarre about this. Years ago I skated, I blew out my shoulder, roller derby ended. Then I became a firefighter, got hurt, that ended. My doctor is actually working on a reality show about dealing with people with chronic pain, and I was so successful in that, I’ll be on of the first people they profile on the show.

 

SFBG: Damn, superstar. So how’s the actual season been going?

JF: It’s been going great. The crowds have dramatically increased. It’s bizarre, but if you look back and trace the history of the sport from the Depression on up, during bad economic times and times of war — it’s one of those things, it’s an outlet for people that they can get their aggressions out and root for somebody that reminds them of themselves. Some of our skaters are kind of small, they wouldn’t be able to compete in traditional sports like football and basketball. But put them on skates and they’re amazing athletes! If you look at the crowd you see anything there from grandmas to little kids.

A man that just screams reality TV: Bombers general manager Jim Fitzpatrick. Photo by Tim Figueras

SFBG: What’s the Bombers’ record right now?

JF: We’ve won all four of our regular season games. 

 

SFBG: Nice. What’s your secret?

JF: Me. [laughs] It’s one of those things, roller derby has so many diverse people that get into it. Our group is so diverse, but we really get along – it’s the camaraderie. 

 

SFBG: You have a lot of history with some of the team managers you’ve been going head to head with. Does it change a game for you when you’re competing against someone you’re acquainted with?

JF: I don’t let it get to me. Dave [“Wildman”] Marez was a guy I broke in with, trained with — we both started out with the Bay Bombers, but he left the team and we skated against each other for most of our years in the league. We get together off the track and get along great — but on the track it’s an intense rivalry.

Kezar Stadium cradles those that throw the bows. Photo by Tim Figueras

SFBG: A favorite on track moment from the season so far?

JF: Theres a couple. I have a girl on my team, Lisa Hartmayer, that blows me away. She’s a registered nurse and she was one of the Olympic torch bearers in San Francisco for the Beijing Olympics. She’s taken off this year, scoring a lot of points. Very physical. She’s got an advantage because she’s an ice hockey skater, so she loves the physical. 

 

SFBG: Prediction for your upcoming tournament?

JF: I’m predicting we’re going to be in the finals against the Red Devils. The last few championship games we’ve ended up facing them. It’s been close, but we’ve beat them both times. They’re one of the best teams out there. 

 

The Bombers will be one of the top four teams in the league playing in next month’s Calvello Cup (Fri/27-Sat/28). You can also catch recordings of past games on  KFTY TV50 digital 199.  They’ll air Aug 15 and Aug 22, 11 a.m.- 12 p.m. 

 

The Calvello Cup

Fri/27 and Sat/28 7:30 p.m., $5-20

Kezar Pavilion

755 Stanyan, SF

www.arsdbombers.com

 

 

 

 

Newsom’s budget and DCCC hypocrisy

Sasha Cuttler
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9
Newsom’s budget and DCCC hypocrisy

Hypocrisy hung thickly in the air at City Hall today as Mayor Gavin Newsom refused to responsively address glaring contradictions on a pair of high-profile policy stances, pursuing naked self interest while cloaking himself in deceptive but high-minded rhetoric. Newsom used the city budget-signing ceremony to effusively praise the labor unions that he publicly shamed into giving back $250 million over two years to balance the budget without tax increases, a budget that cut services and increased various fees and fines.

“Labor has been under attack in this state and country. They’ve become a convenient excuse for our lack of leadership in Sacramento and around the country,” Newsom said without blushing, defending unions against pension reform measures such as Public Defender Jeff Adachi’s SF Smart Reform, which he opposes while continuing to support the need for pension reform.

But Newsom seemed unaware that the layoffs, forced furloughs, and voluntary pay cuts accepted by the unions that he publicly demonized just a couple months ago and now praises – whose support he needs for his current run for lieutenant governor – is connected to his steadfast opposition to new taxes, which he reiterated today: “We balanced the budget without raising taxes. I don’t believe in raising taxes, we don’t need to raise taxes.”

Despite the fact that just 10 percent of San Francisco businesses pay any business taxes to the city, Newsom opposed and this week helped kill a measure by Board President David Chiu to reform the business tax system in a way that would increase taxes on large corporations, lower them on small businesses, create private sector jobs, bring $25 million per year into the city, and expand the tax burden to 25 percent of businesses, including the large banks, insurance companies, and financial institutions that are now exempt. Instead, labor took a deep hit and the city still faces projected $500 million budget deficits each of the next two fiscal years.

But Newsom’s hypocrisy isn’t confined fiscal issues. After the ceremony, he told reporters that he was sticking by his November ballot measure to ban local elected officials from serving on the Democratic County Central Committee, even after last night insisting that body give him a seat, which they had to change the bylaws to accommodate.

At last night’s DCCC meeting, members of an elected committee that includes four progressive supervisors and three current supervisorial candidates called for Newsom or his proxy John Shanley to explain why he is pushing a policy to ban locally elected officials from serving on the DCCC, a body in which elected state and federal officials automatically get seats.

“This mayor is on record as saying local officials should not serve on the committee,” Sup. David Campos said at the meeting, calling for Newsom to clarify this policy contradiction and offer his reasoning for the policy: “We don’t want to do anything that is inconsistent with what the mayor has said so far.”

Chair Aaron Peskin translated Campos’s comments as indicating “some level of irony or hypocrisy,” but Campos objected, insisting “it’s not a personal attack” but a genuine desire to know why Newsom sought to ban local elected officials after progressives won a majority of the DCCC seats in June.

Both Shanley last night and Newsom today gave the same legalistic answers, noting that he’s not serving in his capacity as the mayor, but as an ex officio member who automatically gets a seat for being the Democratic nominee for a statewide office (although the DCCC legal counsel said Newsom wasn’t entitled to a seat because the bylaws only award a seat when the current holder of the office being sought is a Democrat).

But DCCC member Carole Migden objected to Shanley’s answer, saying of Newsom’s effort to unseat duly elected members, “That’s picking a fight, if we want to be clear…That effects my vote, I have to say. It’s disrespectful and unconstitutional.”

DCCC member David Chiu noted that Newsom’s ballot measure would explicitly ban supervisors and the mayor from serving on the DCCC and said that the mayor still had a few days before the deadline for him to withdraw the measure, which he single-handedly placed on the ballot using his authority as mayor.

But today, when asked by the Guardian, Newsom said he had no intention of either withdrawing the measure or explaining it to the DCCC. When we asked about the contradiction in his positions, Newsom said only, “If the voters support it then it would be the right thing to do.”

He was similarly dismissive when other reporters continued to ask about the controversy, gesturing toward me with a dismissive wave of his hand as he said, “Certain people with certain newspapers major in the minor.”

After being told that Newsom is sticking by his DCCC ballot measure, Chiu told us, “I hope the mayor can move beyond the politics of personality and build a party vehicle that is about unity.”

 

New debate surrounds New Mission Theater

Sasha Cuttler And Mary Magee
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New debate surrounds New Mission Theater

The New Mission Theater, a dilapidated landmark that sits on the 2500 block of Mission Street, has been vacant for years, but controversy surrounding its fate is alive as ever and will be discussed at this afternoon’s July 29 City College of San Francisco Board of Trustees meeting.

In 2004, the city designated the theater as historically significant for its ties to the Mission’s early 20th century “vaudeville and movie house district.” Once upon a time, patrons regularly circulated through its palacial interior, which features Art Deco-syle ornamental metalwork at the ballustrades, plaster moldings imprinted with Greek key motifs, etched Art Deco glass panel doors, ceiling ornaments with floral motifs, and a balcony adorned with a frieze of garlands and urns, according to a landmark designation file.

Plans to restore and reopen the theater have been in the works for several years, and a 100-percent affordable housing development adjacent to the theater could move forward if everything falls into place. That’s turning out to be a big ‘if.’

In 2005, CCSF sold the theater, along with an adjacent shuttered Giant Value store, to Gus Murad — Medjool restaurant owner and a former small business commissioner appointed by Mayor Gavin Newsom — for $4.35 million, according to CCSF counsel Greg Stubbs. Now, CCSF is considering initiating foreclosure proceedings against Murad due to nonpayment. He owes more than $2 million on the property, according to notice of default issued June 21. During open and closed sessions at the July 29 Board of Trustees meeting, trustees will decide whether to proceed with taking back the property from Murad or grant him a 120-day extension. Murad is expected to offer his pitch for an extension at the meeting.

CCSF board member John Rizzo told the Guardian he was fed up with the missed payments. “Gus Murad keeps assuring us, oh yes, it’s going to happen, we’re on the verge,” Rizzo said. “But the affordable housing is not being built,” he said. If CCSF took the property back, “we wouldn’t sell it for market-rate housing,” he added. “We would want to see affordable housing.”

P.J. Johnston, a spokesperson for Gus Murad, declined to answer questions about possible foreclosure but told the Guardian that the central goal is to create 85 to 100 affordable units in the heart of the Mission. “We’ve been working with Mission Housing and hopefully are very close to a reaching an agreement with Mission Housing and the Mayor’s Office of Housing, which would obviously be a chief funder of the project,” he said.

Securing financing and reaching a deal with Mission Housing and the Mayor’s Office of Housing would allow Murad to square things away with CCSF, get the ball rolling on the development, and get something out of his investment.

Murad initially planned to develop market-rate housing on the lot curently occupied by the Giant Value storefront, but switched to an affordable housing project 1.5 years ago, Johnston said. Plans have always included rehabbing the theater. Negotiations with Bernal Housing came close to a deal, but ultimately fell through, he said. Now, Murad is hopeful that CCSF will grant a 120-day extension and a deal with Mission Housing can be secured in time.

“It has been a challenging time for the economy as it relates to land use,” Johnston said. “And it’s been a very difficult couple of years for restaurants.”

Mayor’s Office on Housing Director Doug Shoemaker declined to comment for this story.

Chris Jackson, a trustee, said he worried that if CCSF were to move ahead with foreclosure, “it’ll probably scuttle the affordable housing project. I’d rather wait an extra four months to bring affordable housing than just put the screws to the guy,” Jackson said. “If it was a market-rate project, I’d be like no, give us the money.” Jackson said under state law, any funds generated by a sale of the property — which was originally purchased with bond money — would have to go back into the capital project fund, and couldn’t go into college’s operations budget. “It won’t go to save one class at City College,” he explained. “It just goes into capital project reserves.”

Rizzo noted that certain “political forces” aligned with Newsom had been contacting board members in advance of the meeting to try and persuade trustees to grant an extension for Murad, who will clearly benefit if he is allowed to hold onto the property. Murad has hosted campaign fundraisers for Newsom in the past and has contributed to campaigns of the mayor’s political allies. It isn’t the first time the New Mission Theater development has generated political buzz.

When an earlier incarnation of Murad’s plans for the New Mission Theater and adjacent lot came before the Board of Supervisors in Feburary of 2009, it generated some controversy. Murad had won approval from planning staff for a 20-foot height extension that would have brought his housing project to 85 feet, but that was rejected by the Board of Supervisors. In an odd twist, a typo kept the 85-foot limit intact, so the Board was required to vote again to bring it down to the 65 feet they approved. When Mayor Newsom vetoed the board’s second vote, Sup. Chris Daly lambasted Newsom for engaging in “pay-to-play politics.”

Immigrant advocates protest AZ law and Jerry Brown’s SecureComm support

Mary Magee
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0

SF Pride’s Gabriel Haaland reports that the California Highway Patrol made them take down their “No One is Illegal” drop banner at 9.a.m.
 
The SF Pride action came on the heels of yesterday’s protest in which over a hundred people gathered in front of the federal building to rally for comprehensive immigration reform, oppose AZ’s SB 1070 law and to oppose the fingerprinting program that was imposed on SF known as S-Comm (i.e., Secure Communities), effectively undermining the city’s sanctuary ordinance. Nineteen people were arrested for engaging in civil disobediance and blocking Seventh Street.

Today, several more immigrant rights rallies are taking place, including one outside the San Francisco office of gubernatorial candidate and Attorney General Jerry Brown. The protest, which was organized by the SF Day Labor Program and the Women’s Collective, targets Brown for not supporting San Francisco Sheriff Mike Hennessey’s request to opt San Francisco out of the  S-Comm program. 

Meanwhile, over at City Hall, San Francisco Mayor Gavin Newsom said he doesn’t see any problem with the SecureComm program.
“There is no reason to opt out,”Newsom told reporters at a budget signing press conference.

Board had to ask for Lennar’s approval…

Mary Magee
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0

Images by Luke Thomas

The Board of Supervisors found itself in the humiliating position July 27 of having to ask for the approval of Lennar and the city’s Redevelopment Agency before it could amend Lennar’s massive redevelopment plan for Candlestick Point-Hunters Point Shipyard.

If that’s not an argument for reforming how this city approaches redevelopment, I don’t know what is. Especially since the Board’s meeting illustrated only too well how thoroughly Lennar’s local executives, who used to work for the city under Mayor Willie Brown,  understand this game and how to outfoxed any resistance to their ongoing effort to eat San Francisco whole.

“This is a rare opportunity,” Sup. Sophie Maxwell said ahead of the Board’s 10-1 vote (Sup. Chris Daly was the lone dissenting voice) to approve Lennar’s entire plan. “It focuses public and private investment into an area that has lacked it in the past,”continued Maxwell, who represents the district that encompasses the shipyard and Candlestick Point. ” It’s unmatched by any development project in San Francisco. This project is large and complicated, no doubt. But let us not be fearful of this project because of its scale, because how else can we transform a neglected landscape?”

But who wouldn’t be afraid of a deal that found Maxwell, Board President Chiu and Sups. Michela Alioto-Pier, Carmen Chu, Bevan Dufty and Sean Elsbernd joining forces to vote against Sup. Ross Mirkarimi’s proposal that Lennar be required to include a non-bridge alternative?

And who wouldn’t be doubly afraid, given that these six supervisors took that vote after Michael Cohen, Mayor Gavin Newsom’s top economic advisor, was unable to point to a single document to support his claims that Lennar’s $100 million bridge over an environmentally sensitive slough is actually needed?

Talk about scary.

To his credit, Mirkarimi did a good job of illustrating what’s wrong with a process that allows a private developer like Lennar to pitch plans and get mayoral appointees to approve them, but doesn’t allow San Francisco’s elected officials to make any amendments unless the developer and Redevelopment agree.

At the root of this travesty is the fact that redevelopment law trumps municipal law, a power imbalance that creates a shadow government in those few municipalities in California where the city council or board of supervisors is not the same entity as the Redevelopment Commission.

San Francisco is one such municipality, and, as Mirkarimi explained, this is not the first time that Redevelopment’s plans have trumped the concerns of local residents.

“I’m the supervisor for the Fillmore, the first urban renewal laboratory took place in my district, and I vowed to never let it happen again, ”Mirkarimi said, referring to the massive displacement of African Americans and Japanese Americans that took place when Redevelopment decided to makeover the Fillmore in the 1960s.

“I’ve been told, “Don’t worry, Ross, this is not going to happen. We’re not going to use eminent domain,’” Mirkarimi continued. “Well, Jeez, that’s a consolation! Because even when we’ve exercised our legislative influence and given our blessing, [Redevelopment] unilaterally changed the plan after it left the Board. That suggests a condescending role in which the developer is able to go to the Redevelopment Commission and have a unilateral change.”

Mirkarimi was referring to how proposed rental units on Parcel A, the first parcel of shipyard land released for redevelopment, became for-sale condos at Lennar’s request, without the Board having any recourse, even though the area surrounding the redevelopment is ground zero for the city’s last remaining African American community and home to other low-income communities of color.

Deputy City Attorney Charles Sullivan explained that the s supervisors would require the approval of the developer and Redevelopment to amend Lennar’s latest plan, under Redevelopment law. Failing that, their only recourse would be to reject Lennar’s plan in its entirety–a nuclear option that only Daly seemed prepared to carry through.

Sup. David Campos noted that the city’s legal advice had been “somewhat of a moving target.” His comment suggested the Board had  been misled in the critical weeks before this final vote, including ahead of the Board’s July 14 vote to accept certification of the project’s final environmental impact report.

“When a number of us raised questions about the EIR, we were told we couldn’t, but that we would probably be able to make changes to the substantive plan,” Campos recalled. “But now we are getting a more complicated answer.”

Deputy City Attorney Sullivan said the situation was complicated, because some of the proposed amendments “don’t involve a simple stroke of the pen.”

But Campos pointed to the fact that Board President Chiu had introduced an amendment that only allows for a 41 ft. bridge across Yosemite Slough, thereby halving the width of the 82 ft. bridge that Lennar is proposing to build.

That amendment, which Chiu introduced July 12,  leaves the door open for the 82 ft. version of the bridge, if the 49ers indicate interest in a new stadium on Hunters Point Shipyard, a possibility the city claims is still alive, even though Santa Clara voters approved a new stadium for the 49ers this June.

“So, why can you amend the plan to include a scaled-down version of the bridge but not eliminate it altogether?” Campos asked.

“You can make that motion by voting not to approve the project,” Sullivan said.

“So, the change has to point to something already embedded in the project?” Campos asked.

“Or not be a rejection of everything that’s already been brought forward,” Sullivan replied.

After Mirkarimi proposed his no-bridge alternative, along with a slew of other amendments that Daly, Campos, and Sups. Eric Mar and John Avalos had been working on to strengthen the proposed development, Cohen, Mayor Gavin Newsom’s top economic advisor, huddled somewhere in City Hall along with Kofi Bonner,  Lennar’s top local executive and Fred Blackwell, the head of SF’s Redevelopment Agency to decide which of the Board’s amendments they would accept.

Cohen returned with the amendments organized into three categories: acceptable as written, modified, and completely unacceptable.

And predictably enough (to anyone  tracking Lennar’s insistence on a bridge) Mirkarimi’s no-bridge amendment had been tossed into the “unacceptable” pile.

“With regards to your insistence on the economic reasons for the bridge, please point to which document says that,” Mirkarimi said, leafing through the project materials that were piled on his desk.

Cohen mentioned a number of factors, including an alleged “lessening of attractiveness,” “a lower density product” and a reduction of property tax revenue that would be available through tax increment financing to pay for Lennar’s proposed bridge.

“Yes, but I’m still trying to look for the information, and all I’m hearing is this pitch,” Mirkarimi replied. “The economic study is absent. There are no supporting documents here. This is why I feel it’s justified for use to have a review of this.”

Cohen talked some more about “rigorous public discussion over a number of years.”

“But there is no economic study,” Mirkarimi repeated. At which point a deafening silence pervaded the Board’s venerable chambers, much as if the emperor had shown up without his proverbial clothes.

Deputy City Attorney Sullivan broke the silence by indicating that the only way for the Board to move a no-bridge alternative forward would be to stop all project approvals and send the plan back to Redevelopment.

And Mirkarimi reminded the supervisors that at the Board’s July 13 hearing, Cohen had said that there was no conclusive evidence around the need for the bridge.

But then the Board voted 6-5 against Mirkarimi’s proposal, a move insiders said was more about not pissing off Labor, which hopes to create jobs for iron workers, and not pissing off Lennar, whose control runs deep and wide, and less about being convinced of the actual need to build over the last unbridged waterway in the city’s southeast sector.

And a couple of amendments later, the Board gave its blessing and it was all kisses and hugs and applause in the Board Chambers, even though the folks from Dwayne Jones Communities of Opportunities (COO) program, who usually show up to support the plan, strangely weren’t in attendance, rumoredly because their program has been cut off at the knees in the last few weeks, following Jones resignation as COO’s director.

“I wish we had been able to eliminate the bridge,” Campos told me after the Board’s final vote. “I think part of the challenge we have is to reexamine how Redevelopment works and explore the potential for taking it over.”

Mirkarimi was satisfied that he had dissected the arguments against the no-bridge alternative, but feared that institutional memory is lacking on the Board, and that without fundamental Redevelopment reform, the city is in danger of seeing this kind of travesty repeated, over and over.

“A lot of my colleagues have not been involved in the debacle,” Mirkarimo said, referring to how Redevelopment’s infamous role dates back five decades, and how Lennar has been working the local political scene for longer than most of the Board’s current members.

But Maxwell was all smiles.
“I did my homework a long time ago, that’s why they couldn’t touch the core of the project,” she said. “They just added to and augmented it.”

With Maxwell’s days on the Board drawing to a close, I asked what she’s contemplating doing next.

“Sophie is looking into water policies and conservation,” Maxwell said. “Without blue there is no green.

It was about then that Mayor Gavin Newsom released a press statement that blabbed on in vaguely frothing terms about what would happen next.

“Now we can truly begin the work of transforming an environmental blight into a new center of thousands of permanent and construction jobs, green technology investment, affordable housing and parks for our City,” Newsom said

His words came shortly before Bonner said that Lennar would now start looking for investors, and shortly after Cohen admitted that it could be years before anything in Lennar’s plan actually gets built. But none of them mentioned that the Sierra Club and other environmental groups are planning to sue the City over the bridge, an outcome that could have been averted, Sierra Club officials warned, if the No-bridge alternative had been  included in the final redevelopment plan.

Stay tuned….

 

Bug love: Paxton Gate’s insect mounting class

Andrew Lam
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Say that this morning, as you swept aside your window-sash, eager to let in the “warm” summer breezes that are so characteristic of late July in San Francisco, you saw there on your sill a fuzzy little bumblebee – dead, but for all the world looking like the embodiment of the grassy field and sunflower days of your youth. Now. Have you the instinct to preserve the furry fella in, say a diorama also featuring a map of your childhood favorite municipal park and a cut out image of you at eight, perhaps attired in a swatch of that kitty cat dress you couldn’t bear to be apart from at the time? (Just sayin’.) If that sounds apt, have the local horticulture-taxidermy enthusiasts down at Paxton Gate got a class for you!

In fact, they’ve had a class for you for awhile now – at least as long as teacher Zenaida Sengo has been teaching the store’s weekly insect spreading courses. “People love the class,” she told me over the phone. “Not only do they take away a skill they want to use for their art, but they really seem to bond with each other. You’re sharing a very obscure fascination — you don’t meet people that often that have that fascination for spreading insects.”

Indeed. But Sengo says she’s approached on a regular basis by customers in the store – which, among rare plants and stones, sells taxidermied mice in papal costumes and an impressive rainbow of bugs winged and not winged — who want to immortalize a pretty bee they found on their windowsill, or a creepy crawly that caught their eye hiking.

She’s found that these encounters have happened more and more over the past few years, corresponding with a rise in Paxton Gate’s popularity that she attributes to increased awareness about the environment and natural world. When a particularly inquistive patron comes her way, she points them to the classes, which have the dual benefit of saving insect enthusiasts some cash on professional mounting (ha!), and involving participants more deeply in the nature around them.

It’s a rarefied setting, these courses. Take one, and you will be supplied with all the supplies needed to mount two new friends: a butterfly and a beetle, both of which are introduced to your care for the price of the class. Paxton Gate hopes to debut more subjects in their catalog shortly in response to customer questions about horticulture – orchid mounting and terrarium building are two that come to Sengo’s mind as possible future educational adventures. 

Sengo herself came to Paxton Gate with horticulture experience alone but grew into the store’s unique creature comforts over time, appreciative of the intensively technical, detailed work that is incurred in the spreading, mounting, and pinning of insects. She’s even integrated the buggies into her art outside the store. Peruse her artist website and what surfaces are lucid dreamy, half-finished portraiture and half-animal, half-human forms – but she’s also soaked insects in water to make them pliable enough to pose in domestic settings. 

Throughout the Valencia Street store Sengo’s sets are in evidence – beetles clinging to sticks encased in sheltering belljars, seemingly about to take off in flight. She hopes that this sort of visual stimulation brings more bug fans to the store’s classes. “Insects are beautiful animals. There’s not a large percentage of people that see that, but for the ones that do they’re very special.”


Insect Mounting Class

Every last Thursday through Aug 26 4-7 p.m., $60

Advance registration required

Paxton Gate

824 Valencia, SF

(415) 824-1872

www.paxtongate.com

 

DCCC seats are fine for Newsom, just not supervisors

Sasha Cuttler
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DCCC seats are fine for Newsom, just not supervisors

Mayor Gavin Newsom is seeking to be seated on the San Francisco Democratic County Central Committee when it swears in newly elected members tonight, even though the body’s legal counsel says he’s not entitled to a seat and Newsom has put a measure of the November ballot that would prohibit local officials from serving on that body.

Newsom and his supporters, most prominently DCCC member and District 8 supervisorial candidate Scott Wiener – who fears the progressive-dominated body will endorse and support his more progressive opponent, Rafael Mandelman – argue that being the Democratic nominee for lieutenant governor should give him a seat on the DCCC.

But the longtime legal counsel for DCCC, Lance Olson, doesn’t agree, citing bylaws that indicate that only nominees for statewide offices currently held by Democrats get seats on the body. So District Attorney Kamala Harris, the Democratic nominee to succeed Attorney General Jerry Brown, gets an ex officio seat (those held by state and federal elected officials and regional party leaders) but Newsom doesn’t because he’s running against incumbent Lieutenant Governor Abel Maldonado, a Republican.

DCCC chair Aaron Peskin, a political opponent of Newsom, told us the rules are the rules and that if Newsom thinks that it’s in the interests of the Democratic Party for him to have a seat, “He’s going to need to make an argument why we should amend the rules.” Peskin even offered to introduce a rule change for discussion if Newsom does so.

While Wiener wrote (in a letter quoted by the Chronicle) that seating Newsom would be about party unity, Peskin notes that Newsom has actually been a practitioner of the “politics of spite and division,” particularly after he responded to the success of the progressive DCCC slate in the June election by trying to ban local officeholders from the body (several progressive members of the Board of Supervisors successfully ran for the DCCC), claiming the body should be like a farm team for building the party.

“It really begs the question: why is he seeking to do himself what he doesn’t want others to do?” Peskin asked.

Newsom’s office didn’t respond to our inquires about the matter. BTW, in his letter to Peskin, Newsom proposed that attorney John Shanley be his proxy and journalist and political gadfly Warren Hinckle be his alternate. The meeting begins at 7 p.m. in the state building at 455 Golden Gate.

The Performant: Upright Citizen’s Brigade and Fly Trap Theatre spelunk the absurd

Jesse Hawthorne Ficks
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Reviews of recent arts and culture happenings

When asked by the Upright Citizen’s Brigade touring company last Friday what his motto in life was, the random guy onstage we’ll call Nick (because that’s what he called himself) said “abandon all hope ye who enter here,” which seemed a little heavy for an evening of comedy, but the UCB took it in stride. This influential improv group, hosted locally by Bay Area improvisers Pan Theater, plumbed the depths of Nick’s predilections and peccadilloes with gusto. Got hit by an SUV on your motorcycle, must be those preciously extended pinkies, dude. Got slapped down by a bio-bitch down the street—why don’t you stick with the steampunk tranny hos in your own backyard? Why not launch a string of rockets into the street and call it installation art? Why not make sandwiches with a block of cheese containing the cremated ashes of your loved ones?

The second portion of the show was a series of short improvs based on text messages called out by the oddience (my personal favorite: “if they’re not playing D&D they should go to the demolition derby”) and included a round of double-jeopardy where the contestants drank themselves smart, a unique menstruation situation involving Beggin’ Strips, a few unfortunate deaths courtesy of the 911 call center, and a company policy of suicide handed down from “corporate”. Seriously, I can’t make this stuff up! But the lightning-quick, three-man-one-woman touring company of LA-based performers can and did, riffing on themes so absurd it made “The Young Ones” look like “Mr. Roger’s Neighborhood.” Or vice versa, depending on your brand of dada.
 
Dropping in on the “Fly Trap Theatre” at Paxton Gate Curiosities for Kids in the Mission on Saturday, I was treated to a different kind of improvisation, as Danielle Coe, a cheery volunteer from the Conservatory of Flowers dissected a pitcher plant for a handful of curious kiddies, who “eeewww”’d in satisfied unison when half-digested beetles plopped out into a plastic dish. The star of the “show” was indubitably the red-tinged Venus Flytrap snapping its leafy mandibles tightly shut on command (a soft nudge with a wooden dowel), a plant so insatiable that one of its several feeder “mouths” had closed tightly on the stem of another.

“I like doing the shows here in the Mission,” said Danielle, “it’s fun to work with the kids. You get to be less scripted, and more silly.” Sounds like improv
to me, albeit minus the beloved block of cremated mom + Montereyjack. But really, what could be more patently absurd than a carnivorous plant attempting to devour itself? The only auto-cannibal on the planet lower on the food chain than its usual meal.

Nothing to do with the above, but mention should be made somewhere of the Dan Plasma stage mural for “The 91’ Owl” which recently closed at the BurielClayTheatre. His distinctive design lent the bare bones set an air of urban authenticity, San Francisco-style.

Big Brother? Body cams, face-recognition apps, and liquid body armor

Sasha Cuttler And Mary Magee
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Big Brother? Body cams, face-recognition apps, and liquid body armor

The San Francisco Chronicle reported yesterday that several police departments in California are equipping officers with tiny cameras to wear while on duty. San Jose and Oakland police departments are reportedly testing out similar technology, and the so-called body cams are under consideration in Seattle too.
To be sure, this could be a welcome development for police-watchdog organizations who’ve found that it is difficult to hold an officer accountable for misconduct when you have little to go on besides an officer’s word versus that of the person alleging abuse.

According to a Popular Mechanics article about the Axon, a body cam worn behind the ear manufactured by Taser International, the technology was conceived of to fend off abuse allegations against police officers. It’s an ironic twist, considering that for 20 years activists affiliated with volunteer-run Copwatch groups have shadowed cops with their own cameras to capture police misconduct on film. Taser International also makes a miniature camera that clips onto a Taser and starts recording when the weapon is deployed.

Steve Tuttle of Taser International is quoted in the article explaining how body cams could benefit police:

“At first blush, it sounds like Big Brother. But if we’re not doing it, it’s the kid next door recording it with his cellphone. And what if he didn’t flip it open in time, and he doesn’t catch his buddy making verbal threats or attacking the officers first? What happens then?”

The presence of a camera lens could possibly deescalate situations by inducing violent offenders to think twice about their actions, or dissuading officers from using excessive force. But it gives rise to plenty of questions. What if people are recorded without probable cause? What if an officer decides to stop recording just before delivering a baton blow to someone’s head? Will the technology further erode community trust in law enforcement? Will police officers experience more anxiety because their every move could be subject to scrutiny?

Kellie Evans, associate director of the American Civil Liberties Union of Northern California, said the body cams have the potential to benefit police and police watchdogs, but warned that success would depend on regulations pinned down during implementation.

“Departments need to have very clear rules about when the camera will be turned on,” Evans said. It’s essential that departments clearly spell out how the recordings will be used and how the integrity of the footage will be preserved, she added. “We all know that police misconduct is taken more seriously when a video tape is involved,” she said.

We put in a call to the San Francisco Police Department to find out if anything is in the works to test out police body cams in the city, but haven’t received a response yet. Media Relations Officer Samson Chan did, however, chuckle ruefully and offer that he doubted if the department’s budget would permit such a thing. Axon cameras cost $1,700 each, according to the Chronicle story.

Meanwhile, there are other noteworthy developments on the high-tech police gear front. A new iPhone app that can instantly identify suspects is being tested out by a Massachusetts police department, PC World reports. Using facial recognition software, the app — called MORIS (Mobile Offender Recognition and Identification System) — allows officers to point their mobile phones at a person to call up identifying information. If a biometric match is found, information associated with that person is immediately sent back to the iPhone.

Asked what she thought about the app, Evans — who hadn’t heard anything about it before we forwarded her the article  — told us, “This technology isn’t a substitute for traditional police work.”

Facial recognition technology is fraught with problems, she said, and agencies have abandoned it before because it tends to churn out a high degree of false positives and false negatives. “Too many mistakes can be made,” she cautioned.

“This does raise a lot of red flags for us,” Evans added. “It would be critical that police not be using it in some roving fashion.”

The third new product to land on our radar is perhaps the most sci-fi of all. Fast Company reports that team of U.K. scientists has unveiled liquid body armor that hardens on impact to become bulletproof, using something called “non-Newtonian fluid mechanics” that we do not pretend to understand.

We didn’t bother asking if police departments in Oakland or San Francisco have any plans to outfit their officers with liquid body armor just yet. Apparently, it’s anyone’s guess when it would be put to use in the field, and even then it will likely be shielding U.S. soldiers.

Our Weekly Picks: July 28-August 3, 2010

Jesse Hawthorne Ficks
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WEDNESDAY 28

VISUAL ART

“(Por)trait Revealed: A Juried Exhibition of Portrait Photography”

The latest RayKo offering runs the gamut of portraiture in American photography: Elvis impersonators, Arbus-esque twins (potentially Kubrick-esque too), among others. Combining You Are What You Eat by Mark Menjivar and Fritz Liedtke’s Skeleton in the Closet, this exhibit looks up and down the non-proverbial food chain and an obsession with keeping up appearances: the ectomorphic, the body-dysmorphic, and finally, the contents of the American fridge. This raw size-up of eating disorders and trends might leave you hungry, so I found several nearby restaurants (Supperclub, La Briciola, Chaat Café) with decent reviews on Yelp to make you feel better –– or possibly worse –– about yourself. (Ryan Lattanzio)

Through Sept. 10

Reception 6 p.m., free

RayKo Photo Center

428 Third St., SF

(415) 495-3773

www.raykophoto.com

 

THURSDAY 29

COMEDY

Tracy Morgan

Getting his first major mainstream exposure on the TV show Martin in the mid-1990s, Tracy Morgan quickly went on to join the cast of Saturday Night Live based on the strengths of his hilarious comedic talents. On SNL he created classic characters such as the moonshine-swilling “Uncle Jemima” and performed a host of side-splitting celebrity impersonations. Now turning the tables, in a manner of speaking, he pokes fun at his own celebrity on the hit NBC show 30 Rock in the guise of “Tracy Jordan” — Morgan has proven on the air that anything is possible, so expect nothing less when he hits the stage in front of a live audience. (Sean McCourt)

Thurs/29–Sat/31, 8 p.m. (also Fri/30–Sat/31, 10:15 p.m.);

Sun/1, 7:30 p.m., $40.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.livenation.com

 

DANCE

Napoles Ballet Theater

Napoles Ballet Theater might be considered a newbie in terms of other dance companies in the Bay Area, but this ballet-based modern dance company has a Cuban flair that says: NBT is here to stay. Under the artistic direction of Cuban choreographer Luis Napoles, NBT’s “First Home Season” features six different ballets by Napoles and includes the world premiere of his newest work, Lecuona. Reinventing classical ballet with elements of Afro-Cuban dance, contemporary movement, theater, and jazz, it wouldn’t be surprising if NBT’s first full-length performance in SF marks the first of many seasons to come. (Katie Gaydos)

Thurs/29-Sat/31, 8 p.m.; Sun/1, 4 p.m., $20

Dance Mission Theater

3316 24th St., SF

(415) 273-4633

www.napolesballet.org

 

FRIDAY 30

DANCE

“ODC’s Summer Sampler”

If you’re in the mood for modern dance but not sure if you can commit to sitting through a full-length performance, contemporary dance company ODC has what you want. With wine sampling, hors d’oeuvres, and a one-hour showing of some of ODC’s best works, its fourth annual “Summer Sampler” will satisfy your appetite without overloading your senses. The dance portion of the evening includes choreography by ODC artistic directors Brenda Way and KT Nelson, with audience favorites such as Nelson’s Stomp a Waltz (2006), Way’s John Somebody (1993), and ODC’s most recent premiere: Way’s sassy satire on feminine manners, Waving Not Drowning (A Guide to Elegance). (Gaydos)

Through Sat/31

6:30 p.m. (also Sat/31, 4:30 p.m.), $20

ODC Dance Commons

351 Shotwell, SF

www.odcdance.org

 

MUSIC

Zola Jesus

Opera is hardly the musical language of the young, but 21-year-old Nika Roza Danilova is as suited to the form as any goth kid from Madison, Wis/, can be. Danilova’s opera is no Carmen after all; she uses the techniques but favors atmospheric noise and murky echo, letting those sounds take the foreground over her powerful voice. As a sometime member of the band Former Ghosts and one-half of the synth-pop duo Nika + Rory (where she makes a significant case for the benefits of Auto-Tune), Danilova seems primed to find herself the catalyst for a new generation of opera singers — and fans. (Peter Galvin)

With Wolf Parade and Moools

8 p.m., $27.50

Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

DANCE

Man Dance

His experiences running Central Dancer Theater in Nebraska had taught Man Dance Company founder Bryon Heinrich that audiences like theme-based programs. So for the company’s (sold-out) opening season last year, he let himself be inspired by ballet. This time he looked to romance in ballroom dancing. Joining his own company of seven men — women appear as guest artists — are ballroom professionals Roby Tristan, Chelsea Wielstein, and Eric Koptke. The first half of the evening offers mixed choreography, including young Alec Guthrie’s award-winning trio which he will perform in pointe shoes. The second half, “It Takes Two to Tango,” is a love story for ballroom and ballet dancers. (Rita Felciano)

Through Sat/31

8 p.m., $25–$45

San Francisco Conservatory of Music

50 Oak, SF

1-800-838-3000

www.mandance.org

 

VISUAL ART

“Between Currencies”

Texas-raised artist Erik Parra’s collage works prominently feature photographic images with an abiding retro aesthetic (probably because they appear to be actual old photographs), dappled with blobs or confetti-like clouds of color. The appealing result is vibrant and surprising, humorous but also a bit eerie, as colors creep into a black-and-white plane like so many stills from a forgotten, more austere version of Pleasantville (1998). Though perhaps it’s irrelevant to the ideas behind Parra’s art, this critically skewed lens on images of the not-so-distant past seems curiously complementary to the recent premier of Mad Men‘s fourth season. The gallery show opens today, but the official reception happens a week later. (Sam Stander)

Through Sept. 11

Reception Aug. 6, 5–8 p.m., free

Johansson Projects

2300 Telegraph, Oakl.

(510) 444-9140

www.johanssonprojects.com

 

SATURDAY 31

EVENT

Mama Calizo’s Voice Factory wake for 1519 Mission

Mama Calizo’s Voice Factory, having a few years ago taken over the space formerly occupied by the Jon Sims Center for the Arts, has carried forward nearly three decades of work by queer artists at 1519 Mission St. MCVF (and its new but unaffiliated off-shoot, THEOFFCENTER) promises to continue the mission of incubating queer performance, but the traditional Mission Street incubator must close its doors at the end of the month. A search for a new permanent home is underway, but in the meantime, MCVF will hold a “final performance and wake” on Saturday night to mourn, remember, and celebrate. (Robert Avila)

8 p.m., free

Mama Calizo’s Voice Factory

1519 Mission, SF

www.mcvf.org

www.theoffcenter.org

 

MUSIC

Swingin’ Utters

San Francisco’s street-punk stalwarts the Swingin’ Utters have steadily built a loyal following since they formed back in the late ’80s in Santa Cruz, and the band is back in action with a new seven-inch titled “Brand New Lungs.” Teeming with all the working-class attitude and piss and vinegar that fueled their early releases, the three-track single features Johnny Bonnel’s wonderfully ragged vocals once again mixing with Darius Koski’s searing guitars and the jackhammer rhythms of the rest of the group. A new full-length album, Here, Under Protest, is due in October, so catch them now before they hit the road for extended U.S. and European tours. (McCourt)

With Cute Lepers and Stagger and Fall

9 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slimstickets.com

 

EVENT

25th Annual Berkeley Kite Festival

Only in Berkeley do the world’s largest octopi fly through the sky in a giant octopile. No, the East Bay is not home to a freak show aquarium (as far as I know) — but it does host the annual Berkeley Kite Festival. So bust out your most impressive kites — bigger is not always better (especially when you’re trying to avoid kite-on-kite collisions) — and head over to Berkeley Marina. This might be your only chance to watch 30,000 square feet of creature kites take flight, eat corn on the cob at the kite ballet, and cheer on the Berkeley Kite Wranglers in the West Coast Kite Championships. (Gaydos)

Through Sun/1

10 a.m.–5 p.m., free

(free shuttle service to and from North Berkeley BART, 11 a.m.–5:30 p.m.)

Berkeley Marina, Cesar Chavez State Park

www.highlinekits.com

 

FILM

“Midnites for Maniacs: Macho Man-iacs Quadruple Feature”

In typical Castro Theatre tradition, Midnites For Maniacs unites Bay Area movie geeks with esoteric tastes and a palate for the weird and cult-y. Saturday is “Macho Man-iacs,” the quinto-mother of all manly movies with Stallone-starring Nighthawks (1981), Jean Claude Van Damme’s breakout film Bloodsport (1986), and two gems from the mine of John Carpenter B-movie bliss: They Live (1988) and Big Trouble in Little China (1986). Finally, this testosterone-charged program, with no X chromosomes in sight, concludes with a “Secrete Midnite Film.” All we know is it’s from 1989, not on DVD, and as the website insists, “You won’t believe there’s a 35mm print of this!” I’d bet money it’s a low-budget action flick starring a retrosexual with bad hair. (Lattanzio)

Films start at 2 p.m., $10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

MONDAY 2

MUSIC

Bomb the Music Industry!

If punk rock’s traditional values are DIY and egalitarianism, then Jeff Rosenstock of Bomb the Music Industry! is a stone cold reactionary. He’s known for blurring the line between fans and bandmates until it’s more or less invisible — bring a guitar or horn to a BTMI show, and there’s a good chance you’ll be invited onstage. Unswerving as the band’s commitment to aesthetic integrity might be, however, nobody could ever accuse BTMI of taking itself too seriously. Like their labelmates Andrew Jackson Jihad, Rosenstock and company leaven their scathing social commentary with lighthearted wit and eminently pogo-worthy arrangements. (Zach Ritter)

With Shinobu and Dan Potthast

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

TUESDAY 3

THEATER

MacHomer: The Simpsons Do Macbeth

Two of the most influential cultural icons ever, Shakespeare and The Simpsons, and two of art’s saddest sacks, Homer and Macbeth, finally arrive together on one stage, and in the form of one actor, in MacHomer: The Simpsons Do Macbeth. This solo show puts the Bard in Bart as Canadian import Rick Miller performs a daunting feat of incantation –– aside from that bewitching incantation “Double, double, toil and trouble” –– with voice impressions of more than 50 characters from the animated series. Miller is damn’d spot on, in both his display of an uncanny vocal talent and a commitment to making Shakespeare more accessible for younger audiences. (Lattanzio)

Through Aug.. 7

8 p.m. (also Aug. 6–7, 10:30 p.m.), $30–$40

Bruns Amphitheater

100 California Shakespeare Way, Orinda

(510) 548-9666

www.calshakes.org 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

BEST OF THE BAY 2010

Jesse Hawthorne Ficks
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BEST OF THE BAY 2010

Welcome to the San Francisco Bay Guardian’s Best of the Bay 2010! This is our 36th annual celebration of the people, places, and things that make living here such a ridiculous joy — from Best Burrito and Best Amateur Sports Team to Best Strip Club and beyond.

Thousands of our readers voted in our 2010 Best of the Bay Readers Poll for their favorites in more than 200 categories. You’ll find the results inside — as well as 150 Editors Picks that highlight some Guardian favorites, old and new, that we think deserve special recognition for lighting up our lives this year.

This year our theme is “A Celebration of Local Heroes.” We’ve chosen eight individuals who we feel embody the current spirit of the Bay Area and its unique values. We hope you’ll be as inspired by their stories as we are. But really, our readers and everyone who contributes to making the Bay Area a better place to live are our local heroes. So throw on that magic cape, hop on your pedal-powered Batmobile, and let’s do it!

In 1974, Esquire magazine asked us for ideas for its Best of the USA issue, which led to us publish the original Best of the Bay. Made by the people of the Bay Area for the people of the Bay Area, it’s our annual opportunity to celebrate the people and places that make this city great. We were the first weekly paper to publish a regular “best of” issue. Thirty-six years on — and 44 years after we opened our doors — we’re still going strong.

Editing this year’s installment was a hoot. I shower grateful smooches on all my collaborators, especially my right-hand amiga Caitlin Donohue, creative wiz Mirissa Neff, amazing Local Heroes photographers Keeney + Law, the totally rad Blue Sky Studios, photographer Ben Hopfer, and the ever-supportive Hunky Beau, my own personal Best of the Bay. But most of all I thank you, dear reader, for your generous participation, for making the Bay Area such an astounding place to live, and for turning us on to some great new things this year.

Marke B.

marke@sfbg.com

 

CELEBRATE WITH US!

The Guardian’s free annual Best of the Bay party is legendary — and you won’t want to miss this one. Schmooze with all the winners at Mezzanine! Rock out with Chuck Prophet, Stephanie Finch and the Company Men, and The Bitter Honeys. Thrill to the hip-hop improv of The Freeze! DJ Ome, Polite in Public photobooth, Burgermeister truck, and more!

Thursday, Aug. 5, 9 p.m., free

Mezzanine, 444 Jessie, SF.

www.sfbg.com/bestofthebay2010

 

BEST OF THE BAY STAFF

BEST OF THE BAY EDITOR

Marke B.

CREATIVE DIRECTOR

Mirissa Neff

EDITORIAL ASSISTANCE

Caitlin Donohue

ASSISTANT ART DIRECTOR

Ben Hopfer

LOCAL HEROES PHOTOGRAPHY

Keeney + Law

PHOTOGRAPHY LOCATION

Blue Sky Studios

CONTRIBUTING WRITERS

Rebecca Bowe, Bruce B. Brugmann, Kimberly Chun, Paula Connelly, Caitlin Donohue, Cheryl Eddy, Nicole Gluckstern, Johnny Ray Huston, Steven T. Jones, Virginia Miller, Tim Redmond, Paul Reidinger, Charles Russo, Amber Schadewald, David Schnur, Diane Sussman, Stephen Torres

BEST OF THE BAY PHOTOGRAPHY

Ben Hopfer, Mirissa Neff

COPY EDITORS

Caitlin Donohue, Diane Sussman

SPECIAL ASSISTANCE

Liz Brusca, Michelle Neville

ABOUT THE PHOTOGRAPHY

KEENEY + LAW

Michael Keeney and Jasmine Law met at the Brooks Institute of Photography. It didn’t take long for them to realize that their approaches complemented one another. Together they are Keeney + Law, a team that successfully balances being both professional and life partners. In photography, their shared vision is based around the idea of a vignette, where every photo is a short story with an emphasis on good light. Always striving to connect with their subjects, Keeney + Law’s collaborative process was a perfect fit for this year’s Local Heroes portrait project.

www.keeneyandlaw.com

BLUE SKY STUDIOS

The Guardian’s Local Heroes portraits were shot at Blue Sky Studios in San Francisco (with the exception of Vernon Davis, who was shot on location by Peter Bohler). We used Blue Sky’s state-of-the-art Light Grid, which is the first fully robotic lighting mechanism of its kind.

www.blueskysf.com

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