San Francisco

Is Vallejo’s loss Lennar’s gain?

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From Vallejo’s “Discover Vallejo” site.

Text by Sarah Phelan

“Due to the Company’s termination of its right to purchase certain LandSource assets, the Company recognized deferred profit of $101.3 million in the fourth quarter of 2008 (net of $31.8 million of write-offs of option deposits and pre-acquisition costs and other write-offs) related to the recapitalization of the Company’s LandSource joint venture in 2007.”

I’m no expert on investor relations, but it seems that the above paragraph, excerpted from Lennar’s December 18 2008 8-K report, means that by filing bankruptcy at Mare Island last summer, Lennar either spared its shareholders from further loss, or earned them a profit.

Either way, the financial calculation that lurks behind that deal feels like cold comfort to communities like San Francisco whose last pieces of undeveloped lands are caught up in Lennar’s shareholder-driven financial web.

Return to deform

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› a&eletters@sfbg.com

PREVIEW One of the most exciting and unusual theatrical events of 2008 came from a small San Francisco–spawned, now Brooklyn-based company: the curiously named Banana Bag and Bodice. It almost sounds unexpected, but in fact BBB, which retains close ties to the Bay Area, has been doing shrewd, highly imaginative, often startlingly designed songplays — their preferred term — with practically no budget for about a decade. Habitués of the San Francisco Fringe Festival, most of the company’s work has appeared there in one form or another — almost invariably garnering Best of Fringe honors — beginning with 1999’s debut outing, The Bastard Chronicles, and running through such memorable encounters as the dadaist delight and vegetarian horror show, Sandwich (2004), or the haunted viscera and satirical apocaly-poesis of The Sewers (2007).

Nonetheless, last spring’s world premiere of Beowulf: A Thousand Years of Baggage — a slick, rousing performance-arty rock operetta-cum-English-lit-seminar that ran at the Ashby Stage in Berkeley — raised things to a new level for the company, especially in terms of production values. And thanks to the support of commissioning company Shotgun Players, BBB’s well-honed minimalist aesthetic, sardonic humor, enveloping musical designs, and performance rigor all proved more than capable of expanding to fill the bigger space and budget. It’s otherwise impossible — and still somewhat awesome — to imagine a BBB performance being mounted at a top-of-the-line venue like the Berkeley Rep. But that’s just where Beowulf will be reprised Jan. 8, expanding to fill the Rep’s cavernous Roda stage, in a single benefit performance ahead of the show’s New York City premiere in April at the Henry Street Settlement’s Abrons Arts Center. A sign of things to come.

Since co-founding Banana Bag and Bodice in 1999, writer-actor Jason Craig and actor Jessica Jelliffe have led the extremely resourceful, highly collaborative ensemble — which includes stalwarts composer-actor Dave Malloy and actor-director Rod Hipskind — in far-flung productions that regularly straddle NYC, SF, and Craig’s hometown of Dublin, Ireland. While dazzling audiences with works as conceptually unconventional as they are hilariously clever, behind the scenes they take a tough-minded and committed approach that serves them well in the lean and unforgiving environment of NYC’s alternative theater scene, and the group’s recent productions there have gained enthusiastic audiences and reviews as well as plenty of street cred with their peers.

Meanwhile, nurturing longstanding ties to the Bay Area has helped ensure a consistent output as well as momentum. When Shotgun’s artistic director Patrick Dooley held out the offer of a commission for an opera, Craig says they took the plunge without hesitation, telling him they’d like to do something with Beowulf. The idea apparently came more or less out of a hat. "I didn’t read it until Shotgun agreed to do it," he confesses alongside Jeliffe and Malloy at Craig and Jeliffe’s comfortable roost in a warehouse in Brooklyn’s Bushwick neighborhood. "It’s just really not my cup of tea. Honor and machismo." But Dooley immediately agreed, providing BBB with what was, for them, unprecedented support.

Malloy — as composer, musical director, and actor in the role of King Hrothgar — reveled in the creative possibilities: "To be able to have an eight-piece orchestra — I’ve never been able to have that before, and it’s so rich and rewarding." For the NYC production he’s even adding two more musicians. "I’ve been rewriting all the music, making it thicker and denser," he says. "It’s just a real treat, because I’m so used to doing black box theater where it’s like, ‘oh, this actor plays violin — great.’<0x2009>"

Craig’s script, meanwhile, ended up brilliantly channeling his reluctance and skepticism toward the epic poem itself, turning his own discovery and questioning of the text into a set of theatrical subjects and productive dichotomies: a panel of seemingly empty academic experts — two of whom, including Jelliffe, double as Beowulf’s monster adversaries — and the titular hero, played by Craig, as an unlikely he-man gone slightly to seed, in addition to a showdown with monsters who are also a mother and son, and the sly morphing of Beowulf’s medieval warrior mythos with its 21st-century rock-god counterpart. The latter concept was already honed in BBB’s 2007 show, The Fall and Rise of the Rising Fallen, which birthed a mock-legendary band with a life beyond the play. The results have shown BBB playing at the top of their game.

"It’s working with Shotgun that’s ramped up everything," confirms Jelliffe. "Not that we have to match that every time, but it has upped the ante, definitely. Usually we make whatever we can with whatever we can. With The Sewers, we made this incredible $20,000 set with no money because of the resources we are able to draw from in New York.

"We still do that, and will continue to do that," she continues. "But with Shotgun, I mean, having a budget?" It’s a modest one to be sure, but for now, without a doubt, as Craig says, "It’s cool."

BEOWULF: A THOUSAND YEARS OF BAGGAGE

Thurs/8, 8 p.m., $30

Roda Theatre

2025 Addison, Berk.

www.shotgunplayers.org

So Fox-y

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› kimberly@sfbg.com

SONIC REDUCER Wow, 80 years old and such a beauty: I took a peek at Oakland’s Fox Theatre — yes, a distant relation to San Francisco’s late, lamented Fox — before the holiday break and, whoa, wolf whistles. The friendly rival to the Paramount around the corner is definitely beginning to feel like her glam self once more, decked out in a fabulist fantasia of Indian-Moorish finery, and in December, positively glowing beneath the hands of the workers intent on restoring her to her rightful splendor — and upgrading her in key spots with new bathrooms, dressing rooms, balcony seats, and a new Meyer sound system.

The now-2,800-capacity live-music venue operated as a movie house from 1928 until it closed in 1965. Placed on the National Register of Historic Places in 1979, the Fox was purchased by the city of Oakland in 1996 — after undergoing the threat of being turned into a parking lot and the indignity of arson, water damage, and neglect — and is now under the aegis of developer Phil Tagami and Another Planet Entertainment, readying to reopen Feb. 5. Its first show is on Feb. 6 with Social Distortion.

According to Another Planet VP Allen Scott, "We have been working on this project for close to four years and there has been a lot of blood, sweat … and now cheers." The Fox will be APE’s flagship venue — showcasing everything from rock to soul to Latin.

Great expectations, yet from the mere look of it, the Fox’s prospects are as marvelous as its beauteous shell. It’s safe for me to say — after walking by the magnificently lit-up neon marquee, tiled towers, and faux-sikhara for years and wondering what was inside — the Fox will not disappoint anyone who wants an eyeful of glorious, orientalist movie-palace exotica. Two Hindu gods look down on shining new floors from the sides of the gold-hued stage, styled to resemble the temples of Palitana, below a highly ornate star-splashed ceiling. The mezzanine: a magic-carpet ride of tiled niches and stenciling patterned after Persian carpets. The venue itself will be topped by Oakland School of the Arts and be flanked by a restaurant and bar that will keep the corner lively when shows aren’t scheduled.

It’s a miraculous save — long coming — for Fox followers like Patricia Dedekian, founding board member of Friends of the Oakland Fox. "Every time I go in there now I start crying because it’s so exciting and emotional," Dedekian said. She hopes to raise money for an endowment for the Fox’s continued preservation and upkeep.

"I used to describe the Fox Oakland as the black hole that sits in center of Uptown," she continued. "It was clear this was a big project waiting to happen. Now I can believe it when I see it."

ZAP! After a horrible fall on Landers Street during a drunken stumble home on the rainy eve of Nov. 1, San Francisco underground artist S. Clay Wilson, 67, is drawing again, reports his partner Lorraine Chamberlain.

Chamberlain is still trying to track down the Good Samaritan — or guardian checkered demon — who found Wilson with a fracture and gash in his head lying between two parked cars, made the 911 call, and waited with the artist till the ambulance arrived — an act that saved the cartoonist from perishing from hypothermia. "He was like a block of ice," Chamberlain told me. "If he had been there a couple more hours they would never have been able to stabilize him." But right now she’s glad that after spending his first two weeks in a semi-coma with a bout of pneumonia, Wilson is attacking his colored pencils and vellum with gusto, making drawings that don’t quite resemble the super-maximalist, sensory-overload, iconoclastic pieces of Zap Comix, though Chamberlain added, "they’re quite good."

Word has it the cartoonist is cracking wise in his room at Davies Medical Center, though he still suffers from aphasia and impaired short-term memory. "He called me in the morning and said he was doing a drawing of hobbling zombies — he said it three times. He meant, rotting zombies," explained Chamberlain, an ex of Frank Zappa’s who coined his nickname, Lumpy Gravy. "He talks on and on about things that aren’t based in reality, and I realized he was doing a verbal drawing, just talking a drawing rather than doing it."

The Christmas artwork he gave her was "pretty hideous. A couple of ugly guys, one guy in a gray suit and a little guy standing there with a muffin tin of steaming piles of shit, and a big ugly guy with a shovel with holes in it and it says, ‘Merry Ex Mass.’"

Wilson is on Medicare, Chamberlain said, but needs continuing care. Thus checks are being sent to S. Clay Wilson, POB 14854, San Francisco, CA 94114, from all over the country — the Jan. 11 fundraiser comes courtesy of his friends in Brutal Sound Effects (a blues benefit happens Jan. 24 at Mojo Lounge, Fremont). Meanwhile Chamberlain can’t wait for Wilson to come home. "I miss him," she said. "He’s a pain in the ass, he’s hard to live with, but I got used to it!"


www.thefoxoakland.com


S. CLAY WILSON BENEFIT, with Anvil Encephalopathy, Liz Allbee/Agnes Szelag, Skullcaster, Loachfillet, Heartworm, Heule/Dryer, and others. Sun/11, 6 p.m., $7–$20 sliding scale. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

———–

BLOODIED, BUT UNBOWED

FREE BLOOD


Ex-!!! vocalist John Pugh pushes it further with Madeline Davy in their DFA project. With Landshark. Fri/9, 9:30 p.m., $10–$20. DNA Lounge, 375 11th St., SF. www.dnalounge.com

DIRTYBIRD FOUR-YEAR


Claude VonStroke, Justin Martin, Christian Martin, and Worthy get filthy at their first quarterly at the venue. Fri/9, 10 p.m., $10–$15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

Cafe Kati

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› paulr@sfbg.com

If the second half of the 1990s stands to be remembered as an era of golden bubble baths in San Francisco, the decade’s quite different first half (less opulence, more calamities) might be remembered as a magical era of neighborhood restaurants. With the Great Freeway Shift that followed the 1989 earthquake — demolitions, re-routings, rethinkings — the city’s relationship with its suburbs changed forever; suburban diners could not be counted on as before to fill city restaurants, and young chefs migrated into the neighborhoods to start their own places in what amounted to a culinary diaspora.

Among the earliest of these pioneers was Kirk Webber, who opened his Café Kati in the borderland between the Fillmore and Japantown in 1990. Webber brought a high pedigree to the venture; he had been trained at the California Culinary Academy and had worked at Silks (in the Mandarin Oriental Hotel), among other places, before opening Kati. The restaurant, nonetheless, was a neighborhood restaurant, snug and warm, with a handful of tables and a sense that each dish was being carefully handmade in the small kitchen behind the dining room.

And so it remains. From the rustic, wood-cut-style street signage (reminiscent, for me, of Chez Panisse’s) to the intimacy of the dining room (which seats no more than 20 or so) to the wall art that resembles the famous cave paintings at Lascaux, France, Café Kati feels personal. It has been shaped by human hands and reflects a steady, guiding sensibility. Even the slightly retro black track lighting on the ceiling reinforces our sense that Café Kati has evolved and accreted — has earned its look over the years rather than having been sculpted all at once by a hired-gun designer who then was hired elsewhere and moved on, never to revisit.

Webber is one of the first, and remains one of the purest, of the so-called fusion chefs, the people who brought Asian touches to classic French cooking. A central goal for Webber was to cut down on the fattiness and richness of the traditional dishes without having them deflate altogether, and in this sense his food shares a root with nouvelle cuisine. Even after nearly two decades, it retains an element of invention and wonder without becoming contorted or attention-seeking.

The appetizers are the main, most overtly Asian dishes on the menu. One of Kati’s longtime customer favorites, in fact — the dragon roll ($18.95) — is as good a sushi-style roll as I’ve had in any Japanese restaurant. The roll includes avocado, cucumber, and wonderful crisp-fried shrimp, with flaps of smoked salmon laid like tarpaulins over the top of each rice round. And instead of serving the wasabi and soy sauce separately, Webber mixes them into a glossy sauce that shows signs of being thickened and softened with a bit of honey.

In another signature dish, Vietnamese-style spring rolls ($8.95) the sweetness of mango is modulated with plenty of cilantro, Thai basil (a little sharper than the Italian kinds), and, above all, mint. Webber doesn’t stint on plate decoration, either, having a particular fancy for complex coilings of ruby-red beet and for colorful heaps of cut carrots and microgreens. Plates can look like dioramas of a flower shop.

Main courses open out from Asian influences without forsaking them entirely. Hanger steak (at $29.95, the priciest item on the menu) gets a slightly sweet marinade of soy sauce and sesame oil before being grilled, cut into slices, and served with Blue Lake beans and sautéed spinach. The deft touch here is the pile of spicy Spanish fries, really a version of patatas bravas, the gently crispy quarters of waxy (in this case some kind of baby yellow) potato.

From steak and potatoes to fried chicken ($16.95) — in this case a Cornish game hen, given a Cajun-scented batter, then lightly fried and served with buttermilk mashed potatoes, a mop top of wilted pea tendrils, and a marvelous, bewitching gravy inflected with citrus. If there’s a heaven, the home cooking there will include something like this.

Desserts are all $8.95 — a price point I would describe as neither high nor low — and sing in a more mainstream key. You might find a sundae, a flourless chocolate cake, a crisp, a butterscotch pudding. The last is presented in a parfait glass and consists of layerings of homemade butterscotch and whipped cream — like a sundae with no ice cream, or a planet (like Jupiter) with no definite surface. Butterscotch is basically caramel with vanilla, and Kati’s version is barely sweet with a faint, keen edge of smoke and a rich color like that of tarnished gold. These are strong hints that the butterscotch has been made by a practiced hand, someone who isn’t afraid to skate near the edge of burnt sugar and to give character to the result. (The big giveaway for commercial, mass-produced desserts is that they are predominantly, often overwhelmingly, sweet; they taste as if they were made from sugar and little else.)

Kati’s wine list is substantial though not overwrought, with quite a few decent choices by the glass, and service tends toward flawlessness. As in many pint-sized restaurants, the door opens right into the dining room, which can be disconcerting, especially in the season of cold drafts. I mean wind, not beer.

CAFE KATI

Dinner: Tues.–Sat., 5:30–10 p.m.

1963 Sutter, SF

(415) 775-7313

www.cafekati.com

Beer and wine

AE/MC/V

Moderately noisy

Wheelchair accessible

Don’t leave your home

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› news@sfbg.com

On Oct. 4, 2008, Genevieve Hilpert came home to her apartment in the Outer Mission to find her gas shut off. The 35-year-old, who lives alone, hasn’t had gas service since then. Her landlord moved to the Philippines, the bank foreclosed on the property, and a real-estate broker assumed control.

Hilpert, an international student, was told by the broker to continue paying her rent, but she isn’t even sure who gets the check.

Hilpert is facing a problem all too common these days: she’s a tenant in a building that — through no fault of her own — is in the legal limbo of foreclosure. Hilpert is relatively lucky — she hasn’t been evicted. But necessary repairs, like the broken gas service, aren’t getting made.

The property manager, she told us, "hasn’t done anything. He hasn’t turned on the gas. [I] don’t know who is who."

Hilpert’s case demonstrates a less-publicized part of the nation’s housing crisis. In many instances, rent-paying, law-abiding tenants have come home to find padlocks on their doors and notes telling them to find other places.

The renters may have kept up with their bills — but the owners have not. And when a bank forecloses on a building, the tenants can be forced out. "The renters we’ve seen have been displaced," Sara Shortt, executive director of the Housing Rights Committee, told the Guardian. She mentioned that in many instances their utilities have been shut off, and renters have been left in a bind between brokers and banks. She said, "[Renters] are completely innocent victims of [the] financial crisis."

In San Francisco, it’s illegal for a bank or broker or anyone else to evict a tenant just because the ownership of a building changed hands. But many tenants don’t realize that.

In an effort to promote tenant-rights awareness, the Assessor-Recorder’s Office will be circuutf8g letters to inform tenants when a landlord has received a ‘Notice of Default’ — the precursor to a foreclosure. "According to San Francisco law," the letter says, "it is illegal for the new owner to ask you to leave without just cause or shut off your utilities." Since most of the renters who have been evicted by this latest ruse don’t speak English, the letter is being circulated in English, Spanish, and Chinese.

The letter advises tenants to contact housing organizations that can help, including the Housing Rights Committee of San Francisco, Comite De Vivienda San Pedro, and the Asian Law Caucus.

"Do not leave your home," said Assessor-Recorder Phil Ting, addressing tenants at a recent press conference.

The Assessor-Recorder’s Office estimates that 25 percent of all buildings that received a Notice of Default in San Francisco are occupied by tenants. And that’s a lot of tenants: according to the Housing Rights Committee, Notices of Default recorded with the city rose 94 percent between the 3rd quarter of 2006 and the 3rd quarter of 2008.

The Housing Rights Committee of San Francisco reported 75 cases in the past year involving tenants facing displacement after a foreclosure. In the month of September alone, there were 17 cases. The most common problems renters face include utility shut-offs, illegal eviction attempts, not knowing where to send rent, and illegal entry and harassment by brokers and landlords.

The law may seem confusing, and in some cities, a foreclosure may mean the tenants have to go. But that’s not the case in San Francisco. The city’s rent ordinance requires "just cause" for eviction — and a change of ownership, no matter the cause, is not in itself a just cause.

The San Francisco Rent Board’s literature makes that clear: "The Court of Appeal held in Gross v. Superior Court (1985) … that foreclosure, like any other sale, is not a just cause for eviction under the Rent Ordinance and provides no basis to force the tenant to leave."

As Shortt told us, "We’re worried about the folks out there that haven’t come to us…. We hope through this program people will be educated and know their rights, and not be displaced."

The class of 2008: an agenda

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OPINION Every few years, San Francisco’s political landscape is remade. But we, the new arrivals of the Board of Supervisors’ Class of 2008, know that the last decade of district elections helped ensure that the supervisors truly represent our neighborhoods and our shared San Francisco values.

Despite various efforts by special interests to paint us as out of step with everyday San Franciscans, the very strength of our campaigns was that they were rooted in the lives of actual residents who understood the choices before them. We campaigned on the best of our experiences — neighborhood activism, labor and community organizing, running nonprofits and small businesses, and championing public education and police accountability.

Despite our different districts and diverse constituencies, we rallied voters around real San Francisco values — the faith in the role of government to protect the most vulnerable and bring forth justice and equity; the trust in grassroots democracy and neighborhood-based activism; the pursuit of a safe and clean environment and sustainable development; the belief in the sanctity of immigrant, labor, and LGBT rights; the dignity of working families, seniors, and people with disabilities; and the pursuit of housing justice and economic opportunity for all.

While the Class of 2000 paved the way on many of these progressive values, we enter public office ready to build on this foundation while rising to the new and enormous challenges of today. San Francisco is not just facing a fiscal crisis; we are facing a quandary in which city government cannot do all that it aspires to do.

Our agenda is no less ambitious for the crisis we are in. It is because of the crisis that we need to create opportunity, direction, and hope where there is violence, confusion, and despair. Our San Francisco values mean that we will tackle public safety by addressing the root causes of violence by seeking rehabilitation and restorative justice and push for real police reform by promoting the kind of community policing that is built on relationships between neighborhood residents and the police.

Our San Francisco values prompt us to make our city budget more transparent. We will initiate new programs only with the certainty that important services are not cut in the process. We will do our best to protect critical frontline city workers from privatization and layoffs.

We will work collectively to maintain the city’s commitment to its public schools; promote public transit; foster sustainable development and new affordable housing connected to green and well-conceived public infrastructure; promote community choice aggregation and public power based on renewable energy; support local businesses and the hiring of San Francisco residents; safeguard our sanctuary city to make sure that immigrants can live free from fear of ICE raids; and fight to keep our vital neighborhood services working and our parks, libraries, and senior centers thriving.

We are committed to ushering in a new tone of cooperation and unity in San Francisco. Despite the enormous challenges and contending political views within the city family, we will work to ensure that our neighborhoods always win out over special interests. After all, politics is about improving the lives of everyday people. We look forward to working with you in this noble effort.

Supervisor John Avalos represents District 11. Supervisor David Campos represents District 9. Supervisor David Chiu represents District 3. Supervisor Eric Mar represents District 1.

Offies 2008

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› tredmond@sfbg.com

Wow. What a year.

Sarah Palin ran for vice president. Joe the Plumber got his 15 minutes. Gavin Newsom made out with Sarah Silverman. Eliot Spitzer seemed to be the only one in New York with any money left to spend. Dana Rohrabacher dressed in drag to go to prison. And O.J. Simpson finally managed to get convicted of something…. It was a year for the ages. And it’s finally, finally over.

HEY, GIVE THE POOR WOMAN A BREAK — YOU CAN’T SEE FRANCE FROM ALASKA

Sarah Palin took a call from a Canadian radio comedian posing as French Prime Minister Nicholas Sarkozy and remained on the line, convinced she was talking to a foreign leader, for several minutes as the comedian told her his wife was hot in bed and that he loved the Hustler smut film Who’s Nailin’ Paylin?.

FROM ALASKA, YOU CAN SEE RUSSIA, AND RUSSIA’S COLD, AND IF IT ISN’T IT WOULD STILL LOOK COLD, SO WHAT’S THE BIG DEAL?

Palin said the "jury’s still out" on global warming and that even if the climate was changing, she didn’t know what was causing it.

KILLING YOUR WIFE IS NOTHING, BUT DON’T YOU DARE STEAL FOOTBALL CARDS

O.J. Simpson faced more than 30 years in jail for stealing some sports memorabilia he said belonged to him.

AND FOR A FEW WEEKS, THE ENTIRE STATE OF WORLD DISCOURSE GOT A LITTLE BIT SMARTER

Ann Coulter broke her jaw and had her mouth wired shut.

WHAT IS THE VALUE OF HUMAN LIFE COMPARED TO A $99 FLAT-SCREEN?

A temporary worker in a Long Island, N.Y., Wal-Mart died when bargain-crazy crowds smashed through the store’s front door.

AND HE STILL GOT MORE VOTES THAN MCCAIN

Absentee ballots in an upstate New York county listed "Barack Osama" as a presidential candidate.

SEE, IT ALL DEPENDS ON WHAT THE MEANING OF "YOU BETCHA" IS

The Alaska legislature concluded that Sarah Palin had violated ethics laws when she tried to have her ex brother-in-law fired from the state police. Palin immediately announced that she had been cleared of any wrongdoing.

AND THIS WAS THE GUY WHO RAN THE ECONOMY ALL THOSE YEARS?

Former Federal Reserve Chair Alan Greenspan admitted there was a "flaw" in his free-market approach to economic policy, but said he wasn’t sure exactly what went wrong.

GREAT MOMENTS IN PUBLIC POLICY

A Treasury Department spokesperson announced that the agency had set $700 billion as the amount for the financial bailout because "we just wanted to choose a really large number."

THEY SAVED VILLAGES THAT WAY IN VIETNAM, TOO, BUT YOU MANAGED TO DUCK THAT WAR, SO YOU WOULDN’T UNDERSTAND

George W. Bush addressed the massive federal bailout of the banking system by saying, "I’ve abandoned free-market principles to save the free-market system."

WHY THE RICH ARE DIFFERENT FROM YOU AND ME

John McCain admitted he didn’t know how many houses he owned.

PROOF POSITIVE OF THE VALUE OF A YALE EDUCATION

President Bush, addressing the state of the economy, announced that "if money isn’t loosened up, this sucker could go down."

WHOOPS, GUESS THAT ONE ISN’T WORKING OUT SO WELL, EH?

Levi Johnston, who impregnated Sarah Palin’s daughter, Bristol, described himself as a "fucking redneck" who didn’t want kids.

THE CASE FOR A FEDERAL BAILOUT, #422

P. Diddy announced that the economy and the cost of fuel had forced him to give up private jet travel.

ENTIRELY APPROPRIATE FOR A MAN WHO’S AN ASSHOLE

A book by Cliff Schecter reported that McCain had called his wife, Cindy, a "cunt."

WELL, THEY’RE A LOT MORE POLITE ABOUT THESE THINGS DOWN IN BRAZIL

A Brazilian former exotic dancer said she’d had an affair 50 years ago with John McCain, whom she called "my coconut desert."

BUT DON’T WORRY, HILLARY, BARACK LIKES YOU FINE

Samantha Power, an advisor to Obama, called Hillary Clinton "a monster."

THAT’S RIGHT — THE ONE WHO KICKED YOUR ASS. THAT ONE.

In a presidential debate, McCain referred to Obama as "that one."

SUCH HIGH PRAISE FROM SUCH A WONDERFUL MAN

Illinois Gov. Rod Blagojevich referred to Obama as "that motherfucker."

NATURALLY — SHE LIVES IN ALASKA, AND YOU CAN SEE ENERGY FROM THERE

McCain said that Palin "knows more about energy than probably anyone in the United States."

FORTUNATELY, HE NEVER GOT TO THE OVAL OFFICE, SO SOME OF US MAY ESCAPE CUSTODY

In a speech, McCain referred to Americans as "my fellow prisoners."

AS LONG AS THEY SIP IT SLOWLY, SO AS NOT TO BURN THEIR ITTY-BITTY MOUTHS

McCain proclaimed that "we should be able to deliver bottled hot water to dehydrated babies."

NEVER MIND GRAN TORINO, THE WRESTLER, AND MILK — THE OSCAR GOES TO . . .

A TV station in Germany reported that the East German secret police had made private porno movies in the early 1980s with titles like Private Werner’s Big Surprise and Fucking for the Fatherland.

WHERE IS PRIVATE WERNER WHEN YOU NEED HIM?

Eliot Spitzer, the crusading governor of New York, had to resign after a federal sting operation found he had spent more than $80,000 on high-end prostitutes from the Emperor’s Club. On an FBI wiretap, a prostitute named Kristen, after an assignation with Spitzer, told her boss she’d heard that the governor would "ask you do to do things that, like, you might not think were safe" but that "I have a way of dealing with that. I’d be like, listen dude, do you really want the sex?"

NOTHING WRONG WITH THIS PICTURE, YOU BETCHA

Palin gave a speech on the economy while TV cameras captured a farmer beheading turkeys and draining the blood from their carcasses.

ANOTHER HERO FROM MCCAIN’S STRAIGHT TALK EXPRESS

Joseph Wurzelbacher rose to fame as Joe the Plumber after he confronted Obama and said that the Democrat would force him to pay higher taxes. It later turned out that Joe wasn’t a licensed plumber, owed $1,182 in back taxes, and didn’t make anywhere near enough money to be affected by Obama’s tax plans.

CROSS DRESSING, GRASSY KNOLL VARIETY

Rep. Dana Rohrabacher (R., Orange County) dressed in drag and pretended to be a human-rights worker named "Diana" to sneak into a state prison and badger Sirhan Sirhan, whom the congressman believed was part of a vast Arab conspiracy to kill Robert Kennedy.

IT’S FINE TO BLAST THE QUEERS, JUST DON’T GO BADMOUTHING AMERICA

Barack Obama, who was stung by criticism that his former pastor criticized America, chose for his inaugural convocation a pastor who says homosexuality is a sin.

LET’S SEE. 90,000 CIVILIAN DEATHS, THE RISE OF AL QAEDA, WATER, FUEL, AND ELECTRICITY SHORTAGES, GANGS OF ARMED THUGS IN THE STREETS … CAN’T IMAGINE WHAT THIS DUDE WAS UPSET ABOUT

An Iraqi journalist who threw two shoes at Bush was beaten badly by security guards; Bush later said he "didn’t know what the guy’s beef was."

WHY HE WOULD COVER UP THAT BEAUTIFUL HAIR, WE’LL NEVER KNOW

Mayor Gavin Newsom wore a cowboy hat and rode a horse for a photo shoot at his wedding.

PERHAPS MS. SILVERMAN CAN GET HIM TO PUT HIS HANDS AROUND THE CITY BUDGET, TOO

Newsom groped comedian Sarah Silverman on stage at a Democratic National Convention party after she said she wanted to "sexually discipline" him.

FIRE IN THE HOLE

An unknown arsonist with an unknown motive set more than half a dozen portable toilets on fire in San Francisco.

THIS, FROM A MAN WHO WROTE THE BOOK ON POLITICAL SLEAZE IN CALIFORNIA

Former Mayor Willie Brown complained about progressives using techniques from "Tammany Hall or Richard Daly’s Chicago" to take over the local Democratic Party.

HEY, SOMEBODY’S GOT TO CHANNEL MR. MAGOO

Witnesses reported seeing Carole Migden talking on her cell phone and reading while rapidly changing lanes at 80 mph on the freeway shortly before she crashed into another car. One caller to the state police asked officers to "please get out here, she’s scary."

NOW THAT WE KNOW WHO’S REALLY IN CHARGE AT CITY HALL, WE CAN STOP WASTING OUR TIME WITH THE ELECTED OFFICIALS

Newsom’s press secretary said that reporters wondering about the mayor’s position on public power should ask Pacific Gas and Electric Co. consultant Eric Jaye.

MY GOD, YOU WOULDN’T WANT ANY HUNGRY PEOPLE TO ACTUALLY EAT THE MAYOR’S FOOD

Newsom spent more than $50,000 in city money protecting his slow-food victory garden near City Hall from homeless people.

I’M HAPPY TO WORK WITH YOU, AS LONG AS I DON’T HAVE TO TELL YOU ANYTHING AND YOU DON’T ASK ANY QUESTIONS

Newsom appeared before the Board of Supervisors to discuss his budget cuts, but didn’t actually hand out the budget proposal. Press aides handled that job two hours later.

SINCE THAT APPROACH HAS WORKED SO WELL WITH RAPE VICTIMS

Sam Singer, a $400-per-hour flak for the San Francisco Zoo, sought to blame the victims of a tiger attack by saying that they were drunk and asking for it.

WE’LL GET THOSE BUGGERS — AND THEIR LITTLE DOGS, TOO

California officials threatened to bombard the Bay Area by spraying hazardous moth pheromones from helicopters to eradicate an agricultural pest that has probably been around for decades and will almost certainly survive the assault anyway.

YOUR RATEPAYER DOLLARS AT WORK

PG&E spent $10 million to fight a public power proposal.

THE CROWDS CHEERED A DRAMATIC EVENT AS THE OLYMPIC SPIRIT OF INTERNATIONAL COOPERATION CAME TO ONE OF THE WORLD’S GREAT CITIES . . . OH WAIT, THAT MUST HAVE BEEN SOMEWHERE ELSE

Newsom decided to avoid protests by keeping the route of the Olympic torch relay secret.

ANOTHER SIGN OF POLITICAL BRILLIANCE FROM THE MAN WHO WOULD BE GOVERNOR

Newsom tried to mess with the supervisors by having voters support his Community Justice Center, which the voters then rejected.

WHEN THERE ARE NO PROBLEMS LEFT FOR THE WORLD’S GREAT RELIGIONS TO SPEND MONEY ON

The San Francisco Catholic archbishop helped convince Mormon leaders to join him in pouring millions of dollars into defeating same-sex marriage.

Losing the West

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› amanda@sfbg.com

GREEN CITY Our society can’t continue functioning the way it does. Exploiting the natural abundance of resources in the western United States, without balancing the needs of nature, has lead to the myriad environmental problems outlined in The American West at Risk, a book recently penned by Bay Area–based geologists Richard W. Hazlett, Jane E. Nielson, and Howard G. Wilshire.

A thorough survey of environmental issues related to forestry, water, agriculture, mining, road building, outdoor recreation, waste disposal, military testing, nuclear energy, and warfare, the book was written from the perspectives of scientists, but told in such a way that the science makes the case for preservation by driving home the point that everything the human race depends on comes from nature. Ultimately, the authors stress that the solution is homegrown. "Americans have to start caring about the survival of small communities, their local towns, and their local resources."

We caught up with Nielson and Wilshire by phone to discuss the book in anticipation of their visit to San Francisco this week.

SFBG It often seems like saving the world becomes an emotional or moral stance and less of a scientific one — or that’s how it frequently gets framed by opponents.

JANE E. NIELSON That’s right, and for no reason. Economics have become more important. One of the things we’re trying to say is the environment is the basis for our economic well-being.

SFBG Do you think that if people more fully realize that resources aren’t infinite, thriftiness will become more of the American lifestyle?

JEN It would be very desirable for people to realize that more, to have it taught in schools. How much time we have left to do that, I don’t know. I feel that once people do get an appreciation for the fact that life is going to be leaner, that the soil is really important, things can change very rapidly.

HOWARD G. WILSHIRE My pessimism is borne of the fact that they will have to respond quickly because we are on the brink of serious problems. Climate change is a big one and coping with that — the plans that are being endorsed now and pushed now by politicians and businesspeople — are that we’re going to have to find alternatives to cheap oil to keep on doing what we’re doing.

SFBG In the book you reveal a pattern of public commons being used to benefit a minority, whether its subsidies for big growers, cheap grazing rights, water rights for a handful of a farmers …

HGW It’s across the board.

SFBG How do we break these patterns of privilege, because it’s so ingrained it seems like an institutional problem?

JEN I have to tell you this is something that just sort of grew on us as we wrote the book. We knew about various subsidies, but the immensity of it and the pervasive pattern really only became clear as we progressed through the book.

SFBG It’s interesting that not only is there a pattern of subsidies, but they’re for a very small percentage of people.

JEN The whole history of land ownership in this country was intended to support the small person. The Homestead Act was supposed to give land to individuals, but most people failed at homesteading and there was no provision built in to prevent land from being gobbled up by big landowners.

SFBG So how can we flip this? Some of it is local, but for a lot of it these laws are federal.

HGW We have to take money out of the election system so we can get people free of monetary interest promoting their offices to do something useful. There are people who have the insight and the knowledge to know that we have got to stop this bleeding of our resources through subsidies.

The three authors will be reading and discussing the book Thursday, Jan. 8 at Books Inc. Opera Plaza, 601 Van Ness Ave. The event begins at 7 p.m. More information can be found at losingthewest.com.

>>Read the full interview with the authors here

>>Read Amanda Witherell’s full review of the book here

Another BART police tragedy

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EDITORIAL The video isn’t the highest quality — it was taken on a cell phone — but it’s pretty simple to figure out what’s happening. A young man named Oscar Grant is lying on the ground on a BART train platform, surrounded by BART cops. His hands are behind him, and the police have him completely under control.

Grant was one of a group of young men who had been removed from the train and arrested after reports of a fight early in the morning on New Year’s Day. The other suspects are handcuffed; Grant is not, but in early footage, he has his hands in the air and appears to be cooperating. Witnesses on the scene say that’s what they saw — a young man doing what the police told him to do.

Then suddenly — shockingly — one of the officers reaches back and pulls his gun. He points the weapon at Grant, and fires, point-blank, from perhaps two feet away. The bullet entered Grant’s back, ricocheted off the concrete, and hit him again, in the chest.

It’s mind-boggling. It appears to violate so many standards of police conduct we don’t even know where to begin. Oakland lawyer John Burris, who is representing the Grant family, puts the first question pretty succinctly: "Why did he take his gun out?"

Let’s go a few steps further. Why did the BART officer, who has been identified only as a two-year veteran of the force, feel he needed to use lethal force on a suspect who was unarmed, was (at worst) guilty of fighting on a train, and was on the ground with two other cops on top of him? Why did the officer fire his gun at close range, with the prospect not only of hitting his colleagues but also of injuring bystanders? Why didn’t any of the other cops tell him to put the gun away? Why is the young father of a four-year old daughter dead?

We’ll add a few more: Why is BART still in full-on public relations-cover-up mode, acting as if the evidence is still unclear? Why is the name of the officer still a secret?

And why — why, as we’ve asked a dozen times over the past 15 years, do the BART police operate with absolutely no civilian oversight?

The structure of the BART police force is a recipe for disaster. BART’s general manager, (who is not an elected official and has no expertise in law enforcement) hires the BART police chief, who then runs a force with some 200 armed officers. There is no police commission, no police review board, not even a committee of the elected BART board designated to handle complaints against and issues with the BART police.

The BART board holds no regular hearings on police activity or conduct. There is no public forum where the chief is held to account. There is no procedure for complaints against BART officers to be heard and adjudicated by anyone except the BART police.

There is, in other words, no civilian oversight or accountability. This is unacceptable.

The killing of Oscar Grant isn’t an isolated case. Back in 1992, a BART cop pulled a shotgun and killed an unarmed man named Jerrold Hall. Hall wasn’t threatening the officer or anyone else. He was walking away. The shotgun pellets hit him in the back of the head. The officer, Fred Crabtree, was never subject to any discipline, and BART tried to cover up the whole thing (see "Lethal force," 12/9/92). In 2001, a BART cop shot an unarmed naked man who was seriously mentally ill (see "Gun crazy," 10/17/01).

The BART Board simply can’t let this continue. The board must immediately create a process for civilian oversight of the BART police, including a civilian monitor to handle complaints. The BART board must establish a permanent police oversight committee that meets regularly to hear public comments and monitor police practices. Every city that BART passes through, starting with San Francisco, should pass a resolution demanding accountability for the BART cops, and the state Legislature (which granted the BART police peace officer status in 1976) should pass a measure mandating that the BART police have civilian oversight proceedings.

We’re sick of this. How many more people have to die before BART gets its act together?

Local Artist of the Week

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LOCAL ARTIST Wayne Smith

TITLE Untitled (after GW) #1

BIO Wayne Smith is a visual and sound artist who lives and works in San Francisco. He received a BA in painting and MA in sculpture from San Jose State University. His work in a variety of media, including drawing, installation, and video, has been shown locally and nationally. In 2007, he collaborated with Berlin-based artist D-L Alvarez on a sound and video installation loosely based on Joan Didion’s The White Album, at New York’s Derek Eller Gallery. As Aero-Mic’d, he records music in SoundEdit 16, a now-defunct sound software, joined by an alternating group of musicians that has included Cliff Hengst, Scott Hewicker, William Fowler Collins, Cory Vilema, and Anne McGuire.

SHOW "Zen With a Lisp: David Enos, Frank Haines, Wayne Smith." Through Sun/11. Sun., noon–5 p.m. [2nd floor projects], call for address. (415) 824-2644

WEB www.projects2ndfloor.blogspot.com

Funky Meters

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PREVIEW Since we’re dealing with a reunion here, let’s start with what’s missing: the funky Meters are not the same as the original Meters. You might own some records by the plain old Meters, the New Orleans funk unit whose best-known full-lengths are Look-Ka Py Py (Josie, 1969) and Fire on the Bayou (Reprise, 1975). That version of Meters consisted of — in addition to singer-keyboardist Art Neville and bassist George Porter Jr. — guitarist Leo Nocentelli and drummer Joseph Modeliste. The band, which broke up in 1977, reformed in 1989 as the funky Meters, with the latter two original members being replaced, at different points, by Brian Stoltz and Russell Batiste Jr. To make matters more confusing, the original lineup occasionally plays dates as well — thus, the original vs. funky distinction.

Robert Christgau called the Meters "a totally original band," and as usual he’s right: the band’s sound contributed in a big way to the development of funk and was an idiosyncratic voice within it. Fire on the Bayou is probably its most-appreciated album, but even at the height of its power, the group had a funny way of shamelessly accommodating itself to pop formulae without abandoning its uniqueness. This is the kind of outfit self-aware enough to give its disc’s longest and least engaging track the self-deprecating title "Middle of the Road," and yet make the track — whose style presages the smooth jazz radio format — melodically and rhythmically sophisticated enough to maintain your basic attention, because the musicians know that’s all they can ask for. Although Modeliste’s and Nocentelli’s contributions to the Meters were substantial enough to justify being wary of their substitutions in the Funky Meters’ lineup, something in the ensemble’s past behavior indicates they all might be on the same page, with the same doubts, and better — or at least more honest — performers for the experience.

BILL’S BIRTHDAY BASH With funky Meters featuring Cyril Neville, Marcia Ball, the San Francisco Mime Troupe, and Bonnie Raitt with Hutch Hutchinson. Sat/10, 9 p.m., $50. Fillmore, 1805 Geary, SF. (415) 421-TIXS, www.livenation.com

“A Trip Down (False) Memory Lane”

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PREVIEW The Lexington Club is an underground landmark of San Francisco. If you’re queer, and especially if you’re a lesbian, the bar has probably played a role in your life at one point or another, and something important probably went down there, by the jukebox or in a graffiti-lined bathroom. In "A Trip Down (False) Memory Lane," curator Jessica Silverman of Silverman Gallery taps into the Lexington’s importance and its history through an ambitious but also human-scale group show that’s been more than a year in the making.

The Lexington has hosted some excellent art at times (I’ve seen paintings by Alicia McCarthy there, for example), though you might not know it. "About a year ago, I was there and I asked [some bar-goers] what show was up, and they didn’t know," says Silverman. "No one was looking at the art. That was bothersome to me. I also wanted to do a show that addressed the space."

Silverman has brought together an array of local and international artists — including Susanne Winterling, Bruce LaBruce, and Slava Mogutin — to create individual works for the exhibition and smaller works for a limited 50-edition box set. Some people, such as New York’s Daphne Fitzpatrick, have never been to the Lexington, even if they have friends who work there — in such cases, they create works that imagine the site, or forge a connection to it. I’m looking forward to seeing Luke Butler’s collages, photographer Job Piston’s sculptural piece, and Tammy Rae Carland’s c-print. Some other potential highlights: Brandon Herman’s jewelry box containing a lighter — which overtly plays off of the ritual of smoking a cigarette in front of the bar — and a postcard invitation from Danny Keith.

A TRIP DOWN (FALSE) MEMORY LANE Reception: Tues/13, 7–9 p.m. 3464 19th St., S.F. (415) 863-2052, www.atripdown-false-memorylane.blogspot.com

Chris vs. Ross on the board presidency

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The Guardian last week wrote an editorial endorsing Sup. Ross Mirkarimi for the presidency of the San Francisco Board of Supervisors. Sup. Chris Daly and Mirkarimi responded. Here are their letters that will appear in Wednesday’s Guardian. The president will be chosen by the new board on Thursday in a special board session following the swearing in ceremony of the supervisors at noon in the supervisors’ chambers at City Hall. B3

DALY MAKES THE CASE FOR AVALOS

I support John Avalos for board president because I believe he is the best choice to lead the new progressive Board of Supervisors in these tough times (See “The next board president,” 12/31/08). His progressive politics are grounded in decades of community and labor organizing work. Avalos is universally liked and respected (which seems to differentiate him pretty well from me!) and has an uncanny ability to bring people together.

Let’s be honest with everybody here. There are maybe five or six legislative assistants who are more involved in the day-to-day running of the board (and the city, for that matter) than several members of the board. Over the last four years, I have watched as Avalos adroitly guided the budget process, always taking time to hear from everyone while watching out for our city’s most vulnerable. He may know more about the city budget than I do. Putting the supervisor with the most hands-on budget experience in our top leadership spot is not risky, it’s smart.

I am not angry with Sup. Ross Mirkarimi, and I never claimed to be. Mirkarimi did, however, compromise the progressive position in 2007 when he chose to fund more cops over affordable housing and gave the People’s Budget little to no political cover when the mayor’s forces unleashed a full assault against our budget priorities.

Mirkarimi’s four years on the board does not automatically make him the best candidate, but it should provide him with enough insight to make the same choice I did to allow another progressive to lead.

Chris Daly

San Francisco

MIRKARIMI: IT’S ABOUT ISSUES

I thank the Guardian for the endorsement for Board of Supervisors president. The contest for the presidency needs to reflect our values and focus on record and vision.

The leadership fight thus far has taken on an unprogressive machine-like demeanor, bullying for a desired outcome. This sets a troubling tone, one that I haven’t responded to because the real fight is defending our city and those most vulnerable from the economic crunch that threatens to claim all. The real challenge is to innovate revenue enhancement and job creation measures that hedge against a sustained downturn. The real need is to develop an inclusive climate on the Board of Supervisors that respects our differences while advancing progressive governance. And the real difference is that I am independent enough where I see consensus building as a more effective method than division and dysfunction.

Ross Mirkarimi

San Francisco

Will Bay Area Dems block CIA reform?

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panetta.jpg
Leon Panetta was a longtime congressman
from Monterey, widely respected for his intelligence
and integrity, before joining the Clinton Administration.

By Steven T. Jones

President-elect Barack Obama sent a clear reformist message by selecting Leon Panetta to head the Central Intelligence Agency, and Senate Intelligence Committee chair Dianne Feinstein responded with an equally clear message that she intends to block meaningful reform of this country’s disgraceful imperial overreach.
It’s not surprising. Feinstein has always been a faithful servant of the rich and powerful, and since 9/11 she’s been complicit in the Bush Administration’s illegal approach to the “war on terror” – implicitly condoning illegal spying, torture, assassinations, and fabrication of the casus belli in Iraq — while personally profiting from U.S. wars.
Also complicit in this unconstitutional mess is San Francisco’s other top congressional Democrat, Speaker of the House Nancy Pelosi, who knew about Bush’s warrantless wiretapping all along, did nothing to stop or expose it, and single-handedly blocked the impeachment of George W. Bush and Dick Cheney.
The question now is whether Obama, with the help of the progressive movement that helped elect him, can overcome these powerful defenders of the status quo. Because only a respected outsider (at least during the Bush years) like Panetta – rather than the intelligence community insider Feinstein wants – can credibly repair the damage and set a new course for this country.

BART Police: Hope for reform?

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By Tim Redmond

The shooting of Oscar Grant, which was captured on several videos, may become for the BART police what Rodney King was in LA: An incident so outrageous it sparks public demand for reform.

The BART Board is still largely missing in action here (although Tom Radulovich, who represents San Francisco, says he supports a move for civilian oversight and will push it if he can get a few other votes). But Assembly Member Tom Ammiano told me he’s looking at what the state Legislature can do here, and Sup. David Campos told me he’s going to introduce a resolution calling on BART to create a credible civilian oversight system.

I talked about this on KQED’s Forum this morning, and urged people to call the BART board members and demand action. The problem, frankly, is that a lot of the people on the BART board are lazy — they don’t want to put in the time or do the work necessary to properly monitor the 200 armed officers they send out to patrol the trains. That’s unacceptable, and they need a swift kick in their collective asses. Maybe a push by the state, and all of the cities tha BART passes through, will help.

By the way, BART’s chief spokesman, Linton Johnson, is kind of a problem. He walked off in the middle of the show ths morning, saying someone on his staff had called in sick. And in an interview last night, when he was asked why BART still hasn’t interviewed the officer, he suggested we all look at it “from the officer’s perspecitive.”

Uh, no, Mr. Johnson — you’re management. You have to look at it from the public’s perspective.

Lethal force

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Editors note: This story ran Dec. 12, 1992

The autumn air was crisp and clear in Hayward on the night the kid called Glasstop took a shotgun blast in the back of the head and died for the theft of a $60 radio.

It was just before 8 p.m., on Sunday, Nov. 15. The lights were on in the parking lot outside the Hayward BART station, where a six-car southbound train had arrived a few minutes earlier. About 50 passengers had gotten off, and some were still straggling into cars or waiting around for the next AC Transit bus.

Glasstop, a 19-year-old warehouse worker from Union City whose legal name was Jerrold Cornelius Hall, had ridden the train from Bayfair, one stop north, along with John Henry Owens, a 20-year-old unemployed custodian who lived in Oakland. The two young African American men were standing at the bus stop, not far from the station entrance, when Officer Fred Crabtree pulled into the parking lot in a BART police cruiser.

Crabtree was a white 16-year veteran of the transit police agency and a member of its elite Canine Corps. His partner was a highly trained German shepherd imported from a special obedience school in Germany. The dog trotted at Crabtree’s side as he approached Owens and Hall. The officer carried a loaded 12-gauge pump-action shotgun.

Crabtree was responding to a report of an armed robbery: Halfway between Bayfair and Hayward, a passenger had told the train operator that two black men had taken his Walkman personal stereo. The passenger said one of the robbers had a gun and described what they looked like; the trainman passed on the message, and the BART dispatcher passed it on again. Owens and Hall matched the third-hand description that came over Crabtree’s radio.

Within a matter of minutes, Hall was lying in a pool of his own blood, Owens was in handcuffs, and the parking lot was a mass of sirens and flashing red lights. Hall was pronounced dead shortly after midnight at Eden Hospital; Owens is still in the Alameda County jail. The police never turned up a gun.

And the man who reported the robbery disappeared without leaving his name.

That’s about all BART officials will say about the incident. They’ve clamped on a lid of secrecy that defies most normal local police procedures and violates the California Public Records Act. The San Francisco newspapers have almost entirely ignored the shooting, and there’s been little reaction from the East Bay community.

But an extensive Bay Guardian investigation has turned up a long list of troubling questions about the death of Jerrold Hall – and a long list of serious problems in an agency that has some of the most sweeping police powers in California, and some of the least civilian oversight.

Our investigation, based on a dozen interviews, a review of public records, and more than 50 pages of unreleased internal documents from the BART police and other local authorities, shows:

Officer Crabtree violated one of the most basic rules of modern law enforcement – and his own department’s written policy – when he fired a warning shot toward the suspect, potentially endangering the lives of passersby in the busy urban area. The nine .33-caliber pellets from that shotgun cartridge wound up in the side of a tree, about 4-1/2 feet above the ground.

BART’s own internal documents contradict the official claim that Hall was attacking or threatening Crabtree at the time of the shooting. Statements filed by several witnesses, and at least two BART police officers, suggest that Hall was more than 10 feet from the officer when the shots were fired, and was walking away. Medical records obtained by the Bay Guardian show that he was shot in the back of the head.

The shooting appears to violate nearly every modern police standard on the use of deadly force. In fact, the latest BART Police Operational Directive, dated July 22, 1987, states that guns may be fired only to prevent a suspect from killing or wounding another person, or to stop a suspected felon who is presumed to be armed and dangerous from fleeing and escaping arrest. But BART internal documents and other records obtained by the Bay Guardian provide little evidence to suggest that Hall fit either category.

Nevertheless, on Dec. 4, a BART Firearms Review Board, consisting entirely of BART police officers appointed by the chief, determined that the “use of lethal force in this instance was justified.” BART officials refuse to release the report or comment further on the findings.

The fact that Crabtree fired a gun to subdue Hall seems to undermine one of BART’s central reasons for the use of trained attack dogs. The dogs, BART officials say, are supposed to support officers in situations just like the one in question – to intimidate, and if necessary, pursue and immobilize a suspect when other backup isn’t available, and to attack immediately if an officer is under assault. Some law-enforcement experts, and many civil-rights advocates, question the use of dogs for that purpose – but all those contacted by the Bay Guardian agreed it was rather curious that Crabtree’s canine partner sat out this whole bloody incident.

Officer Crabtree is on administrative leave, with pay, pending the final outcome of an internal investigation. Owens is still facing robbery charges, despite the lack of a victim willing to testify against him. A preliminary hearing is scheduled for this week.

But the problems with the BART police go far beyond the arrest of John Owens and the death of Jerrold Hall. In fact, the Bay Guardian has learned:

BART’s Internal Affairs Division, which reviews citizen complaints against BART police officers, has investigated 162 cases in the past five years, 39 of them involving excessive use of force – and not a single charge was sustained. Law-enforcement observers say that’s an astonishing statistic, one that casts severe doubt on the department’s ability to control police abuse.

“I’ve never heard of any department with a rate of zero sustained complaints,” said John Crew, director of the American Civil Liberties Union Police Practices Project. “I can’t believe that none of those people had a single valid case.”

The BART Police Department has a written procedure for civilians filing complaints. A 1991 directive signed by Chief Harold Taylor states that every department employee should accept complaints by mail, by phone, or in person, and refer them to the watch commander or the Internal Affairs Division. But there’s nothing posted in any BART train or station to tell the public about the complaint process, no procedure for appealing a Police Department decision to a civilian review agency, and not much visible effort to inform BART employees about how to handle complaints.

The BART police use dogs for purposes inconsistent with many modern law-enforcement guidelines. Most local police agencies employ canines primarily to sniff out bombs and narcotics, or to search for dangerous suspects hidden in dark, confined areas. Berkeley has banned police dogs altogether. The BART police dogs are not trained to sniff out bombs or drugs, and are rarely involved in searches; the officers use the animals as standard backup, to intimidate and apprehend suspects in even fairly routine arrests.

The elected BART Board of Directors has demonstrated virtually no effective control over the BART police, and most board members don’t seem to know or care what their armed employees are doing with those badges, dogs, and guns.

None of the board members contacted by the Bay Guardian could even guess how many citizen complaints had been filed against the BART police since 1988, or what the outcome of the cases had been. None could explain the complaint procedure, or identify the person responsible for supervising internal investigations. Most didn’t know how the police chief was hired, or to whom he reported; some board members didn’t even know his name.

Several years ago, I asked Art Shartsis, a downtown lawyer who was then the BART Board president, if he knew who ran the BART police. His answer was unusually blunt, but entirely typical of the attitude board members show toward the force.

“I don’t know,” he told me. “I guess we must have a chief.”

A DAY AT THE MALL

Jerrold Hall was the son of Alameda Fire Department Captain Cornelius Hall, a retired Navy Reserve officer who lives with his wife, Rose and two other sons in a comfortable middle-class home in suburban Union City. Both of Jerrold’s brothers are in college, earning top grades; his aunt is the first black woman ever to serve on the Board of Trustees of Auburn University.

Jerrold, who graduated from high school in 1991 and was living with his parents, “had some problems, like a lot of kids these days,” his father told me. “But we hoped he’d outgrow them. He was a good kid, never into guns or killing or any of that sort of thing.”

On Sunday, Nov. 15, at about 2 in the afternoon, Hall met Owens at the Eastmont Mall in Oakland. According to a sworn statement Owens gave to the police, the two drank a few beers and part of a small bottle of E&J Brandy. Early in the evening, Hill invited Owens to his home, and they left the mall on an AC Transit bus to catch a BART train for Union City.

According to Owens and several other witnesses, Owens and Hill encountered a black man in his late 30s on board the train, and the man asked them if they wanted to buy one of the Walkmans he was carrying in a bag. When first questioned by police, at about 1:35 a.m., Owens said he declined the offer, went to another train car “where more girls were,” and met up with Hall again a few minutes later. At about 4:30 a.m., he made another statement, acknowledging that he was present when the friend he called “Glasstop” told the would-be salesman, “give me your Walkman.”

Several other witnesses on the train agreed that Hall had confronted the man, and walked away with a bag. None, including Owens, saw a gun.

However, the victim of what the BART police still call an “armed robbery” called the train operator on the intercom and said two men with a gun had stolen his Walkman. The operator, who never saw Hall or Owens, reported the incident, and it was relayed to BART police, who instructed the trainman to stop in Hayward, and, after a brief delay, to open the train doors. Hall and Owens left with about 50 others; according to the station attendant, they jumped the emergency gate and walked into the parking lot.

The police were able to find several eyewitnesses to the alleged robbery; however, other than Owens and Crabtree, who was the only police officer on the scene at the time, the internal report does not identify a single witness who actually saw the shooting.

An official Dec. 7 statement, written by BART Police Chief Harold Taylor at the request of the Bay Guardian and reviewed by BART’s legal department, notes that “witnesses disagreed as to the precise sequence of the next events.”

The internal BART police documents obtained by the Bay Guardian contain no formal statement or direct quotation from Crabtree; he apparently filed no written report. The reports were all prepared by other officers, who arrived at the scene after the shooting.

According to those reports, filed shortly after the incident, Crabtree approached Hall and Owens, who were standing near a bench in the parking lot’s bus-stop area, and ordered them to lie on the ground with their hands over their heads. Owens complied; Hall did not.

Hall, the reports state, “confronted and challenged Officer Crabtree, attempting to take Officer Crabtree’s shotgun from him at one point.” There is no mention of what the dog, who was trained to bite anyone who attacked Officer Crabtree, was doing at the time. BART officials refuse to elaborate, saying the incident is still under investigation.

However, one Bay Area dog trainer, who has trained police dogs, said it’s highly unlikely that a German shepherd of the sort imported by the BART police (see sidebar) would fail to respond in such a situation. “Dogs are very loyal and protective,” the trainer, who asked not to be identified, told the Bay Guardian. “These dogs are carefully bred and taught to attack anyone who physically endangers their human handler. Sometimes they overreact; they very rarely underreact.”

TO TAKE A LIFE

Owens told the police he “did not see the cop and Glasstop get into any physical fighting. They did not touch. They were just arguing.” After a few moments, Owens said, “Glasstop walked over to me and said we could go. So we started to walk away.”

Whatever the nature of the confrontation between Hall and Officer Crabtree, the police report and witness statements leave very little doubt that it ended with Hall walking away – and, as the internal police report states, “with Officer Crabtree retaining the shotgun.”

It’s also clear that some time, perhaps as much a minute or two, passed between the initial clash and the shooting – more than enough time for Hall and Owens to start walking away. During that period, the documents suggest, the passenger who had initially reported the robbery – and had not made any contact yet with police – suddenly ran out into the parking lot, pointed toward Hall and Owens and shouted, “That’s them.” Then the passenger fled.

Crabtree then ordered the two young men to halt again – and at that point, the statements get very fuzzy.

According to the official statement released Dec. 7 by BART, Crabtree “summoned his canine, but Hall resisted the dog.” A medical report filed by Alameda County emergency technicians who examined Hall after the shooting includes no mention of any dog bites or wounds of any sort other than those caused by the shotgun. A copy of the report, which has not been released, was obtained by the Bay Guardian.

Crabtree, the official BART statement continues, “fired a warning shot at a nearby tree. Hall continued to move toward the other suspect, and at one point turned and assumed a position which concealed his hands.”

The internal police report, however, states that Owens was the one who was “failing to keep his hands in view,” and who, in what the report described as “an effort to get rid of the evidence [Walkman],” put his hands into his pants pockets. At that point, the report states, Crabtree “used deadly force on suspect Hall.”

Owens said he responded immediately to the second command to halt, but that Hall kept walking away. When Owens heard the shots, he turned around, “and my partner was lying face down…. Then I heard all the cops coming with sirens.”

In fact, within a matter of minutes, at least three more BART police cars and a backup unit from the Hayward Police Department had arrived on the scene. Even if Hall, who by all accounts was walking, not running, had been attempting to “flee,” it’s unlikely he would have been able to get far.

And after an extensive search of the train, the tracks, the station, the parking lot, and everything else in the vicinity, the BART police acknowledge they were unable to find a gun.

Although the BART police initially insisted that Hall had been shot in the chest, and most of the news reports carried that statement unchallenged, even BART now admits that the shot struck the young man in the back of his head. His father, Cornelius Hall, never had any doubt.

“I’m a trained emergency medical technician,” he told the Bay Guardian. “I was in the hospital room when the nurse was washing down the body. I know what an entrance wound looks like, and my son was shot in the back.”

In Modern Police Firearms, a textbook on law-enforcement procedures, Professor Allen P. Bristow of California State University, Los Angeles, writes that deadly force should be used to stop a fleeing felon only when “he cannot be contained or captured” through other means. Further, Bristow notes, an officer considering deadly force should ask the following question:

“Is the crime this suspect is committing, or are the consequences of his possible escape, serious enough to justify my taking his life or endangering the lives of bystanders?”

The San Francisco Police Department guidelines on deadly force embody some of that same philosophy. “Officers shall exhaust all other reasonable means of apprehension and control before resorting to the use of firearms,” the Aug. 24, 1984, policy states. Officers are allowed to shoot at a dangerous, fleeing felony suspect “only after all other reasonable means of apprehension and control have been exhausted.”

San Francisco, like almost every other police agency in the Bay Area, and most in the country, strictly prohibits warning shots. So does BART: “Discharging of firearms [is] not allowable as a warning,” BART’s official weapons policy states.

The BART police are a bit more lenient than San Francisco on the use of deadly force to stop fleeing suspects. The officer must only believe that “the suspect is likely to continue to threaten death or serious bodily harm to another human being,” according to BART’s July 22, 1987, operational directive. Yet the directive also states that a firearm may not be used “when the officer has reason to believe … that the discharge may endanger the lives of passersby, or other persons not involved in the crime, and the officer’s life, or that of another person, is not in imminent danger.”

THE OPEN RANGE

Armed guards have patrolled BART trains and stations since the agency started running trains about 30 years ago. At first, they were simply known as “BART Security”; the officers had the authority to carry weapons and arrest suspects, but under state law, they weren’t members of a real police department. For the most part, that limited their authority to the confines of BART property.

In 1976, the state Legislature granted BART the authority to run a police department with jurisdiction and authority second only to the California Highway Patrol. BART officers now have full police powers, not only on their own turf, but in every one of the 58 California counties.

The department, headquartered near the Lake Merritt BART station, currently employs 151 sworn officers and nine dogs (see sidebar Page TK). An undisclosed number work undercover, in plain clothes, riding the trains and looking for crimes that range from fare evasion, “eating,” and “expectoration,” to assault, robbery, and rape. By far the most common crime, according to a BART police statistical breakdown for 1992, is “vagrancy”: 4,227 separate instances were reported by BART officers in the first 10 months of the year.

The BART Police Department has a $12 million annual budget, a fleet of patrol cars, and its own communications system. Officers earn salaries that Chief Taylor calls “competitive” with other departments in the Bay Area.

And at a time when California law-enforcement agencies are coming under increasingly strict civilian control, the BART police operate with nothing more than token oversight.

Chief Taylor reports to no commission, mayor, or city council. The department is administered by BART’s assistant general manager for public safety, who reports to the general manager, who reports to the board. BART spokesperson Michael Healy said the board plays no role in hiring or firing a chief, much less in disciplining police officers.

Former BART Board member Arlo Hale Smith said that in his term of office, the BART police chief rarely showed up for board meetings. “Even when we had something to discuss about the department – usually a labor-contract issue – the assistant general manager would come,” Smith explained.

Citizen complaints against the BART police are handled by the Internal Affairs Department, which is not a separate agency, as it is in many police departments, but a branch of the Detective Division, Taylor told the Bay Guardian.

That, some critics say, may explain why BART has the lowest possible rate of sustained complaints against its police officers. “There’s a very good reason for civilian agencies to handle complaints against the police,” said the ACLU’s John Crew. “People who have been abused by the police have a hard time trusting the same police department to do an honest investigation.”

Cornelius Hall, who is no stranger to government bureaucracy, said he ran into a stone wall when he tried to get some basic information about his son’s death from BART. “They wouldn’t even give me the police report,” he told the Bay Guardian. “The only way I can find out what happened to my son is to hire a lawyer and have it subpoenaed.”

Crew said he finds the situation “chilling.” He said he saw a “complete dearth” of civilian oversight in the BART administrative structure. “There’s no opportunity for meaningful public input, for hearings, for discussion of issues,” he continued.

“It’s not an acceptable situation. But under the circumstances, the members of the BART Board have an increased responsibility to ask questions and keep on top of their police department’s practices.”

In the case of Jerrold Hall, at least, that doesn’t seem to be happening. The shooting hasn’t been on the agenda for any board meeting since Nov. 15, and board members say they haven’t received any information about it from BART management.

And unlike Cornelius Hall, they haven’t even bothered to ask.

TO TELL THE TRUTH

The day after a BART police officer shot Jerrold Hall in the back of the head, transit agency spokesperson Mike Healy told reporters that Hall had been shot in the chest.

Not true.

Healy also told reporters that Hall had attacked Officer Fred Crabtree, and continued to attack him after Crabtree fired a warning shot.

Not true.

And Healy said that the warning shot was fired “over Hall’s head.”

Not true, either.

Healy freely referred to an alleged “armed robbery,” but he didn’t tell reporters that BART police had searched the entire area and never found a gun. He didn’t say that the alleged robbery victim had vanished without a trace, either.

So the public got a one-sided – and, as it turns out, largely inaccurate – picture of the incident. The press, taking Healy’s information at face value, portrayed Jerrold Hall as a violent, gun-wielding punk, shot in the act of attacking a cop.

“In some ways,” says Hall’s father, Cornelius, “that’s the saddest part of all.”

And while Healy finally put out a statement Dec. 7 acknowledging that some of his previous comments were in error, he did so only after a three-week barrage of questions from the Bay Guardian – and he never issued a word of apology to the Hall family.

It’s hard to blame Healy for the initial round of misinformation: In the heat of a bloody battle, the truth is often obscured. But Healy clearly knew, or could have known, within a few days after the incident that his official press statements had been wrong – that, for example, the medical reports showed Hall had been shot from behind. He could have called the reporters who were covering the story and let them know, or issued a new press release with updated information.

He could have tried to rescue some of what was left of the dead 19 year old’s personal reputation – and salvaged a bit of his own in the process. Instead, he fell back on the old BART strategy: When in doubt, stonewall. Then duck for cover, and hope it will all go away.

The BART Police Department may be the least-responsive law-enforcement agency I’ve seen since the discovery of the shredding machine in the White House basement. There is no press officer. The watch commanders, lieutenants, and captains refer all press calls to Chief Harold Taylor, who won’t come to the phone; his secretary refers the calls to the BART Public Affairs Office.

When I first called Healy Nov. 16 to ask about the shooting, he told me he hadn’t seen a police report, and didn’t know if one existed. He also said he didn’t know what the citizen complaint procedure was for the BART police, and had no idea if it was in writing. I filed a formal request for those and other records Nov. 17; under the Public Records Act, I had a legal right to a response within 10 days.

I let it slide to 15 days (holidays and all), then started calling Healy’s office. He was too busy to come to the phone at first, but after I harassed him for several hours, he told me that Chief Harold Taylor was handling my request, and that I should call him directly. Taylor wouldn’t come to the phone at all: He had an assistant tell me that Public Affairs was handling the request, and that I should call Mike Healy.

I spent another day trying again to reach Healy, who finally told me he wanted to set up an interview with Taylor – for Dec. 4, 17 days after I’d sent in a request for information most police agencies would probably have provided in less than an hour.

Chief Taylor showed up for the interview with a BART lawyer, who promised that the chief would fax me a statement of the facts of the shooting sometime later that afternoon. The brief, incomplete statement finally arrived three days later, around 3:30 p.m. Dec. 7, 21 days after my initial request. And BART officials still won’t release the full police report.

If I were a suspicious reporter, I’d wonder what they were trying to hide.

————

Deputy dog

In Philadelphia, the Inquirer revealed several years ago, police dogs attacked 358 people in the course of 33 months, leaving many of them scarred or maimed for life. In Los Angeles, the Times recently reported, the local K-9 Corps recorded more than a thousand bites in three years. In Washington, D.C., and Baltimore, trained German shepherds tore into a total of 375 legs, arms, and torsos in the course of their law-enforcement work.

In the past 10 years, canine corps scandals have tarnished the reputations of police departments all over the country and have cost taxpayers millions of dollars in lawsuits.

In Berkeley, however, police dogs have been banned since the early 1970s, when a City Council member named Ron Dellums responded to the brutal use of dogs against blacks in the South with a resolution abolishing the local canine corps. In San Francisco, dogs handle only a few very limited tasks.

But since 1990, the BART Police Canine Corps has been expanding into the sort of work that created such extensive problems in other American cities – a use for dogs that critics say has little justification.

“There are two basic rationales for using police dogs,” explained Richard Avenzino, director of the San Francisco SPCA, whose agency has worked with the local Police Department canine program. “One is for sniffing out explosives or narcotics. The other is for searches, mainly in enclosed spaces, where the dog’s sense of smell can aid in finding a hidden human suspect.

“But there’s also a perception that a snarling dog can intimidate people, which creates a lot more potential for trouble.”

The first BART Police canine corps dates back to the early 1970s. But the BART Board disbanded the program in 1975, after a police dog on a train in Philadelphia barked at BART Director John Glenn.

In 1990, Police Chief Harold Taylor restored four dogs to the force, saying they would be “a strong statement of police presence,” would deter violent crime, and could be used to help clear homeless people from trains and stations. In an interview last week, Taylor said the dogs, which now number nine, are used “to back up officers, in all their law-enforcement duties.”

The dogs, imported German shepherds, are bred and undergo Schützhund training at a special school in Germany, where they learn to attack on command. “The dogs only [understand] German,” explained Deputy Chief Kevin Sharp. “The officers learn to issue their commands in that language.”

Sharp said none of the BART dogs are trained to sniff out bombs or drugs and that they aren’t often needed for searches. In normal situations, he said, the dogs stay in the police car, with the window open, while the officer approaches a suspect. “They’re trained to jump out and attack without any command if they see that the officer is under assault,” he added.

ACLU Police Practices lawyer John Crew found that description alarming. “In other words,” he said, “we have dogs deciding on their own when to use what amounts to lethal force. That’s not a very good idea.”

Avenzino said the training methods used for such dogs “are, to put it mildly, controversial. A dog will do anything to please its owner; if you teach it to attack on command, it’s like loading a gun. In my opinion, it’s very dangerous.”

Jim Chanin, a Berkeley lawyer who has filed several lawsuits over attacks by police dogs, said he sees no good reason for BART to have a canine corps. “The problem is that these dogs are just trained to attack,” he explained. “You can’t use them to search for some kid lost in the BART tunnel.

“If there’s something the BART police do on a regular basis that requires the use of dogs, I certainly can’t see what it is.”

Chief Taylor told the Bay Guardian that dogs provide much less expensive backup than additional sworn officers. Berkeley Police Lt. Tom Grant said he agrees, to a point: “But then you have to pay out those big legal settlements if one of the dogs does something wrong.”

Gun crazy

0

Editors note: This story ran Oct. 17, 2001

Bruce Seward imploded while riding an AC Transit bus.

It was 4 a.m. on May 28, 2001, and Seward was rolling through the darkness on the 82 line, headed south from Oakland toward Hayward. Hands clapped over his ears, Seward, a 42-year-old car salesman, rocked back and forth, vacilutf8g between sobbing and shouting. He was barefoot, according to witnesses.

Bus driver Anthony Ramsey heard Seward ranting, “They trying to kill me, they trying to kill me.”

“Shut up!” one passenger screamed. Another rider threatened to toss Seward off the bus.

Seward morphed, gaining some inner – momentary – calm. “Thank you, God, thank you, God, thank you, God,” he chanted.

A few weeks earlier Seward had jetted to Danville, Ill., for his mother’s 67th birthday; his mom and eight siblings didn’t notice any behavioral peculiarities. But now, quite publicly, the Oakland man’s synapses were misfiring.

At the end of the line, the Hayward BART station, Seward got off the bus. An hour later a veteran BART cop named David Betancourt found the rangy African American man outside the station, lying next to a Dumpster, naked and semi<\h>coherent. Betancourt, according to confidential police reports obtained by the Bay Guardian, grabbed Seward and shook him. “Are you OK?” the cop yelled.

“No,” Seward shouted, standing up. “No, it’s not OK.”

Betancourt, police reports indicate, says Seward then charged him. Yanking a can of pepper spray off his belt, the cop blasted the naked man in the face. The chemical spray did nothing.

Then, according to witnesses, Seward grabbed Betancourt’s 26-inch-long wooden nightstick. The officer – as he would later tell his superiors – began to fear for his life. Betancourt said he thought Seward would “beat [him] to death” with his own baton or attempt to disarm him and shoot him.

The cop drew his blued steel Glock and squeezed the trigger, dropping Seward with a single .40-caliber slug through the heart.

Seward’s demons are buried with him. Family members have few clues about why his mind melted down. They know he survived a similar psychotic episode in the early 1990s. And they know he went to see a psychologist two days before he died. It seems his relationship with an Oakland woman was collapsing; maybe the emotional turmoil had shattered him.

Betancourt, who has 20 years of law-enforcement experience, 8 of them with BART, emerged unharmed from the fatal skirmish; police records show the officer suffered no injuries. His career seems undamaged as well: Betancourt returned to active duty last week after probes by the BART police and the Alameda County District Attorney’s Office cleared him of any wrongdoing. The cop had been on paid administrative leave since the incident.

“It’s unfortunate that somebody died, but the officer was justified in using deadly force that morning,” Betancourt’s attorney, Leo Tamisiea, said.

BART police chief Gary Gee concurs. “I think he acted appropriately,” Gee told us. “The tussle that took place, the back-and-forth exchange – when it had no effect on [Seward] and the officer feared that he himself was going to suffer serious injury or death, he took the action he felt necessary.”

Regardless of BART’s official line, a key question remains: did Betancourt really have to kill Seward? It’s a question neither asked nor answered in the 90 pages of BART police reports leaked to this paper.

“My brother would still be alive today if the officer was doing his job correctly,” Michael Seward, 45, an Illinois state prison guard, told us. “I can’t see any justification for shooting an unarmed civilian.”

According to almost every major U.S. police department’s official guidelines – including those of the BART police – a cop can use deadly force only if the cop reasonably believes his or her life (or the life of another person) is in immediate jeopardy.

Did Betancourt truly think Seward was going to bludgeon him to death? And if so, was the cop making a realistic assessment of the situation? These questions, too, are unresolved by the investigations of BART and the D.A.’s Office.

The subway system has offered Seward’s family only fragmentary information about case number 01-22334. “The hardest part is that we’re not getting any help from the police department,” Michael Seward said. “I have not received an autopsy report on my brother. We’re trying to find out what actually happened, and the police have not been forthcoming in terms of giving us an accurate, detailed explanation of what happened.” The family is contemputf8g a lawsuit.

Lurking in the police documents leaked to this paper is one fairly startling fact: “Officer Betancourt’s duty weapon left the scene with him,” one chronology of the incident reads. Two hours after the killing, Betancourt turned the Glock over to investigators. “That’s totally against protocol,” said former Santa Monica cop Frank Saunders, a consultant on police practices. “In these cases, you’re supposed to take the officer’s weapon immediately.”

“I don’t know why there are time gaps in the reports,” BART spokesperson Mike Healy admitted.

For Samantha Liapes, director of Bay Area PoliceWatch, Seward’s death is symptomatic of a broader problem. “We’re very troubled by this: yet another example of unwarranted deadly force being used in a situation where someone was obviously in mental distress,” Liapes said. “The fact that the man was naked and clearly not carrying a life-threatening weapon makes the use of deadly force by the officer even more troubling.”

Two weeks after Seward was killed, San Francisco cops put 20-some bullets in another mentally ill man, Idriss Stelley, in a movie theater at Sony Metreon. Stelley, according to his mother, was brandishing a less-than-lethal, two-inch-long knife.

Beyond the specifics of the two cases, there’s a larger policy issue: are local cops getting the proper training in how to handle mentally ill people?

As required by state law, BART – along with most other Bay Area departments – gives new recruits six hours of schooling on the subject. “We are sensitive to the fact that there may be a need for additional training and are receptive to looking into it,” BART chief Gee said. “But I’m not so sure that even if Betancourt had gotten supplemental training on dealing with persons who are mentally ill, that it would have changed the outcome in this case.”

The chief could take a cue from San Jose, which has put 130 of its officers through a 40-hour training on mental health crisis calls.

Lt. Brenda Herbert, head of the San Jose Police Department’s Crisis Management Unit, runs the training program, which was launched in 1998. “What we’re trying to do is teach officers to talk someone down, rather than take them down physically,” Herbert says. “It’s a matter of teaching these officers what it means to be hearing voices, how to talk to someone who’s hearing voices, how to find out what the voices are saying so that you can take the necessary precautions.”

Seward is not the first person to bleed to death in the parking lot of the Hayward BART station. It was there, in 1992, that BART cop Fred Crabtree confronted Jerrold Hall, a 19-year-old African American. Hall, who was getting off a train with a pal, fit the description of a robbery suspect. Crabtree – armed with a baton, a can of pepper spray, a handgun, a shotgun, and an attack-<\h>trained German shepherd – told Hall to halt.

After a quick discussion Hall turned and walked off, his hands clearly visible. Crabtree ordered him to stop. When Hall failed to heed the command, the cop loosed the 12-gauge shotgun, blasting the young man in the back of the head.

As it turned out, no evidence was ever found connecting Hall to any robbery – and he was unarmed (see “BART Cops, 41-0,” 1/14/98).

BART came under public pressure to fire – or at least discipline – the officer. Politicians made noises about putting the subway system’s largely unaccountable 182-<\h>officer force under the supervision of a civilian review board.

Apparently unswayed by reason, BART officials did absolutely nothing, and eventually the public discontent tapered off. Crabtree remained on active duty until his own inglorious demise a few years later: the officer was found hanging from a noose in his home as porno tapes played on the TV.

Interviewed last week, Tom Radulovich, a member of the BART Board of Directors, said he’s pushing for more police oversight but at this point doesn’t have the votes on the nine-member board to pass any new rules. It may prove especially hard to muster those votes in the fear-<\h>laden post-Sept. 11 climate.

“The concern the [Seward killing] triggers for me is whether we’re doing enough to make sure things like this don’t happen,” Radulovich said.

It could be that David Betancourt really had no choice but to gun down Bruce Seward. Maybe it really was a kill-or-be-killed situation.

There is, however, another, more grim possibility: that the police culture at BART has changed very little in the last nine years. And the majority of the BART board doesn’t seem to care.

Beware the BART police

5

By Tim Redmond

The coverage on KTVU of the latest BART police shooting shows what TV news can do at its best. While the Chron was relying on official accounts and some witnesses, KTVU got two sets of cell-phone videos that show the horror of the shooting in black and white. Then there’s the painful press conference when a BART spokesman talks about the safety of the passengers and says it’s “regrettable” for someone to die.

But what’s been missing in most of this discussion is the fact that this is nothing new — the BART police have been involved in improper shootings at least twice previously — and in both cases, the officers were cleared of any wrongdoing.

The big problems is that BART has no civilian oversight for the police. There’s no BART Board committee that monitors the BART cops, no independent investigative agency, nowhere except the BART Police to file complaints against the BART police. It’s the only major police agency in the Bay Area that operates with zero effective civilian oversight.

Here are two alarming examples of past police abuse:

1992: A BART cop shoots and kills an unarmed man who is walking away.

2001: A BART cop shoots an unarmed naked man.

I asked BART Board member Tom Radulovich today if there’s any way this incident will finally lead to a movement for civilian oversight of the BART police. He said he favors that — but he’ll need more votes. Here’s the BART Board president and vice-president. You can reach president Blalock at (510) 490-7565 and vice-president Fang (who represents San Francisco) at 415-397-0220. Blalock’s phone keeps ringing and doesn’t seem to have voice mail, but I’ll keep trying. I left Fang a message. You can do that, too.

Lynette Sweet represents parts of San Francisco, too. I can’t find a phone number for her and the BART office won’t give it out, but here’s her email: Lynettebart@aol.com.

Street Threads by night: What are you wearing?

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Limor_Castro and 24th.jpg
Limor, 24th Street and Castro

Guardian photog Ariel Soto continues her quest for San Francisco’s best street togs — this time with an spotlit eye on eveningwear

Kate_24th and Vicksburg_Night.jpg
Kate, 24th Street and Vicksburg

Keesa_22nd and Valencia.jpg
Keesa, 22nd Street and Valencia

Ain’t no love in Oakland, bitch

3

pimp.jpg
Image from imdb.com’s archive for “American Pimp”.

Text by Sarah Phelan

Folks in Oakland—and those in the parallel universe that makes films about Oakland—are getting their knickers in a twist about a HBO drama that wants to focus on a 40something Oakland-based pimp’s attempts to get out of the world’s oldest profession.

In the right corner, we have Mayor Ron Dellums, who is worried about the impact of the show, called ‘Gentlemen of Leisure” and based on a 1999 documentary called “American Pimp”, on Oakland’s image as a “model city.”

In the left corner, we have folks who are worried about the impact of canceling the show, set to begin 2009, on Oakland’s already flailing economy.

And stuck in the middle, so it seems, are the folks at Oakland’s Film Office.

Reached by phone, Ami Sims, (oops, as one reader just pointed out, her name is Ami Zins, not Sims) Film Coordinator for Oakland’s Film office, told the Guardian that she had heard nothing, in terms of the show actually being nixed.

“The company doesn’t even have a script, so there’s really nothing to talk about,” Zins told me.
Pressed for details of how the City could stop HBO from filming and whether it has taken steps to do so, Zins said, “I’m not supposed to talk about it.”

So, what in heck is going on in Oakland, a city made infamous by Too Short’s “No love from Oakland” which begins “Ain’t no love in Oakland, bitch/ Niggas always talkin bout ‘I love you’/But ain’t no love, bitch”?

Shortly before Christmas, the San Jose Mercury News reported that the HBO proposal had come under fire from Mayor Ron Dellums and other city officials before filming had even started.

‘It’s the mayor’s view that this project goes against our vision of Oakland as a ‘model city’ and does a disservice to residents and visitors alike,” Dellum’s chief of staff David Chai told the Merc. “The people of Oakland have come too far to have our city’s name trampled upon in the name of entertainment.”

Now, it’s true that folks nationwide hold a negative stereotype of Oakland, and that the City has spent a lot of time, money and effort to clean up its crime-plagued streets.

But that doesn’t take away from the reality the Oakland continues to be crime ridden and that pimps are no strangers to many of its less than pristine streets.

In 2008, Oakland witnessed 124 homicides. That’s three fewer than in 2007. But 25 more than in San Francisco, which saw 99 homicides (its highest since 1995) in 2008. And it’s a stunning 121 more than the city of Alameda, which saw three homicides in 2008 and is only separated from Oak town by a short underground tunnel.

It’s also true that Oakland is in a very dire financial predicament, one that Mayor Dellums predicts will only get worse over the next couple of years. The City’s $42 million deficit in 2008 could balloon to $113 million by 2012.

So, could ‘Gentlemen of Leisure” be Oakland’s financial salvation?

City officials argue that the $150-a-day cost of a film permit is chump change, given that the project would only reinforce the city’s criminal reputation.

But as a film industry source, who prefers to remain anonymous, points out, Oakland would also benefit from the jobs that the show would create, not to mention the trickle down effect of people spending their paychecks locally.

“These are jobs we could have had, that actors who live in the East Bay could have had” our source said, noting that the Emmy-award winning show Dexter “doesn’t mean that everybody who lives in Florida is a serial killer.”

Prophet sees

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› kimberly@sfbg.com

SONIC REDUCER "I’m going to start smoking again. I’m going to start eating bad and quit working out."

Here, have a few determinedly daft new year’s resolutions from an old hand at San Francisco music-making from Chuck Prophet, who happens to be headlining the old year out at Starry Plough Dec. 31. Don’t say he never gave you anything. But seriously, our Prophet?

Actually ’09 vows are the last thing Prophet wants to be burdened with. "I’m just lazy," the singer-songwriter confesses from his South of Market mini-HQ. "Why would I put any more assignments on myself?"

You know what he means. New Year’s resolutions — what better way to hang an albatross round the old oak tree and set yourself up for FAILblog? Still, ’tis the season, and I have a few ideas on how to institute change in this recession-wracked music scene, inspired by the last time the pink slips flew round the turn of the century, post-tech boom. Call these my "Keep the Scene Strong Goals for ’09," all related to stamping out the scourge of many a creative milieu: passive consumption. Though, hell, who even has the time and cash to consume very much these days?

— Engagement. It’s as simple as talking to the performer after the show. And no, I don’t mean hit on the band. Instead, start a dialogue — of either the positive or constructively critical ilk — with your friendly neighborhood musicmaker. Who wants to play into a void, to a passive, glazed-look blank generation? Feedback ain’t just a whole lotta noise. If the spirit moves you, feel free to buy those hard-working musicians and DJs a round of drinks. The Hemlock’s $1 bag of hot peanuts is a nice gesture.

— Dance. OK, the early ’00s saw a rock crew shook it up at shows, but San Francisco is slipping, regaining that bad reputation of resembling zombie-like, arms-folded slabs of tofu. Hold up your end of the bargain and get a move on.

— Stretch. Yes, stretching before dancing helps with muscle aches. But I mean listen to new sounds. If you’re a metal dude, lend an ear to weird new America-style folk — think about Zep’s connections betwixt loud and languorous. If you’re an indie rock chippie check into Fania salsa reissues; a gangster rap head, a bit of death metal or a dab of indie-literati-pop.

— Prepare yourself for the worst — and possibly the best. Everyone’s wondering if they’re going to be laid off or face a work drought in ’09. Instead resolve to put that anxious energy and restless imagination to good use. Come up with some nice, meaty, beaty post-layoff projects. Take up an instrument, even if it is simply a shareware synthesizer. Switch up your recorded listening by swapping records or MP3s with pals — or dive into an affair like KUSF-FM’s Rock ‘n’ Swap on Jan. 11 (www.kusf.org/rocknswap.shtml). Throw a show at your abode, or better yet, put on a free music happening in a public space (i.e., the Toxic Beach throw-downs, mobile Flag Day jamboree).

Sure, everyone knows resolutions are made to be broken. Even Prophet spurned his faux resolutions after we spoke, via e-mail: "So last night after eating cereal for dinner, passing out watching the Food channel, I’ve decided my NY resolution is to cook more often. Taking up smoking is a bit daft, I have to admit." Tasty words — and food — for thought.

CHUCK PROPHET

Wed/31, 9:30 p.m., $26.50

Starry Plough

3101 Shattuck, Berk.

www.starryploughpub.com

For more from Chuck Prophet, go to Noise blog at sfbg.com.

THE MOST INTRIGUING READER TOP 10: MITCH CARDWELL

"Budget Rock-er, zine scribe, lover, drunkard"

1. Hank IV, Refuge in Genre (Siltbreeze) They’ve made SF home to Earth’s greatest punk band once again.

2. Nothing People, Anonymous (S-S) They only play great shows, release great records, etc.

3. The Hospitals, Hairdryer Peace (Stonehouse) Ear-splitter of the year, without question.

4. Buzzer, Disco Kiddz EP (Douche Master) Glam, proto, pub — it’s all here.

5. Nobunny, Love Visions (Bubbledumb) Punk parody is always a winning concept.

6. Colossal Yes, Charlemagne’s Big Thaw (Ba Da Bing) Piano pop-psych crafted in a totally winning fashion.

7. Wounded Lion, "Pony People" 7-inch (S-S) Pop that is both brainy and fun.

8. Mayyors, both 7-inches (self-released) Mayyors wow with sheer force of volume.

9. Scarecrow and the Shuckers at the Stork Club

10. Thee Oh Sees, The Hounds of Foggy Notion CD/DVD (Castle Face) I’ll take this over their recent hit LP.

PRESSURE TO PERFORM: A FEW MORE NYE OPTIONS

LES CLAYPOOL


The Bay Area original makes the leap from his longtime NYE venue at the Fillmore. With Zappa Plays Zappa and Tim Fite. Wed/31, 8 p.m., $69–<\d>$126. War Memorial Opera House, 301 Van Ness, SF. www.goldenvoice.com

BORTS MINORTS AND THIS BIKE IS A PIPE BOMB


NYE Hemlock reg This Bike is joined by the SF troupe Kelley Stoltz describes as "fun SF weirdness without the Burning Man remorse." Wed/31, 9 p.m., $10. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

MOS DEF


Most definitely "Sneakers Required" with DJs like Apollo and Sake One. Wed/31, 9 p.m., call for price. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787.

LAUGHTER AGAINST THE MACHINE


Funny fellahs W. Kamau Bell, Bucky Sinister, and Nato Green issue their response to all the ‘WHOOOOOOHOOOOO!’ that typically goes down on NYE. Wed/31, 7:30 and 10 p.m., $30 (friendofkamau discount code for $10 off). Phoenix Theatre, 414 Mason, SF. www.brownpapertickets.com/event/50525

Don’t look back

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› a&eletters@sfbg.com

Cinephilia is a malady that affects the imagination above all. As 2008’s year-end pieces roll across the blogosphere, one encounters the alluring titles and stills of films which won’t reach the Bay Area for months. Against this tempting tide, I turn to the faint echoes of those undistributed movies which lingered in mind long enough after their festival screenings to become pliable to memory. To take one powerful example, the earthiness of John Gianvito’s still frames of the monuments and graves marking American radicalism’s many resting places inflected my own perception of Obama’s soaring rhetoric. Months after seeing it, Profit motive and the whispering wind‘s contemplative chronology kept returning to me as a visual counterpoint to the "long march" of the campaign season. Abel Ferrara’s Go Go Tales, on the other hand, provided the punch lines to the economic meltdown before the fact. The two films have nothing in common except for prescience, but then prescience is no small thing in a year in which the news outpaced the dream factory for twists-of-fate.

An elegiac documentary like Profit motive is a tough sell in any climate, but I fully expected Go Go Tales to score theatrical distribution after catching it at the San Francisco International Film Festival. Asia Argento slobbering a Rottweiler, Sylvia Miles rasping poetic about Bed Bath and Beyond, miles of dialogue, and a depth of staging which rewards concentration and intoxication in equal kind: Ferrara’s nightlife ballad is ripe for a cult following. At the center of film’s enclosed universe is Ray (Willem Dafoe), a small-time dreamer who runs his Manhattan club on less than a shoestring. The strippers are threatening a work stoppage, the landlady (Miles) is waving her pocketbook around about turning the lease over, and Ray’s brother — a hairstylist from Staten Island known at Ray’s Paradise Lounge as the "king of coiffeuse" — is pulling his financial support from the club. Drawing together all his business acumen, Ray invests in a crooked lotto racket.

After-hours in a threadbare nightclub is an ideal stage for waning fortunes, and it does seem that Ferrara was after a certain timeliness with Go Go Tales: gadfly Danny Cash (Joseph Cortese) spins a Jersey-size yarn about a pastrami projectile hitting "Hillary ‘I Might Be Your Next President’ Clinton," a headstrong cook hawks free-range hot dogs, and the staff grouses over the new Chinese customer base. But there’s no way the director could have known what Go Go Tales augured: Lehman Brothers shareholders left holding their own equivalent of "Ray Ray Dollars," budget cuts, drunk real estate agents, Ponzi schemes, and murmurs of the sinking ship.

A comedy of teetotaling fortunes, a musical with a touch of Beckett, Go Go Tales is every bit a Depression movie. Ferrara’s style is steeped in ’70s playbacks — Robert Altman’s wandering long takes, Woody Allen’s softness for showbiz, and John Cassevetes’ own strip-club serenade, The Killing of a Chinese Bookie (1976) — but as long as we’re talking about filmmakers who love talkers, let’s not overlook the original screwball savants. The Ray’s crowd bubbles over with the same provincial clamor as Preston Sturges’ stock company in Hail the Conquering Hero (1944). In Go Go Tales‘ climactic scene, Ray uncorks a brilliantly obfuscating speech before finding the winning lottery ticket in his front pocket. It’s delirium on the edge of despair and a worthy successor to Sturges’ Christmas in July (1940). Thinking about what Sturges would have done with a world in which "bailout" is Merriam Webster’s "word of the year" makes me want to cry laughing — but there I go imagining things again.

MAX GOLDBERG’S TOP 10 (IN ALPHABETICAL ORDER):

Actresses (Valeria Bruni Tedeschi, France, 2007)

Flight of the Red Balloon (Hou Hsiao-hsien, France, 2007)

Foster Child (Brillante Mendoza, Philippines, 2007)

Go Go Tales (Abel Ferrara, Italy/USA, 2007)

The Last Mistress (Catherine Breillat, France/Italy, 2007)

Let the Right One In (Tomas Alfredson, Sweden)

Myth Labs (Martha Colburn, USA)

Profit motive and the whispering wind (John Gianvito, USA, 2007)

Still Life (Jia Zhangke, China/Hong Kong, 2006)

The Witnesses (André Téchiné, France, 2007)

>>More Year in Film 2008

Top tendencies

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› johnny@sfbg.com

1. Sarabande (Nathaniel Dorsky, USA, 2008)

A masterful film was made in San Francisco by someone who doesn’t just live for the city, but does the city know it? Dorsky’s latest (along with the superb companion piece Winter) screened at the Toronto International Film Festival and was part of a retrospective at New York’s Anthology Film Archive, but as far as I know it has yet to have a public screening in his hometown, where he resides on the avenues that separate the filmmakers and film lovers of SF’s streets, and the Film Society in the Presidio. This summer, along with kino21’s Konrad Steiner, I put together a program devoted to Dorsky’s one-time peer and brother filmmaker of sorts, the late Warren Sonbert, whose revelatory explorations of editing and direct vision lead up — in far more frenetic and sprawling sense — to what Dorsky is doing today. Sarabande is the time and place where Dorsky’s devotional cinema reaches the sublime. This country priest of a film critic may be misreading the signs, once again, in making such a claim — but so be it.

2. The Exiles restoration (Kent MacKenzie, USA, 1961)

This night in the life of urban American Indians occupies a one-of-a-kind place and time. The title renders any description superfluous — what form of exile is stronger than the one discovered while drifting through a stolen home? MacKenzie’s movie, with the life-and-death tunnel vision of its gorgeous Weegee-inflected vérité cinematography, revealed a lost United States. Today it’s a haunting marker of a moment before this country’s commercial independent cinema went in countless stupid and phony directions, and of an area of Los Angeles that has vanished. People are rendered disposable. Lonely spirits continue to gather.

3. Wimbledon Men’s Final 2008: Rafael Nadal def. Roger Federer, 6-4, 6-4, 6-7 (5-7), 6-7 (8-10), 9-7

If you believe what you read and what you see, Raise the Red Lantern and Hero director Zhang Yimou’s production of the Beijing Olympics’ opening ceremony was the spectacle of the year — so dazzling it erased the torch’s troubled travels from what’s left of a collective memory. Television networks have it on rerun, art publications like Artforum can’t stop parsing and usually praising it. (It also garnered an excellent lengthy "movie review" in the magazine Cinema Scope.) Yet Zhang’s endlessly-rehearsed and prefabricated festivities paled in comparison to the marathon drama and dazzling finale of this year’s last match at Wimbledon. The spine-tingling aspect came from fate, not machination, as night crept into a stadium that doesn’t use lights, and the victor’s triumph gave way to an outrageous spontaneous ovation of flashbulbs. It didn’t hurt that Rafael Nadal is the sport’s version of his idol, Zinedine Zidane. Lil Wayne said it best: "I love his motivation and his heart is so big. He leaves it on the court."

4. The Juche Idea (Jim Finn, USA, 2008) and Light is Waiting (Michael Robinson, USA 2007)

Convulsive cinema is radical cinema, one of the reasons the gut-busting aspects of these two movies are vital. Finn’s look at Kim Jong-Il’s film theories (yes, "Dear Leader" is a film theorist with publications to his name) is uncannily timely, from its clips of North Korean stadium parades — shades of Zhang Yimou’s Beijing bombast — to its satirical insight that little separates dreaded (and oft-ridiculous) socialism from the broken-down ghost of late capitalism. Also, best use of ski jumps, rodents, and fly-face sculptures this year. Robinson finds a Satanic kaleidoscope within the fractured pixels of an episode of Full House, making the discovery roughly around the time one of the Olsen twins re-manifested as an angel of death. His statement for the movie still might be the definitive one: "Tropes of video art and family entertainment face off in a luminous orgy neither can survive." Dying of laughter has rarely felt better.

5. Let the Right One In (Tomas Alfredson, Sweden, 2008)

The growing wave of top 10 raves and critic’s awards for Alfredson’s deeply subversive eternal preteen romance is a rare heartening aspect of this year’s feature film malaise.

6. California Company Town (Lee Ann Schmitt, USA, 2008), Viva (Anna Biller, USA, 2007), Wendy and Lucy (Kelly Reichardt, USA, 2008), and When It Was Blue (Jennifer Reeves, USA, 2008)


The heart of American cinema in 2008 is as wild and strong as these directors’ visions. Schmitt’s scorched-earth exploration of California’s abandoned past, closing with a final chapter on Silicon Valley that refreshingly breaks its own rules and throws down the gauntlet, is the timeliest movie in a year of ever-accumuutf8g economic disaster. Biller’s tribute to the bodaciously vivid soft-core fantasies of Russ Meyer and Radley Metzger couples enthusiasm with smarts with kinky results. It also features a character whose incessant cackling laughter practically becomes hallucinogenic. Reichardt starts off what could have been just another shaggy dog story by paying tribute to the Polaroid Kidd (she’s also sussed out the new depression), and allows her lead actress’s offscreen back story to silently color in a thousand shades of loss. In sync with Skuli Sverrisson’s incandescent score, Reeves’ movie makes love to nature. The past-tense in the title proves she’s looking ahead.

7. Wild Combination (Matt Wolf, USA, 2008)

In his feature debut, the talented 25-year-old Wolf chooses a documentary subject he has an affinity for, and Russell’s still-blooming musical legacy automatically gives the film a unique soulful beauty. While the pastoral and waterfront imagery is expected, Wolf’s humane insight as an interviewer is a wonder to behold. It results in one of the year’s most emotionally powerful films, when following the reticent Russell could have been futile. The final 10 minutes are a complete rebuke to all the idiotic discourse that rails against (and perhaps even for?) gay marriage.

8. Hunger (Steve McQueen, UK/Ireland, 2008) and Milk (Gus Van Sant, USA, 2008)


Is hunger sated by milk? Can milk alone get rid of hunger? Steve McQueen is the last art star with film director aspirations, and Gus Van Sant is a movieland auteur who always seems to look longingly at the art world’s white cubes. Both have made bio-dramas about political icons: McQueen speculates about the life and death of IRA leader Bobby Sands, while Van Sant, in case you haven’t heard, has realized his fascination with a certain trailblazing gay San Franciscan. Funny, then, that McQueen makes a riveting experimental work that devolves into a standard heroic final passage, while Van Sant crafts a traditional film in drag. In interview, McQueen told me that he thought of Hunger‘s standout confrontational scene as a bit like the 1982 Wimbledon final. (See, tennis is uniquely cinematic.) But his visceral perspective is most effective early on, when scarcely any words are spoken, and his oblique references to everyone from Jean Genet to Van Sant’s old love Alfred Hitchcock don’t seem merely precocious.

9. The Wrestler (Darren Aronofsky, USA, 2008)

I may have enjoyed this movie because I know next to nothing about (and don’t give a damn about) Mickey Rourke’s misadventures. He arrived in my frame of vision as a modern-day American version of Jean Cocteau’s Beast, blinking out some perfectly round tears when he isn’t pulling staples out of his leathery salon-tanned hide. Look no further than the corrupt endgame of Hulk Hogan — better yet, try to avoid looking at it — for proof that such a figure suits the late-Bush era, though of course Rourke’s brawler has true working-class heart. A working class hero is something to be.

10. Manny Farber, 1917-2008

A lot of critics, ranging from musty well-off bores to young upstarts, wrote tributes to Farber upon his passing. But I have to wonder, who in the current era’s echo chamber of Web-bound opinion has actually learned from him? Ten years ago, there were at least a few voices (Chuck Stephens, Edward E. Crouse) whose writing carried traces of Farber’s spiky structures and wonderfully disorienting shifts in point-of-view. Now, I don’t see hear anyone with a voice like his, but more troubling, I don’t see newer generations of film critics picking up on the fact that he approached the medium as something other than a passive "entertain me" observer. Farber’s vision of film was anything but literal. He was, and is, an artist.

>>More Year in Film 2008