Scene

Clubs: Asses of Evil!

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Calling all queer Arabs, Middle Easterners, and North Africans (and lusty friends) — time for another wild, dancefloor-packing Bibi party, habibis!

bibiasses.jpg

Yep, it’s gonna be packed — featuring DJs Emancipacion, Bahman, and Honey Soundsystem’s own Josh Cheon. PLUS: a burlesque extravaganza with Dirty Phoenix’s “Asses of Evil”, Happy Hyder as “Saida,” belly dancing, and so many hot folks you never knew were Arabs that you’ll plotz. Here’s a little taste of what you’ll hear as you jingle your jangles:

This is a benefit for LGBTI Middle-Eastern, South West Asian & North African (SWANA) community (and is hosted by cutie man-on-the-SWANA-scene Rostam), so Bibi there!

Bibi
Sat/9, 9pm-2am, $15
Eight
1151 Folsom
www.myspace/com/bibisf

My so-called hell

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This World of Ours, a youthfully nihilistic, epic, and episodic take on nihilistic youth in 21st-century Japan, represents the coming out of its writer and director, Nakajima Ryo, not just as a filmmaker to watch but in a larger sense as well. Nakajima made his debut feature after a period of post–high school isolation when he became a hikikomori, one of the growing number of young Japanese who voluntarily cocoon themselves in their rooms for months and sometimes years.

The fundamental disconnect that drives the hikikomori to solitary confinement is made palpable in the three high school students at the center of Nakajima’s ambitious, unwieldly, and at times ugly film, even as they flit through populated hallways and shopping arcades. At the start of the film Hiroki (Yoshihiko Taniguchi) and Ryo (Satoshi Okutso) spend their time bullying ugly duckling Mitarai (Hasegawa Souta) while enduring the verbal abuse of one of their teachers, Mr. Iwayama (Shinmon Akao). Mitarai is also a plaything for the blankly coy Ami (Arisa Hata), who encourages him to seek revenge when she isn’t shit-talking him with his tormentors.

These schoolyard cat and mouse games give way to the film’s unsettling centerpiece: after a night out drinking, Ami stumbles home alone, while the boys, at the behest of an older peer, take one of their female companions to his lair and brutally gang-rape her. The scene is clearly indebted to 1971’s A Clockwork Orange (as is the film, which also evokes Akihiko Shiota’s contemporary cruel stories of youth and even Wakamatsu Koji’s gonzo 1969 film Go Go Second Time Virgin), down to the reedy, compressed version of Beethoven’s Ninth — which, appropriately, is more suggestive of a ringtone than a symphony — on the soundtrack.

A Clockwork Orange was controversial because of its highly stylized presentation of graphic violence. Like director Stanley Kubrick, its protagonist, Alex (Malcolm McDowell), is obsessed with aesthetics: it’s not the film’s mere juxtaposition of "Ode to Joy" with heinous acts that is so shocking but rather the criminal’s adulatory investment in something so beautiful. In comparison, Nakajima’s youths hardly have an investment in anything, and the director seems marginally invested in them. Hiroki is clearly paralyzed by what he has done but is so unempathetic that he can only fret over how a criminal record will lower his already dismal prospects of landing a white-collar job. They commit their acts of self-mutilation, bullying, and murder in a zero-sum game of identity formation, with every painful twist caught by Nakajima’s washed-out, often handheld camera. If there are aesthetics at work here, they are clearly those of the YouTube auteur: Nakajima keeps his characters in anxious proximity to the lens. Every shot is practically a close-up.

It is unsurprising then, that these youths talk about Sept. 11 in tones of respectful awe, treating it as the ne plus ultra of how to leave your mark on the world. Ryo, reeling from a bloody confrontation with Iwayama and rejection at the hands of his older sister, decides — much like real-life counterpart Seung-Hui Cho or Eric Harris and Dylan Klebold — the only way out is to commit an act of terrorism. This World of Ours even opens with slo-mo footage of the Twin Towers burning, accompanied by the portentous strains of Beethoven’s Moonlight Sonata, a juxtaposition that Ryo could have made in a computer lab while cutting class.

The same music wafts over the crowded halls of the high school in Gus Van Sant’s Elephant (2003), a far more elliptical take on teen-on-teen violence whose cataclysmic ending is made all the more so by the camera’s constant gentle proximity to the revolving social cross section on display. But while Van Sant’s film seems perfumed by adolescent ennui, that isn’t the only emotion the director trafficks in. (Unfortunately, Van Sant’s most recent foray into the troubled private lives of teens, Paranoid Park — which also screens at SF IndieFest — can’t get out of its funk, despite some beautiful footage of cherubic skater boys lensed by Christopher Doyle.)

I don’t doubt the sincerity of the anger and disenfranchisement on display in Nakajima’s film or want to knock the chutzpah with which he wields them. IndieFest is about first steps, whether they’re accompanied by insecure shrugs or grandly demonstrative gestures. By the time This World of Ours has ended with a bang and much whimpering, it’s offered a few of each.

THIS WORLD OF OURS

Sun/10, 9:30 p.m., Victoria

Mon/11, 9:30 p.m., Roxie

Accidental tranny

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› superego@sfbg.com

SUPER EGO Guilty! I’m totally real-time guilty. Yeps, frenz, I’m that spastic whore on the dance floor whooping like a neon cough, flinging my Mary Kate triceps up when a thump drops in the mix. If a club has one of those heinous black lights at the door, I sneak in the back so no one spots the glowing spunk on my skirt or my phosphorescent VCR. I always ask for extra antioxidant-rich lychees in my pomegranatini, to offset the American Spirits. OK, I’ve blown the DJ. And although I’ve never stuffed a tube sock down my sequined thong or Botoxed my rosy areolae, those are my fake digits you just beamed into your contacts, sweetness. Thanks for the pomegranatini. Call me!

Also, I take things for granted. Some parties in this town have been around since Y2K was ripped-knee-high to a troll doll (New Wave City, 1984, Popscene, Death Guild, Red Wine Social, Qoöl). I’ve surely enjoyed them all. But in my ravenous quest for novelty I’ve watched them gradually fade from my schedule, like tears of joy evaporating on a monitor. Thus I was shocked when word squirted down the pudding pipe that — after 12 years of lunatic antics at the Stud — weekly trash-drag frenzy Trannyshack was slamming its barn door shut in August. Just where the heck will club pervs get their weekly fix of "two trannies, one cup"?

"I never intended to become a professional drag queen, Marke B. It was almost an accident," Trannyshack hostess Heklina said, laughing groggily into the phone when I rang for dish. I’d woken her up: it was 2 p.m. "I was merely dabbling in drag when the Stud approached me a dozen years ago to fill the Tuesday night slot. It’s been wonderful, but I’m ready for a change — and I’m too much of a control freak to let Trannyshack go on without me."

The lady was feeling candid. "I’m done with punk-rock drag," she added. "I’m tired of feeling like I have to haul in my own amps, manage the entire bar, and clean up afterwards. At this point I simply want to walk onstage and have the light show ready and the sound board all cued up. And I want more challenges, to work more in theater, expand my horizons, travel, figure myself out. You get trapped in a persona. This great thing comes along, people love it, and then suddenly it’s your whole life. For 12 years. Time for a breather!"

Hold on to your panicked panties, though. "Trannyshack the brand isn’t going away," Heklina continued. "I’m working on making it a monthly party somewhere nice, and we’ll still do big events like the annual pageant, Trannyshack Reno, international gigs, and maybe bring back the cruise." The weekly Trannyshack’s planning to go out with a bang too: a countdown of greatest hits and command performances has begun, with Ana Matronic of Scissor Sisters hosting Feb. 12 and an explosive 12th-birthday blowout Feb. 19.

Heklina is one of the OG rave-era club kids who made San Francisco fabulously unsafe at any speed, and Trannyshack freed drag from its Judy Garland fetters, flooding punk spirit — and oodles of bodily fluids — into the stalls of gay nightlife. The ‘Shack’s now venerable enough to be thought mainstream by some young turks, but it still feels like the scene’s bloody wig’s been yanked off.

TRANSPORTING How’s this for a leap of global proportions? The papacito of the nightlife’s global grooves movement, DJ Cheb i Sabbah — himself a proprietor of one of SF’s longest-running parties, 1002 Nights (now at Nickie’s in the Lower Haight on Tuesdays) — has just released another stunningly internationalist CD, Devotion (Six Degrees), and he’ll be throwing down, celebration-wise, at the huge returning one-off Worldly at Temple. Boosting Cheb’s subcontinental turntable wizardry live will be Pakistani vocalist Riffat Sultana and percussionists Salar Nadar and Mitch Hyare. Also trading on the tables: electrotabla etherealist Karsh Kale and bhangra breakster Janaka Selekta. Fold dem paper planes and twirl.

TRANNYSHACK

Tuesdays, 9 p.m., $8

Stud

399 Ninth St., SF

(415) 866-6623

www.studsf.com

www.trannyshack.com

CHEB I SABBAH AT WORLDLY

Sat/9, 10 p.m., $8

Temple

540 Howard, SF

www.templesf.com

www.chebisabbah.com

Chancellor Bling-Bling

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› gwschulz@sfbg.com

Outgoing City College of San Francisco chancellor Phil Day presided over major institutional changes during his decade-long tenure, although he leaves under a cloud of financial scandals involving the misuse of public funds. Now a Guardian review of public records shows the decision to reward Day handsomely and neglect recommended internal auditing controls set the scene for the problems to come.

Day’s high-end compensation and accompanying expense account allowed him to live well. His total compensation last year eclipsed that of the heads of 18 other two-year colleges across California surveyed by The Chronicle of Higher Education, which included community colleges for the first time in its 2007 analysis.

Day’s earnings totaled $403,441 for the fiscal year ending in 2007 and included $25,448 in retirement pay plus $31,975 in deferred compensation. He received $12,000 to cover housing expenses — one of only two chancellors who were awarded the benefit — and the state paid $7,200 more for a car.

No one else surveyed from California came close. The runner-up, at Rancho Santiago Community College, made $80,000 less than Day and received nothing for a home or a car. Chui L. Tsang, head of a two-year college in Santa Monica, where the median home value is higher than in San Francisco, received about $30,000 toward housing and automobile expenses but earned a whopping $140,000 less than Day in total compensation.

Darroch Young, former chancellor of the community college district in Los Angeles, which has more students than any other in the country, earned almost $100,000 less than Day, who first joined City College in 1998. Day even made more money than the chancellors at six University of California campuses, including San Diego, Irvine, Davis, and Santa Cruz.

"Raw politics" was how trustee Julio Ramos described it to the Guardian. "The chancellor has had the majority on the Board of Trustees at City College," Ramos said. "Like with any majority, he can dictate the terms of his compensation package."

Trustee Milton Marks, who along with Ramos represents a frequently critical minority on the school’s independently elected board, added that the terms of Day’s contract were crafted before Marks and others ran for open seats on a reform slate.

As long as the board extended Day’s contract each year, it was difficult to slow his salary increases without convincing a majority to start from scratch and reevaluate his performance to determine if his compensation was reasonable. But it’s too late for that now. Day is leaving the school March 1 for a new job on the East Coast, but Marks wants the next chancellor to receive increases "that are not so rigidly tied to a formula."

Day’s compensation is a small fraction of the school’s $375 million budget. But it reflects the district’s priorities, and a recently unveiled 232-page internal probe of campaign law violations at the college stemming from a 2005 bond election offers a telling look at how the school has been operated under Day’s leadership.

To conduct the investigation, the school hired Steven Churchwell of the multinational law firm DLA Piper, the same group that examined steroids in major-league baseball for former senator George Mitchell. One of first things Churchwell did when he arrived at the school was to search for City College’s internal auditor. He soon discovered, however, that the college doesn’t have an internal auditor or an audit committee.

"It’s very common to have an internal auditor at an entity of this size," Churchwell told the school at a Jan. 24 meeting.

Outside auditors inspect the school’s books annually as required by law to make sure it’s following the rules of basic money management, a limited review compared to what an internal auditor, working full-time for the district, might check.

The Guardian reviewed the school’s annual outside audits going back several years and discovered that each of the reports between 1998 and 2003 advised the school to hire someone to do the job year-round internally.

"Regular internal audits enable timely detection of accounting inconsistencies and deviations from established policies and procedures," the reports state year after year. But each year the inspectors found anew that their recommendations were "not implemented."

Regarding the headline-grabbing mess that began when two school bureaucrats in separate instances illegally diverted public funds to a campaign committee, Churchwell said its causes were mistakes due more to ignorance than knowing attempts to break the law.

"It’s almost like lightning striking twice," Churchwell told the school.

But now it appears the storm might have been averted if Day and others in his administration had listened to the school’s outside auditors 10 years ago. Churchwell concluded that an internal auditor might have immediately caught election law violations but without one "no one person has a firm grasp on all the accounts that are open, what they are used for, or who can deposit checks into them," leading to a "glaring lack of oversight of the college’s involvement in fundraising from college contractors."

Day didn’t respond to requests for comment, nor did trustees Lawrence Wong or Anita Grier. But vice chancellor Peter Goldstein argued that the school would set the agenda for an internal auditor, so such a person might focus on how the district reports student attendance or manages financial aid, not necessarily on accounts receivable.

"My response would be that this is a very large and complicated institution from several different perspectives, including the financial one," Goldstein told the Guardian. "While no single person may have a complete understanding of every single account, I believe that we have enough professional staff at the right level with the right background over all the accounts."

It could be that like many bureaucrats, Day is threatened by the possibility of an efficiency expert roaming the school’s halls and compromising the administration’s control over its bank accounts. But Day complained at the Jan. 24 meeting that City College just didn’t have the resources to hire an internal auditor, even though auditors often find enough ways to reduce wasteful spending that they cover their own expense and much more.

Not to mention that if Day had earned as much in compensation as his equivalent in Los Angeles, City College would have had about $100,000 left over for an internal auditor. A district report from 2000 even concluded that an internal auditor at that time would have cost about $105,000.

Two vice chancellors implicated in the election law violations, James Blomquist and Stephen Herman, earned about $200,000 and $170,000 respectively during the 2007 calendar year, compensation figures obtained by the Guardian through a records request.

Blomquist worked as a regular consultant to the school before earning $175,000 his first full year as a City College administrator in 2005. His firm, Blomquist Consultancy, made $401,074 from the college between April 2002 and May 2004, records show.

As for Day, his largest pay increase came after the 2005 bond election, when he was given an 18 percent raise for the 2006 calendar year. He received a 17 percent raise during the year of the 2001 bond election, when the school asked voters for $195 million.

The Chronicle of Higher Ed points out that compensation for community college presidents lags behind what the heads of four-year institutions tend to earn, despite their growing responsibilities, like courting major donors and lobbying legislators. The extreme exception, however, is Day, who last year ranked third nationally in earnings among 68 other community college heads.

"Do I feel guilty at all about being one of the highest-paid college presidents in the country?" Day asked the education rag’s surveyors in November 2007. "Absolutely not."

His supporters argue that Day has attracted millions of new dollars from Sacramento to the district, and along with the school’s trustees, he helped promote a February ballot initiative designed to ensure that a greater portion of the state’s General Fund go toward community colleges. The current formula used by the state for financing two-year schools hinges on how much money is set aside for California’s K–12 system.

Day also took over a school with crumbling buildings, some constructed in the early 20th century. When Day inherited the more than 90-year-old John Adams Campus in the Haight, its bricks were "falling off the side of the building," he said in a glossy 12-page advertorial the college ran in the San Francisco Chronicle on Dec. 19, 2007.

The school floated two bond measures totaling about $458 million in 2001 and 2005 to complete projects citywide, but the latter was badly rushed. Poor planning and rising construction costs have forced the school to cancel projects promised to voters.

Diana Muñoz-Villanueva, a student representative on the Board of Trustees, said she lives on about $600 per month, "so I know there are ways to survive on less" than what the chancellor makes. But based on his duties, she said, "I think it’s fair. I hope to make that much money someday."

Day could nonetheless be taking a substantial pay cut for his new job in Washington DC, at the National Association of Student Financial Aid Administrators. According to its tax forms, the organization’s last president, Dallas Martin, who led the nonprofit for more than 30 years, earned about $250,000 during 2006 in pay and benefits.


—————————–

DAY FLIPS FROM THE FRYING PAN TO THE FIRE

Chancellor Phil Day’s departure from City College of San Francisco is not an indication that he’s easing into retirement. Instead, he’s crossing the country to join a controversy potentially hotter than anything he faced in politically rancorous San Francisco.

Day announced at the end of 2007 that he will be leaving the college in early March to accept the top job at the National Association of Student Financial Aid Administrators, one of the nation’s most powerful lobbying groups on issues related to higher education.

But the Washington DC nonprofit has spent the past year mired in a nationwide scandal over how student loan administrators at individual colleges promote certain bank lenders to students in exchange for kickbacks.

Six student loan administrators were fired or resigned and dozens of schools ceased entering into revenue-sharing agreements with lenders following an extensive investigation by New York attorney general Andrew Cuomo.

Several schools agreed to reimburse borrowers — i.e., college students — millions of dollars as part of a series of settlements with Cuomo’s office, which is still investigating how major lenders market their products to needy students.

The organization Day is poised to take over has been suffering embarrassing waves of unwanted attention as a result. Officials from Cuomo’s office physically monitored the group’s annual convention last July to ensure that corporate sponsors from banking institutions didn’t ply student loan administrators with lobster dinners, iPods, DVD players, nighttime parties, or trips to vacation resorts, all types of incentives offered to attendees in the past.

In other cases, school employees in charge of handling student loans simultaneously held thousands of shares of stock in lending companies, earned tens of thousands of dollars in consulting fees from them, and served on their advisory boards.

The Chronicle of Higher Education has followed the investigations closely and quoted a lobbyist in mid-January describing the NASFAA as "radioactive" on Capitol Hill due to the widening tumult. A congressional inquiry led by Sen. Ted Kennedy (D-Mass.) revealed last September that a University of Southern California official accepted Rose Bowl tickets from Citibank, a major national player in student lending.

Aid officials at the University of Texas "were treated to ice cream, lasagna, barbecue, candy bars, popcorn, happy hours, birthday cakes, cookies, and other personal benefits," according to the report.

A spokesperson for the NASFAA refused to comment beyond a statement released following Day’s appointment. But Day told the group’s members in a recent e-mail that national headlines regarding the kickbacks "have diminished the significance of our contributions," and he hopes to ease the criticism by holding "listening sessions" around the country.

"We need to develop a public relations/marketing and communications offensive that paints a more complete and compelling picture of the difference we can make in students’ lives," Day wrote.

The scandal erupted around what are known as preferred lenders lists, which colleges and universities distribute to students struggling to navigate the complex world of school loans, where private banks compete aggressively with direct lending offered by the federal government.

Most students rely on their school’s list of preferred lenders to make a decision, so banking institutions do whatever it takes to get their name on those lists (or their logos on school paraphernalia), from showering student-loan bureaucrats with lucrative gifts to exclusively sponsoring athletic departments and alumni associations.

Schools and lenders have promised to abide by a new list of ethics rules, drafted by Cuomo’s office in addition to other settlement terms, to regulate their conduct, and to restore faith in financial aid administrators.

Calling All Dip-Shits: Deja Poo Needs Your Help

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By Justin Juul

Deja Poo, San Francisco’s first dookie-themed art show, is looking for new talent. The people who’ll be throwing the event –in their living room!!!– are sick and tired of dealing with bullshit and are actively enlisting the help of complete strangers. The show will feature poo-shaped snacks, shitty deejays, “mud” wrasslin’, open-mic poo stories, and a bunch of other dumb shit. I’m only writing this because I don’t have enough time to whip up a mini-mural of the final scene from 2 Girls One Cup. The idea is all yours if you want it, though. Just reply to this ad and get to work.

dejapoo1.jpg

Deja Poo
Saturday, Feb 2, 6pm – Midnight
The Art Alley Gallery
10 Heron ST.
FREE

Caine is able

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The opening scene in a tragically forgotten 1968 swinging-London artifact called The Touchables — released stateside to universal catcalls — had four model-gorgeous "birds" breaking into an off-hours Madame Tussaud’s. Goal: stealing the object of their desire, a wax dummy of Michael Caine. This proves too fleet a diversion — the glamorous gang are soon off to their next plot-dominating caper, hijacking a handsome pop star to a countryside inflatable plastic pleasure dome for extended go-go dancing and S-M games. But it does make the point that in 1968, Michael Caine was a huge pop icon. And not just in the United Kingdom but also in the United States, where Beatlemania had temporarily made all things Brit — Twiggy, Tom Jones, even Herman’s Hermits — automatically crushworthy.

We’d certainly emulated and admired England all along, after that unpleasant colonial-separation business. But in the ’60s it was no longer a matter of aristocracy envy. Suddenly the Mick Jaggers and the Lulus and so forth made being working-class British cute and desirable and ever so "now." Caine was the first Cockney sex symbol — which made him a celebrity in America but a downright cultural sensation at home.

The Mechanics’ Institute’s February "Raising Caine" series revisits some of his defining roles, though only one ventures past 1972. The first selection, 1966’s Alfie, was his breakthrough. Casting him as a rascally ladies’ man who strings along women (from Jane Asher to Shelley Winters) while entertaining us with direct-camera-address commentary, it both celebrated the sexual revolution and delivered a reassuring moral spank-down.

Caine had earlier made a major impression in 1965’s The Ipcress Files as Len Deighton’s spy hero Harry Palmer, a scruffier, less impenetrably sophisticated alternative to Sean Connery’s James Bond. The movie’s sequel, 1966’s Funeral in Berlin, is second in the Mechanics’ retrospective. (The third Caine-as-Palmer feature, 1967’s Billion Dollar Brain, surrendered to Bond-style fantasy excess and a surprisingly prescient anti–Yank imperialism. Recently released to DVD after decades of difficult access, it’s worth a look.)

The resulting fad was weird but laudable: Caine landed on the average side of handsome (complete with spectacles), had bad hair, and spoke like a mensch. (Memorable quotes include "I’m the original bourgeois nightmare — a Cockney with intelligence and a million dollars.") When Connery ditched Bond, he had to prove himself as an actor. When the Palmer films and Alfie and such were finished, Caine just kept working — sometimes brilliantly but often indiscriminately, in movies that could only have dangled as lure the money he admitted was a deciding factor. The good ones include 1971’s Get Carter and Sleuth (which complete the Mechanics’ series along with the 1983 translation from the stage Educating Rita), John Huston’s 1975 Rudyard Kipling adventure The Man Who Would Be King, and Woody Allen’s 1986 Hannah and Her Sisters (for which Caine won his first Supporting Actor Oscar).

The bad ones? For starters, twin Irving Allen "disasters" The Swarm (1978) and Beyond the Poseidon Adventure (1979). Not to mention 1987’s Jaws: The Revenge, 1992’s The Muppet Christmas Carol … need more be said? Only that Caine has his cited On Deadly Ground (1994) costar Steven Seagal as the only person he’d never work with again. (Good choice!) Caine (it’s "Sir Michael" now, which he must find hilarious) hasn’t lost his touch, though. As an aged Cockney hustler in 1998’s Little Voice, he gives a climatic rendition of "It’s Over" that is the most lacerating deliberate bad singing this side of Jennifer Jason Leigh in Georgia (1995). He was superb handling the more sentimental aspects of 1999’s The Cider House Rules (winning a second Oscar), in the underseen Brit ensemble classic Last Orders (2001), as the true protagonist of 2002’s The Quiet American, and as one brainy holdout amid the Orwellian future of Children of Men (2006).

So is he more served or subservient playing butler to Batman? (I’d say the former.) Caine is an excellent actor who always admitted that selling out was part and parcel of the trade. Sex symbol then, willing tool now (and also then), he never blew pompous public wind or truly embarrassed himself onscreen, even when the films embarrassed themselves. He once said, with bracing honesty, "You get paid the same for a bad film as you do for a good one." Either way, he earns the check.

RAISING CAINE

Feb. 1–29, $10

Fri., 6:30 p.m.

Mechanics’ Institute

57 Post, SF

(415) 393-0100

rsvp@milibrary.org

Slim’s slimed

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› kimberly@sfbg.com

SONIC REDUCER There are eight jillion stories in the naked, nervous-Naughties city, and one of the increasingly common tales is that of the wannabe slicker who lays out that down payment for a little piece of gritty ‘n’ shitty, gorgeous ‘n’ porous, wild ‘n’ wooly San Francisco. And then supposed slick realizes, "Hey, I’m tired of stepping over panhandlers, looking for parking, and listening to car alarms, building fans, BART musicians, construction blare, and city hubbub in general." Translation: "I actually want to live in Concord, San Carlos, or Corte Madera." So the square spoiler in this happily unholy round hole of a town decides to wreck things for everyone.

That sort of inane, fish-outta-water resolve is, unfortunately, threatening Slim’s, the linchpin of the 11th Street–SoMa club scene since chart topper Boz Scaggs first opened the respected nightspot two decades ago, the site of many a memorable night of music and a venue that, legend has it, bands like Built to Spill have pledged their loyalty to because of its dedication to stellar sound. One of Slim’s neighbors tipped me off last month that the hall — which has consistently passed all sound tests conducted by the city’s Entertainment Commission — was being besieged weekly by a lone complainer living in Juniper Alley. All of this came to a head in December 2007 when the accuser ordered citizen’s arrests of two of Slim’s night managers on three occasions — after, Entertainment Commission industry representative Terrance Alan says, police refused to issue noise-violation citations of their own because they couldn’t hear any vioutf8g sound issuing from Slim’s. The arrests have led the Department of Alcohol Beverage Control to bring an enforcement action against Slim’s liquor license, which may close the club for 15 to 25 days after an April hearing.

"She has been threatening to do this for a while," Slim’s co-owner Dawn Holliday told me. The complaining neighbor and her partner have been registering noise complaints for the past two years, Holliday added, though no other neighbors have complained, and in 2000 all of the area’s condo and live-work residents signed a deed restriction making it clear that the district is a mixed-use neighborhood subject to noise, odors, and other industrial activities 24-7. Nonetheless, Holliday continued, "she calls the police on average four nights a week. The Entertainment Commission has gone into their house and done readings in the house, done readings out in front of house, and we do readings in front of their house every night with a decibel meter on the most sensitive reading you can get, and we are always compliant. It didn’t satisfy them."

One of the charges against a Slim’s manager was dismissed, but both staffers are still due to go to court for the two arrests in February and March. "I’m hoping they let these kids off," Holliday said. "I’ve gone to [San Francisco Police Department’s] Southern Station and asked them to wait for me to come over or Boz to come over and arrest us. It’s not fair that employees get arrested. We’re the two owners that live the closest, and both of us would take tickets before our employees."

Holliday is confident — after going into mediation, consulting with sound guru Charles Salter, and taking actions like installing a new insulated roof and a special four-tiered back door — that a resolution is possible. Still, the idea that one sour grape can pull down another great venue is troubling. "This is a situation where you can see how the system, which was designed to have respect for all the citizenry, can be used by this vexed complainer," Alan said. "They’ve created this history of complaints based only on their complaints. It’s going to cost Slim’s a lot of money and cost their managers a lot of sleepless nights, who want to go on and have a life. And they won’t be able to if they are found criminally liable for this. Imagine, you’re just doing your job …"

And hey, that’s another reason why so many of us come to this cow town in the first place: to work and to cozy up closer to that golden cow pumping pomegranatinis, the raucous crafters of musical ambrosia, et al. Fess up: you didn’t move to SF to feel good about driving a Prius or down Starbucks. What you can’t find regularly in Concord or Corte Madera — and what so many of us continue to crave — is that non-government-regulated minimum requirement of fun: loud, smelly, still safe, inconvenient, sprinkled with homeless parking valets, and still unlike anything you’ll get in the sticks.

For more, see Sonic Reducer Overage at www.sfbg.com/blogs/music.

HOWLIN RAIN MAKE THEIR MOVE

Howlin Rain and Comets on Fire’s Ethan Miller has plenty of news about: HR’s superfine new LP, Magnificent Fiend, will be released March 4 on SF’s Birdman label and HR’s new imprint, Columbia Records cohoncho Rick Rubin’s American Recordings. Why jump? Miller told me he was enticed by larger studio budgets and the opportunity to be produced by Rubin, whom the frontman praised as someone who "seems to chip away at all those extraneous things and just draw out the essential fluids onto the tape.

"Those are the reasons," Miller said. "This is not the type of record deal where you get a million-dollar check and drive away in a Rolls-Royce, and you’re, like, ‘Fuck, cool, man, they bought me a Corvette, and now everyone can just go get wasted on coke and it doesn’t matter now, man!’ And then, whoa, a year later you’re kicked off the label, and you’re, like, ‘Fuck, I blew my $2 million advance now. This sucks! Now I’m a fucking nobody!’ That’s not this."

HOWLIN RAIN

With Black Mountain

Mon/4, 8 p.m., $14

Independent

628 Divisadero, SF

www.theindependentsf.com

Top o’ the world, ma

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› duncan@sfbg.com

My ex-girlfriend hipped me to TopR, short for Top Ramen, around 2003. We were driving in her car, and she cracked open the newly released Burning the Candle at Both Ends (Earthlings/DWA) and slid it into the dash. I’d like to say it changed my life, but to be honest, I can’t remember it. I do remember that she described TopR as this homeless, couch-surfing rapper who’d slept on her previous boyfriend’s couch. It was classic case of his reputation and lifestyle preceding his music.

Later I met TopR — or Topper Holiday, as he’s ceased using his first name — at 111 Minna Gallery, where I still work a side gig as a doorman. Throughout my years there he’s been a semiregular fixture, posted at the end of the bar, skeezing free drinks. He’s well loved but has this Dennis the Menace air surrounding him, like, "Oh, Topper’s here. Here comes trouble." One night in Minna alley, I remember him — a big, bescruffed white dude in a fitted New Era cap, somewhat rotund and more than a little faded — striking up a conversation with some bland, buttoned-down types, telling them he was a rapper and following up with a drunken freestyle. I came away feeling that it was a little sad, like he was busking in a BART station, trying to impress the squares.

"Fuck being glamorous — I’m cantankerous." So goes the first line on "Frankenstein’s Topster," the opener off his latest, fifth album, Marathon of Shame (Gurp City). It was playing when I walked into Dalva on 16th Street to say hello to my friend Toph One and reintroduce myself to TopR. And quite a reintroduction it was: even before Top starts rapping, the track is a fucking winner, anchored by a sample of Black Sabbath’s "A National Acrobat," the driving guitar riff married to an überfunky drumbeat by producer Dick Nasty.

A good hip-hop album is like a good comedy record: the shit’s got to be so sharp that you want to listen to it more than once, want to scan back on the CD and point out lines to your friends who are riding with you. In Top’s case it’s an apt comparison since he’s influenced by stand-up comedians as much as by other rappers and samples Sam Kinison and Bill Hicks on his previous disc, Cheap Laughs for Dead Comedians (Gurp City, 2006). Marathon is packed with lines that’ll make other rappers wish they’d written them, from favorite one-liners like "Puttin’ squares in their place like Tetris" to heartfelt couplets such as "I don’t want to fit into this banality factory / Where together we can all make profit from tragedy."

It stands to reason that TopR can come up with witty rhymes: he’s been rapping since he was 12. Now 30, he gained his rep as a battle rapper at parties and clubs. "From ’93 until 2000 all I did was battle," he says over a pint at the Richmond District’s 540 Club. "I didn’t record music. I didn’t put out anything. I just made a reputation for myself through battling. If I was putting out albums in ’95, ’96, I might’ve been an actual artist like Living Legends, Atmosphere, and Hieroglyphics. You can only be a battle rapper for so long. After a while there’s not very much creative outlet for it. You can only make fun of someone for so long before you actually want to express your real problems and your real feelings about life. And you do that through writing songs."

In a time when your average radio rap track has more advertisements for sneakers and pricey booze than a copy of GQ, TopR represents a more compelling side of the hip-hop spectrum: the storied tradition of rapper as traveling salesman, hawking CDs "out the trunk," or in his case, out the messenger bag, since, as he says on "Siren Song," "the Muni is my chariot." And while he often calls himself out as lazy in his songs, TopR’s tale is a cross between the 1984 runaway-punk movie Suburbia and the classic Horatio Alger story.

A self-described "troubled kid," TopR left his parents’ home in Santa Cruz at 15, living in squats and hitchhiking to San Francisco to hit open mics and do graffiti. He was arrested for vandalism, went back home, and left again, sleeping on couches if he was lucky and outside if he wasn’t. He attributes his notoriety in the bar scene to necessity: "The fact that I was homeless — I had to be in bars every goddamned night, looking for places to stay. I had nothing better to do."

Slumming, bumming, and battling eventually led to some Greyhound cross-country tours and a devoted following of party kids and misfits, unhappy with the status quo and, like him, struggling to get by. There’s no shortage of the usual hip-hop bravado on Marathon: "I’m a piss artist who spits darkness at bitch targets," TopR raps on "Siren Song," "<0x2009>’cause the music that’s honest is the music that hits hardest." True, but the track isn’t merely empty braggadocio: it’s nothing less than an existentialist crisis with a beat, one rapper’s The Sickness unto Death, asking the eternal questions of the artist and, ultimately, everyone who’s been "up against it."

And while it’s the struggle — and the willingness to cop to it — that makes Marathon so compelling, it seems TopR might finally be on the bus toward Figuring It All Out. On a tour in 2005 he met his fiancée, Kelly-Anne, perhaps the muse of "Siren’s Song," bartending at one of his shows in Asheville, NC. He stayed in the South for more than a year before getting an apartment, with a couch and a bed, in San Francisco’s Sunset District. "I came up as ‘the homeless kid who slept on couches,’<0x2009>" he explains. "But I was good at graffiti young, and I was a good rapper. I got away with a lot of stuff that some punk little kid wouldn’t because people respected me for my talents or whatever. But I’ve mellowed out." Here Top takes a contemplative pull on his pint. "I mean, I’m fuckin’ 30. I’ve got a dog now."

I’m going to do my part to go tell it on the mountain, to put this disc on when we’re cruising down the street, to make sure you hear the hilarious lines and crucial cuts. But on the other hand, one reason why it’s so good is because you ran into him in the bar and bought a disc so he could have beer money. TopR may have reached escape velocity from his day job, but he’s still orbiting the homelessness of his recent past. The line that sums up TopR for me is from "I’m on One" on Cheap Laughs: "It doesn’t take a genius to see that we’re livin’ stressful / The secret to my success is that I’m unsuccessful." It might be better for him if he got the juice to leave orbit altogether and rocket into the outer galaxies of hip-hop superstardom, but would it be better for his music if he weren’t "livin’ stressful?" Living hand to mouth myself, I’m heartened to see someone who keeps grindin’, who tries to live a creative life in the face of SF-size rent, the approaching years, and a music industry that may never give a shit. To quote TopR’s MySpace page, "Even when nothing goes right I still prevail."

TOPR CD RELEASE PARTY

With DJ Quest, Conceit, Delinquent Monastery, Thunderhut Project, Ras One, and DJ Delivery

Fri/1, 9 p.m., $10

12 Galaxies

2565 Mission, SF

(415) 970-9777

www.12galaxies.com

Digging the new-old roots

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› a&eletters@sfbg.com

Yodeling is African? Well, one could certainly trace the practice from the Ituri of the Congolese rainforest, described as the first people by ancient Egyptian chroniclers, to country icons such as Jimmie Rodgers — who, incidentally, recorded with Louis Armstrong — but also to less-explored sonic shores like James Brown’s iconic scream or Marvin Gaye’s version limning his legendary 1970s LP cycle. However, if this is too far a leap for you to make, the Carolina Chocolate Drops’ appearance as part of the San Francisco Bluegrass and Old-Time Festival might be a bit of a head-scratcher. The Chocolate Drops — Dom Flemons, Rhiannon Giddens, and Justin Robinson — don’t straight-up yodel, but their harmonies and banjo-and-fiddle-anchored instrumentation reach back not only to the halcyon days when Africans in America entertained themselves at fiddle-scored frolics but all the way to the griot tradition of Western Sudan.

To be sure, the Durham, NC, band — yes, their moniker invokes the Tennessee Chocolate Drops and Mississippi Mud Steppers of yore — is neither superurban nor contemporary. Its members play strictly prewar African American string-band repertoire, as evidenced by their current release, Dona Got a Ramblin’ Mind (Music Maker): see "Tom Dula," "Ol’ Corn Likker," and yep, the ever-contested "Dixie." Still, being young, hip children of the postdesegregation era, the trio have a musical expression and an aesthetic that are informed as much by the hybridity and daring of the 1960s and ’70s golden age of black rock and psychedelic soul as by classic country and western and ethnographic studies of the genre’s African antecedents. If only by pursuing their dusky twang muse in reaction to the deplorable, moribund state of today’s urban music, these Drops live in a world that differs from that of their 1920s and ’30s predecessors chiefly in that (a) the wages of desegregation include black audiences’ will to eschew arts reminiscent of their past of bondage and hard times and (b) the dominant society’s prevailing and most popular stereotype of blackness has an inner-city face — "Makes me wanna holler!" — that rejects any other ways of being or seeing.

Some of my colleagues — and doubtless myself — have been obliquely accused of holding up emerging progressive black artists on the rock scene and satellites such as the Drops as examples of uplift and enshrining their hard work beneath a welter of sociological wankery stretching back into the prewar mists of time to Talented Tenth big daddy W.E.B. DuBois. Yet if some of that giddiness at Afro-futurist striving is sloughed off, there remains the central, inescapable fact that in much of the West, rock is still seen as "black music played by white people" and country is this nation’s most racially separatist genre.

Much was made this past fall of Rissi Palmer’s Billboard debut with "Country Girl," since it was the first such charting by an African American in the two decades after the long-forgotten Dona Mason’s fleeting dent with "Green Eyes (Cryin’ Those Blue Tears)." Critics worked overtime to display color-blind bona fides, bending themselves over backward in the attempt to downplay the role of race in Palmer’s ascent and note the singularity of the event while also sugarcoating their general consensus on the disc’s mediocrity. Personally, I wish Sister Palmer much success and far better material plus production, but what struck me most was the cover of her eponymous release. Only a sliver of Palmer’s brown face is to be seen, the overabundance of russet curls perhaps meant as commerce-inducing allusion to the Great Reba. It’s certainly baffling that 42 years since Charley Pride’s debut was released sans artist photo, one still has to mince around difference.

The Carolina Chocolate Drops have more to overcome, seeing as they play an earlier, unplugged form of twang that’s light-years away from not only the patriotic-pandering, reheated Southern boogie and suburban soccer mom–and–sippy cup sentiments of mainstream Nashville but also the ambitious incursions of Palmer and Cowboy Troy and the recent bluegrass syncretism of Merle Haggard and Alison Krauss and Robert Plant. Now sharing management with fellow Carolinians the Avett Brothers, the Drops are garnering just acclaim from roots-friendly media and making fruitful incursions into important arenas, like the annual MerleFest. Yes, the trio are benefiting from both the breakdown of a music industry in turmoil that’s reliant on streams from independents and a more reflective moment among media and listeners who have come of age in an era of omnivorous multiculturalism. And let us not discount the Drops’ sheer talent and charm.

Nevertheless, as a mere Negress observer, this critic finds her attention inevitably straying to the lack of intraracial institutions to advocate for artists in the Drops’ vein — in addition to an infrastructure for developing and sustaining nonwhite audiences’ taste for the music. Since, y’know, they’re isolated from the rural. (Must Dona be retroactively screwed and chopped?) It would be nice to see the band embraced as part of a continuum by progressive audiences, just as there’s some energy around soul-folk as a viable trend. Will the Drops’ version of young fogydom garner as much breathless critical attention and community building as the so-called freak-folk scene does? Of course, cross-cultural exchange is possible: current Nashvegas superstar and Troy’s boy "Big" Kenny Alphin traveled to Sudan last October to do his bit for the struggle and got the country press to cover his contribution. Now if only the media would turn its attention to the best acolytes of medieval traditions created by Africans not abject but divinely inspired.

THE CAROLINA CHOCOLATE DROPS

Feb. 7, 8 p.m., $18.50–<\d>$19.50

Freight and Salvage Coffee House

1111 Addison, Berk.

(510) 548-1761

www.thefreight.org

CRITICAL ‘GRASS

The San Francisco Bluegrass and Old-Time Festival runs Feb. 1–9. For information on other shows and events, go to www.sfbluegrass.org.

Bound for better

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› kimberly@sfbg.com

INTERVIEW You probably stumbled over it during your holiday shopping travails: a little 2008 pocket date book branded "Slingshot" with a hand-drawn cover of kids wearing engineer boots and "A is for anarchy" garb, picking flowers, vegetables, and fruit in an idyllic garden scene, a cityscape looming in the distance. Inside, each page is embellished with a quirky hand, oddball fonts, and quintessentially activist remembrances like "1979 Police machine-gun a mass rally on the steps of San Salvador cathedral, killing 25" (May 8) and "1925 Lenny Bruce b. ‘If you can’t say FUCK you can’t say FUCK THE GOVERNMENT!’" (Oct. 13), as well as faithful reminders for all of the Berkeley Critical Mass rides in ’08. The bold-faced coups de grâce: the international radical contact list, quasi phrasebook, and quick tips to "Resist Government Repression." Other anarchist groups throughout the world put out calendars, but this year Berkeley collective Slingshot published an organizer that allows you to literally organize more than just the crap that surrounds you.

This year is a banner one for the planner, and for the 20-year-old nonprofit as well. After several cryptic bouts of phone tag, I spoke to a group representative — who appropriately called himself Slingshot — earlier this month, and he said the group printed 30,000 pocket and spiral-bound 2008 editions, a jump from the wee 400 copies issued when the organization began printing them 14 years ago. Now with distribution in 50 states and a dozen countries, they’re almost sold out, though copies are still available at Bound Together Books at 1369 Haight.

What started out as a fundraiser — inspired by the radical organizers made by European collectives — for Slingshot’s free newspaper has taken on a somewhat anarchic life of its own. "Technically we’re trying to promote historical knowledge about liberation struggles and trying to disseminate contact info for those engaged in social justice work," Slingshot explained, though the handmade, cut-and-pasted, non-computer-generated paperback is also a pure product of a pre–digital age, DIY aesthetic.

Each collective member worked independently on four pages per organizer, drawing from a huge compendium of historical events for each date, so no one person controlled the overall style or process. "It’s contrary to the way the mainstream press looks, where everything [is] programmatic," Slingshot stressed. "Just like life, each page has a different look." The artists, whom Slingshot described as "the people who were filling the streets at the [World Trade Organization]," remain anonymous, except on the cover, which is signed Molly Crabapple.

"Anyone can make art. If we waited for professionals to start the calendar or the paper, we never would have gotten there," he continued. "I think that’s why people like our calendar. People want to feel engaged and not just spectators in their lives."

Next up in Slingshot’s own organizer: the collective hopes to create a zine-making space in its office at the Long Haul Infoshop in Berkeley, complete with typewriters and other materials. "We’re not really against computers per se," Slingshot confessed. "But it’s not a good thing to not question whether everything has to be computerized. We can make it accessible here: people don’t have to have skills other than using scissors."
slingshot.tao.ca

Political probe

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› a&eletters@sfbg.com

Cristian Mungiu’s Cannes Palme d’Or winner 4 Months, 3 Weeks and 2 Days is the final anxiety-ridden whimper to register from the year of the "shmashmortion," and it’s particularly preoccupied with pregnancy and the decisions that come with it. There was an apparently very good doc about abortion politics and some movie about a waitress that I didn’t see, but I caught the two "Papa Don’t Preach" comedies we all went to and can’t say I see much to link those two with Mungiu’s excellent Romanian film.

It was often observed that the dollhouse pregnancies and abortion debates of Juno and Knocked Up — movies that both oscillated between very good and unwatchable — would never have been fodder for a Hollywood (or Hollywood-lite) comedy if the mothers weren’t white and middle-class. The expecting character in 4 Months wouldn’t have looked out of place in either of those films, but her predicament is wildly different. She has to make her decision in Romania in 1986, under the watchful eye of Nicolae Ceausescu’s dictatorship, whose policies on abortion make the pressures of the current American culture wars — certainly as experienced by the heroines of Juno and Knocked Up — comparable to those of a celebrity roast. Mungiu’s movie differs, additionally, in a refreshingly depressing way: you kind of want to smack the mother.

Gabita (Laura Vasiliu) isn’t even the film’s core. That distinction goes to her college roommate Otilia (Anamaria Marinca), who’s relied on to handle nearly every level of preparation necessary for an illegal abortion, from the Kafkaesque frustrations of securing a hotel room to the frightening process of meeting and negotiating with the abortionist. Everyone in Otilia’s unpleasant story is to some degree selfish and irresponsible, and Gabita is no exception. The ultimate impression she gives is of being the kind of person Otilia will never be able to truly feel good about sacrificing so much for. Otilia will always feel vaguely duped.

If 4 Months is only nominally related to those American comedies, its connections with another recent Romanian film about the Ceausescu era, the sad and funny 12:08 East of Bucharest, are just as tangential. Though the titles of both films, interestingly, suggest an obsession with a ticking clock, 12:08 East of Bucharest uses it as an almost absurdist device in relation to a bystander’s attempt to find a personal foothold in history. The characters in 4 Months are all getting more personal history than they could possibly handle, much less want.

Mungiu’s movie is much closer kin, then, to fellow Romanian filmmaker Cristi Puiu’s dark wonder The Death of Mr. Lazarescu, which was also shot by cinematographer Oleg Mutu. Both are gloomy, virtuosic naturalist films inseparable from their sociopolitical backdrops — in Lazarescu‘s case, Bucharest in the middle of this decade — and both traverse their stations through a soup of reluctant humanism and outright moral fatigue. 4 Months feels like a companion piece to Lazarescu, the latter being a tour of the indignities of the Romanian medical bureaucracy and the former negotiating a similar path through the black-market system created in response to those inadequacies of officialdom.

What separates the two primarily and acutely is the distinct emotional tangs brought about by the way they were shot and edited. Lazarescu works with short, unassuming shots (save for the final, fatalistic scene); 4 Months, on the other hand, encumbers the audience with claustrophobically long takes, filled with the tension not only of Otilia’s widening burden but also of the actors sustaining such choreographed naturalism.

The most ambitious example of these crosscurrents is a conceptually ostentatious dinner scene at the birthday party for Otilia’s boyfriend’s mother, into which Otilia must detour before returning to the evening’s greater exigencies. Traumatized and anxious to return to Gabita, she is stuck for the moment in the cross fire of unwittingly oppressive small talk. Though there is a whiff of contrivance in the scene (Lazarescu, marching along its downward spiral with its head bowed, elicits more sympathy by making less conspicuous appeals), it moves quickly beyond a one-note dark joke simply by persisting. Otilia stares off ahead while the surrounding actors deliver their lines at her — in a manner closer to living than acting — in a long, confining take.

Stubbornly stationary, this sequence is as impressive as that famous kinetic take in Children of Men. And the subtleties of the conversation, together with a chillingly apropos conversation with her boyfriend shortly after (he’s a massive shit, but is she also covering her bases?), prove the party to be less a dramatic contrast with the preceding events across town than a thickening of the septic social context in which those events occur. It is, as much as abortion, what the film is about.

4 MONTHS, 3 WEEKS AND 2 DAYS

Opens Fri/1 in Bay Area theaters

www.4months3weeksand2days.com

You are your own worst enemy

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By Jesse Hawthorne Ficks

In his third report from the 2008 Sundance Film Festival, it’s Midnites for Maniacs programmer and Guardian contributor Jesse Hawthorne Ficks reflects on his personal best of the fest.

Downloading Nancy – directed by Johan Renck (Canada)
Pain and sadness inhabit most of us. Extreme anger can turn into apathy, and relentless insecurity can turn into absolute self-destruction. In Johan Renck’s debut feature, shot by Christopher Doyle, each moment, every shot, even the slightest gesture, accentuates the film’s gut-wrenching tone. A married couple of 15 years has lost their magic. More than that, they’ve lost the feel of one another. Albert (Rufus Sewell) is putting all of his energy into an interactive golf game that airport passengers can practice while Nancy (Maria Bello) spends her days attempting to connect with someone, anyone, online. While the structure of the film slowly unfolds, we are forced to figure out the whys and whens on our own. The cold blue settings, the silent snowy sadness, the frigid impending dread drifting from one scene to the next: it all traps you in this brutal way that makes you want to run out of the theater. In fact during the press screening, dozens of people were leaving and it was not it in a casual way.

The 96-minute Downloading Nancy is pure emotion. And through all of the self-effacing and self-infliction that the characters encounter, you care. You care immensely about these depressed disasters doing the best that they can. You experience their darkest moments and you feel what they cannot. In fact, you’ll feel so much that you’ll have to decide if you can stay and watch. This is not only the best film at Sundance this year, it provides insight into where you might be headed if you don’t start fighting for yourself.

Liars, Liars, band on fire…

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liars small.bmp

Gotta love those Liars, the most interesting band to come out of the turn-of-the-century NY rock scene that begat the Strokes and the Yeah Yeah Yeahs. Not only do they continue to turn out stellar LPs like 2006’s Drum’s Not Dead (Mute), they are freakin’ amazingly powerful live. Magnetic frontman Angus Andrew fielded a few e-mailed questions earlier this week – you can peer at him yourself when the band headlines at Slim’s, Friday, Jan. 25.

SFBG: So what’s new with Liars?

Angus Andrew: We’ve just finished a brief but much-needed break from touring. Being let back in the world after so long on the road can be shocking and exhilarating. What is Zoey 101? Who is Hannah Montana? What are they eating in Boston? I guess you could say we’ve been immersing ourselves in culture, but more specifically, it has enveloped us.

SFBG: The last time I talked to you, Angus, you were about to move to Berlin, i believe. What’s happened in the interim?

AA: Yes, I moved to Berlin, and we recorded our last two albums there. It’s a great city that’s energized in some ways by its dark history and the need to prove itself otherwise. In Berlin, quite apart from Germany, there is no economy, but rather an overcompensation of humanity.

Oops! They did it again

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› kimberly@sfbg.com

The best comedians always shear close to the bone with their truths, but believe it or not, few are necessarily a gut bust in conversation. Why is this a surprise? After all, the comic is on the interviewer’s mic, not on the clock and on script. Yet W. Kamau Bell plays against type and comes with not only the insights you wish you had spewed first but also the wit, centered on the issues of race that he’s been grappling with since childhood.

The rising incidence of racist cracks that reveal the persistent fissures in a country seemingly disinterested in identity politics — and those emerging from the 34-year-old San Franciscan’s own milieu, the alternative comedy scene — has led Bell to sharpen his attack with The W. Kamau Bell Curve, which focuses on the ugly slurs spilling from Sarah Silverman, Michael Richards, and Rosie O’Donnell, as well as other, unexpected quarters. And the nastiness keeps coming — cue Golf Channel commentator Kelly Tilghman’s recent remark that young players who want to defeat Tiger Woods would need to "lynch him in a back alley" — and spurring Bell to continue updating the show he first performed in October 2007.

According to Bell, racism is on the comeback trail with a crucial difference: "This time it’s coming from liberals and creeping in through pop culture in some weird way. I call it political correctness acid reflux. People are just burping out racism." The comic rose to the occasion to make Bell Curve after reading a story about Southern blackface comic Shirley Q. Liquor in Rolling Stone. He was outraged by the fact that the article even questioned whether the Liquor act was racist, much as he was troubled by the things coming from his own field. "It’s, like, wait a minute — this is my industry, and again, it’s not coming from redneck comics or blue-collar comics. It’s coming from alternative comics who are supposed to be liberal comics.

"It’s, like, ‘Look, you know I like black people, so it’s allegedly OK for me to use a joke with the word nigger in it’ — even though there’s no black people in the audience and you don’t have any black friends!" he continues. "Like I say in the show, the most racist things that have ever happened to me have come from people who were friends of mine. I had a friend who once said to me, ‘Kamau, I like you. You’re black, but you’re not black black.’ What does that mean? I’m black but you still have your wallet?"

The only child of author Janet Cheatham Bell, Bell is all too familiar with that kind of chum, having moved from private to public to private school throughout his life. "A lot of times I would be the only black person in school," recalls Bell, who now teaches solo performance at the Shelton Theater and frequently opens for Dave Chappelle. "And when you’re that person, either they forget you’re black, so things happen and you’re, like, [in a meek squeak] ‘Wait a minute — don’t forget I’m black, everybody,’ or because you’re black they unburden their, you know, ‘Kamau, lemme tell you something about black people I’ve never been able to tell any other black person.’ Oooh, please don’t!"

Be glad, however, that Bell is telling us about it all.

THE W. KAMAU BELL CURVE

Thurs/24, 8 p.m., $20 (bring a friend of a different race, who gets in free)

Shelton Theater

533 Sutter, SF

(415) 433-1227

www.sheltontheater.com

Escape from planet Indie Rock

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› a&eletters@sfbg.com

With so many indie rock bands riding the wave of all things post-punk or psych–this and that at present, it’s rare that fans of subversive music are able to listen to subterranean songs as a means of escape. I mean, Band of Horses permeate Ford commercials during the NFL playoffs, and little brothers and sisters everywhere are air-guitaring to everyone from Mastodon to the Rapture.

So it makes perfect sense that Brooklyn, NY, band Yeasayer has managed to engage even the most cynical of indie veterans with its escapist realm filled with an uncompromisingly authentic helping of psychedelic — and extremely technically proficient — guitar noodling, hypnotic pop vocals, and worldly percussion that’s as reminiscent of Carlos Santana as it is of Animal Collective or the Cure. How can you not escape when listening to something that trots along so many unexpected musical paths?

It’s no surprise that this extension of the avant-indie wing is composed of two ex–barbershop quartet members and a rhythm section that employs a bounty of instrumentation including but not limited to accordions, bongo drums, sitars, and sequencers. Driven by guitarist Anand Wilder, the group is a four-piece, genre-eradicating machine, with each member trading off vocal and instrumental duties by track. Eleven months in the making, Yeasayer’s debut, All Hour Cymbals, was snatched up by Jason Foster of Monitor Records (Battles, Early Man) and eventually became the initial — and cornerstone — release of his newest imprint, We Are Free.

After a gazillion positive reviews, rumors of the band’s outstanding performances at Austin, Texas’s 2007 South by Southwest Festival, and yes, acclaim from MTV as part of the burgeoning Brooklyn scene, the band has become one of the few tripper acts that render a true sense of escapism as indie rock’s merge with mainstream culture becomes a reality. I strongly recommend listening to the goth-pop–meets–Middle Eastern music psych-epic "Germs," followed by a serious bong rip. Then turn to the haunting, shoegazing barbershop bhangra of "Waves" and attempt to question what mental plane and planet you inhabit.

But what makes the mysticism of Yeasayer more mind engulfing than that of the mountain of other Dave Sitek– and Paw Tracks–approved artists (e.g., um, Celebration, Panda Bear, Ariel Pink)? One should first look at the group’s penchant for gospel. While it may be hard to associate any of the long-haired and art school–ish members with that genre’s religious core, just about every track on All Hour Cymbals radiates some sort of spiritual a cappella à la TV on the Radio’s Tunde Adebimpe — if he were ever a member of a South American Baptist choir. Even more interesting, the band’s lyrics take the proverbial 180 degree turn from gospel’s posi-vibes. Take, for instance, Yeasayer’s single "2080": the members switch off melodically chanting, "I can’t sleep when I think about the times we’re living in / I can’t sleep when I think about the future I was born into," only to follow with "I’ll surely be dead / So don’t look ahead / Never look ahead." Now we have an apocalyptic, uplifting, shredding whirlwind of pop innovation. Whoa.

With a European tour under their belt and an extensive United States tour in progress with their fellow Brooklyn troupe of indie revolutionaries MGMT, Yeasayer are spreading the bounty of escapism worldwide. Experiencing this fearless entity, which is staring indie rock’s mainstream monster directly in the face, should be an entertaining, if not enlightening, glimpse into the future of progressive songwriting as we might know it. *

YEASAYER

With MGMT and the Morning Benders

Mon/28, 9 p.m., sold out

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Thrower’s flames

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› johnny@sfbg.com

REVIEW You can judge a book by its cover when the cover is as scarily impressive as the one for Stephen Thrower’s Nightmare USA: The Untold Story of the Exploitation Independents (Fab Press, 528 pages, $79.95). It’s a map of the United States, with each state composed of a fragment from a low-budget horror film. Blood drips from the edges of the South. The entire top of the Midwest is blocked by a large image of someone in an asbestos suit. He’s aiming a lively flamethrower directly at you and me.

Also sporting a pair of amazing inset spreads that showcase the title credits of 300 films, Thrower’s tome deserves a spot next to Carlos Clarens’s An Illustrated History of the Horror Film (Capricorn, 1967), Carol Clover’s Men, Women, and Chainsaws (Princeton University Press, 1992), Michael Weldon’s The Psychotronic Encyclopedia of Film (Ballantine, 1983), and Bill and Michelle Landis’s Sleazoid Express (Simon and Schuster, 2002) on a healthily horrific bookshelf. Its closest relative in terms of loose format and interview content might be Incredibly Strange Films (RE/Search, 1986), but Thrower casts aside V. Vale’s coolness for the passion found in Danny Peary’s series of Cult Movies books.

More pointedly, Thrower’s study of American exploitation film from the 1970s through the mid-’80s applies terribly to the current moment. For one thing, recent Hollywood torture porn owes a multimillion-dollar influential debt to the small-time labors of twisted love celebrated by Nightmare USA. For another, Thrower is flashing a spotlight — or beaming a flashlight — on the American death drive at a time when this country seems increasingly or wholly out of touch with, and idiotically clueless about, its violent id. It helps that this catalogue of what United Kingdom censors called video nasties proves as visually and verbally lively as the toothy title grubs in The Deadly Spawn (1982).

And for a book bathed in blood and drawn to depressing and despairing expressions of murder such as the infamous Maniac (1980), Nightmare USA is surprisingly and endearingly warmhearted. "Watching the materialistic beach babes and sexist volleyball hunks of Slumber Party Massacre 3 (Sally Mattison, 1990) driving down a coastal road in an open-topped car listening to awful AM pop-rock, I hug myself with excitement, treasuring my affection for these bubbleheads and jackasses," Thrower writes. "They are my friends and I can’t wait to see them die." Themes of friendship also emerge from the book’s profiles — along with some equally unexpected juxtapositions. Deadly Spawn director Douglas McKeown now runs a storytelling group at New York’s Gay and Lesbian Center. Frederick Freidel, the director of Axe (1974), says his assistant consulted with esteemed critic Manny Farber. Joseph Ellison, director of Don’t Go in the House (1979), discusses jazz and watching Federico Fellini films and shares a photo of his film’s producer with a beaming Frank Capra.

That photo couldn’t be stranger, considering that Ellison’s truly scarifying film provides Nightmare USA with the fire on its front cover. That man in the asbestos suit is grafted from an infamous scene, set in a steel room, that — after decades of deciding it was beyond my threshold of experience — I recently discovered (thanks in part to my brave cohort Cheryl Eddy) is both superior to and an obvious source for Eli Roth’s Hostel (2005). "Horror has always been sad to me," Ellison remarks with casual profundity to Thrower, who rightly states that Don’t Go in the House‘s scorching early centerpiece "takes the viewer through shock into a kind of stunned admiration." It’s up to you whether you go in the house, but I’ll be breaking the bank and getting ready for some heavy lifting when Thrower flames readers with volume two of Nightmare USA.

www.lastgasp.com”>wwww.lastgasp.com

Video Mutants: Ryan Trecartin streams/flows into onlive timeslot, TOtal nowhere emotion expansion

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In this week’s Super Ego nightlife etc. column, as part of our Video Mutants issue, I handheld display my growing obsession with young artist Ryan Trecartin, who somehow squares club culture and diverts the neon identity parade into a tributary of parodied obnoxion (with Internet hyperquotes). By which I mean, “Damn! I think I just got dissed in a nextdoor dimension, but I like it that way.”

I-BE AREA (Double Jamie, Ramada Omar, and Sally Man Pause)

Ryan – who’s represented by the bigtime Elizabeth Dee Gallery in NYC – has a total Pro Tools grasp on irreality and its obverse reality, what’s beneath people performing, and his video work combines Mardi Gras parade giddiness (he spent time living in New Orleans), Web 2.0 blank paradise, and head-trip introspection with way incredible about me’s. Electronic ghosts, phased identities, realtime spots and trailers .. the online is performed in trashy afterlife/live/death here, and it wears a sparkling wig. Plus, Ryan does fabulous things with windows. JK/JK

I like to think there’s a deep current of nightlife reference running through feature-length works like A Family Finds Entertainment and I-BE AREA. Although who the hell knows? Ryan’s worked with at least one local beloved club presence, Patrik Sandberg — of ‘90s-flashback pirate radio show “Cobain in a Coma” and “drugged out goth shoegaze dream pop party” Spaced, at the Knockout — who plays space-waif gift-giver Craig Ricky in I-BE AREA and tells me that Ryan’s “holding a mirror up to a generation that lives a significant part of their lives online, in a way that makes fun of but also adores it. Not only that, I can’t stop quoting him.”

OK Agreed. And more than guilty above. So, yeah, I freaked and zoned and freaked again when Ryan agreed to answer some art critic avatar agenda questions over one whole e-mail about his digital video mental.

SF Bay Guardian: In I-BE AREA, the Wood Shop is like the most nightmarish gay dance club I’ve never been to. I dream about it a lot. How did you put together the Wood Shop scenes?

I-BE AREA (WoodShopBoys Ramada Omar and Jamies Band)

Ryan Trecartin: It was a three shoot workout, in a space called The Woodshop Drama Room one of three rooms that make up Jamie’s Area which is a conceptual part-Cyber-hybrid Platform that obeys and functions with in both laws of Physics and virtual-non-linear reality and potential in Web 2.0/ultra-wiki communication malfunction liberation flow, add-on, and debate presentation. The main structure is the character Jamie her self- a total control damage freak with independent log-ins, muse extension people, and live-links. The Wood Shop is a situation stage where pho-male-cyber-gays login to over posted anti-productive decisive message board dead-end faggoting activities. Jamie has a composer status in this scene during another timeslot using her saw and wood dictating with wireless momentum control and influence over her haters at work, while mirroring in Dark Jam Band form, on cell-phone with Ramada Omar in Class Room separated by a closed Window (3 time slots being viewed). The Wood Shop Fags search-out wanting a free channel edge and perform a permanent Window opening on Ramada Omar Freeing it to an independent Multi-tasking shape shifting reality pool. The actual shoot was really fun. It had a script but was the most abstract shoot of the whole movie-lots of improvisations and an everyone talked at the same time, making a don’t be quiet on the set situation. Like planed home video- script-destruction theme over goal. My favorite part is when Solomon (black hair pig-tale mall goth wig) has a brick ready for the Break Down, in cell phone placement and says nothing about someone calling him on his phone an “Said”, over and over like it’s a presidential victory speech with supporters and reason promoting a total nowhere emotion expansion with self eating content, saying… what?—don’t use hotmale log out to log In father fucker.

Material world

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› a&eletters@sfbg.com

The year 1988 marked the apex of David Mamet’s celebrity. He’d won a Pulitzer Prize for Glengarry Glen Ross, and American Buffalo was being produced by every little theater on the planet. He’d scripted several mostly admired films and had just directed his first, the coldly ingenious House of Games.

It must have been a heady time. One doesn’t get the impression that Mamet is the type to enjoy simply being celebrated. So it’s logical that at the moment when whatever he premiered next would be a guaranteed BFD, he both seized the opportunity and fuck-you’d it. Speed-the-Plow was a biting-the-hand-that-feeds-me satire of Hollywood-industry soulessness whose subject alone guaranteed wide attention. Then Mamet cast Madonna as the girl. By all accounts, she was a complete zero. But needless to say, the show was a massive event.

Two decades later the hype has long settled. Loretta Greco’s revival at American Conservatory Theater reveals Speed-the-Plow as what it always was: an acidic comedy that isn’t one of Mamet’s best plays but is too entertainingly brash to resist. The notion that Hollywood is essentially soulless — all about business, not art, as the characters keep repeating — was hardly news back then. And now everybody from key grip to Dairy Queen day manager analyzes what did and didn’t sell in the Monday-morning tally of last weekend’s box office. Why do we care? Is it because Hollywood, more than ever the focus for so many putative proletarian dreams, inspires gloating resentment as much as fascination?

Speed-the-Plow was never really controversial, even within the biz. Mamet clearly loves the winner-take-all crassness of his male characters here, for whom every interaction is a dominance game. Top dog Bobby Gould (Matthew Del Negro) has just been promoted to head of production at a major studio. His expensively minimalist new office (a movable set piece by G.W. Mercier) hasn’t been even been fully assembled when erstwhile coworker Charlie Fox (Andrew Polk) comes calling.

From Polk’s flop-sweating, highly physical performance you immediately glean that Charlie thinks he should be the man behind the desk — but since he’s not, he’ll do all the begging required of him. Actually, he’s got a very big bone to offer: out of the blue, a huge star has offered to make a prison buddy picture Charlie has a temporary option on. This is such a stroke of fortune that both men impulsively share their glee — the language getting a lot more sexual — with pretty, clueless temp secretary Karen (Jessi Campbell).

Once she exits, Charlie wagers this "broad" is too high-minded for Bobby to seduce — though B’s power and influence would lure just about any other Los Angeles underling into the sack in five seconds. Bobby arranges for Karen to visit his house that very night, on the pretext of her giving him a "report" on the loftily symbolic, probably unfilmable literary novel he’s been told to give a "courtesy read."

One shudders to think of Madonna stonewalling in the second-act scene, in which a garrulous Karen tries to sell Bobby on how he could "make a difference" by green-lighting a movie based on this apparently life-changing (though insufferable-sounding) tome. He plays along, trying to steer the evening in a horizontal direction. Yet the next morning, with Charlie anxiously awaiting their planned triumphant prison-flick pitch to the studio chief, Bobby is a changed man — a born-again wishbone pulled between commerce and conscience.

Satisfyingly cruel as this final tug-of-war is, it makes the play’s credibility vanish: Bobby is too content an admitted "whore" to turn Mother Theresa overnight. And with the epically tall, jock-handsome Del Negro in a part Joe Mantegna originated, the character radiates such golden-boy confidence that one can’t believe he’d have much use for a merely cute flunky like Campbell’s Karen.

Greco lets the lines breathe — her cast’s naturalistically varied delivery avoids that Morse-code monotony the playwright prefers for his staccato Mametspeak. But she doesn’t lend much weight to the ultimate question of who’s manipuutf8g whom, as this production’s Karen doesn’t seem capable of calculation. The lack of ambiguity makes this a frequently very funny Speed-the-Plow, but sans much suspense or climactic sting. *

SPEED-THE-PLOW

Through Feb. 3

Tues.–Sat, 8 p.m. (also Wed. and Sat., 2 p.m.; no matinee Wed/16); Sun., 2 p.m.; $14–$82

American Conservatory Theater

415 Geary, SF

(415) 749-2228

www.act-sf.org

Queen’s density

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Over the past two decades Julie Queen has earned her ballsy-woman stripes. She’s played truck-driver killer Aileen Wuornos in Carla Lucero’s opera Wuornos and the lead in Robert Rodríguez’s Frida, based on the life of painter Kahlo. In the ’90s, as a member of the Qube Chix, the avant-garde singing trio lead by Pamela Z, she belted out heady Karlheinz Stockhausen atonality and defiant riot-grrrl lyrics at the same time. It never struck me that she would be as likely to go out on a limb with Shirley MacLaine as to take a leap with Ann Magnuson, the former queen of New York’s ’80s underground scene who has also set her life to song onstage.

Unfortunately, with her solo show Ten Dollar Destiny, an hourlong multimedia performance, Queen lends her operatic voice to a series of songs that map her midlife soul search through the all-too-familiar territory of self-help experts — shrinks, psychics, and astrologists — as she tries to figure out where she got lost on the path of life and how to get back on track.

As Queen appears onstage, her opening song prepares us for a gauzy look through the pages of her life. The crew of scene designers and set constructors who formed the pop-up book of said life by creating a series of walls that pivot across the stage, each exposing a new leaf, are fantastic. The endless "I’m stuck on the road of life without a map" metaphors in every song of the five-part cycle are not.

Yet for all of her incisive criticisms of the self-help industry (her "You need yourself today" jingle for a little pill, Assurezen, is perfectly pitched at the false promises of medication), I can’t help but wonder why she’s wasting so much time worrying about where she went wrong. Queen has gone from boldly careless to overly careful, and I badly want to see a woman at the crossroads who just says "Fuck it," buys a bitchin’ car, and gets the hell out of Dodge.

TEN DOLLAR DESTINY

Through Jan. 27

Thurs.–Sun., 8 p.m.

Thick House

1695 18th St., SF

(415) 401-8081

www.thickhouse.org

Bye bye beautiful

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› a&eletters@sfbg.com

There’s a wonderful moment during the performance of "Bye Bye Blackbird" that opens the 1964 Chet Baker set preserved on a recent Jazz Icons DVD (Chet Baker Live in ’64 and ’79 [Reelin in the Years]). In the midst of the squarish piano player’s solo, the star trumpeter shuffles into the medium close-up frame, shucking a cigarette from his accompanist’s pack. Chiseled even when sporting a stuffy sweater, Baker takes a long drag and glides back to his place on the stage. The pianist plays on, but the camera operator tracks Baker, plainly in the clutch of a lonely lothario.

The cigarette break is more revealing of Baker’s largesse — his ineffable cool and the desire it produced — than any of his softly sustaining trumpet solos for the television program are. It also sheds some light on the side-winding portraiture that marks Bruce Weber’s adoring documentary Let’s Get Lost, filmed during the last months of Baker’s life in 1987 and now playing in a restored print at the Castro Theatre.

The first interview in Let’s Get Lost is with photographer William Claxton, an early admirer of Baker’s who waxes poetic about the revelation of shooting such a naturally photogenic subject. Weber, known for innumerable sleek Calvin Klein and Abercrombie and Fitch spreads, riffles through these striking stills in contact-sheet form, a neat solution to the persistent documentary problem of how to make archival photographs move. Twenty minutes pass before we begin to explore Baker’s music, and there are another 20 minutes after that before we meet his Oklahoma mother, our first whiff of personal history. Backward, it might seem, except for Baker’s being a cipher of his own iconography.

"He was trouble and he was beautiful," an interviewee muses early in Let’s Get Lost, and it might as well be the film’s byline. He was beautiful, possessing a ravaged, introspective glamour attractive to both men and women: writing about Baker’s underfed croon in his excellent liner notes for The Best of Chet Baker Sings (Blue Note, 1953), Will Friedwald notes, "His moony voice twangs like an Oakie [sic]-cum-valley person at times, but more often he achieves geographic — not to mention sexual — ambivalence." Though less remembered today than James Dean or Jack Kerouac, Baker had a comparable rogue appeal, his missing front tooth suggestive of wounded sensitivity, his shoulders bent under the unknowable weight of being himself.

Weber’s velvety black-and-white cinematography has never met a silhouette it didn’t like, and indeed, his documentary is first and foremost a tribute to Baker’s arch stylishness. Insofar as Josef von Sternberg, Leni Riefenstahl, and Michelangelo Antonioni’s idolatrous visions are often said to anticipate modern fashion imagery, Weber must rightly be considered their direct descendent: a fashion photographer turned filmmaker unapologetically devoted to surfaces. He is equally attentive to the silvery bleach of Santa Monica, the inky black swallowing various stage spotlights, and the shadows of heroin abuse running across Baker’s unbearably gaunt 57-year-old face — all shot in an amorous chiaroscuro evocative of the trumpeter’s West Coast cool musical phrasings, his constant drug nod, and the late-night languidness of his smoking and speech.

But, of course, Baker was trouble too, and this is where Let’s Get Lost can feel strained. Though clearly a labor of love, the film shrugs off conclusiveness as casually as one of Baker’s shopworn melodies might. For one thing, Weber isn’t much of an interviewer, asking the musician’s mother, "Did he disappoint you as a son?" and directing one of Baker’s ex-wives to "tell me something romantic." Still, with the recent documentary explosion prizing kinetic revelations at all costs, Weber’s patient accumulation is a virtue in itself. We hear several versions of a story about Baker getting his teeth knocked out, and although none of them paints a convincingly specific picture, we do get the overarching thrust of a sad decline.

Originally released the same year as Gus Van Sant’s similarly loving debut, Mala Noche, Let’s Get Lost gives the lie to the notion that every gaze is created equal. Weber may wrap the disillusionment of Baker’s life in the romanticism of the latter’s demeanor, but the director also gives the spiraling musician space for self-expression (including a couple of lovely, understated full performances) and, in an empathetic final scene, offers to buy him a methadone fix. The film is as recklessly lyrical as Baker was himself, and it’s in this way that — in spite of its shortcomings as biography — Let’s Get Lost has the spiritual heft of an ample epigraph. The ragged icon mumbles about the film’s production being "a dream," and the inevitable fade to black and memorial that follows seem exactly the type of void he’d like to walk into. *

LET’S GET LOST

Opens Fri/18, $6–$9

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

The great escape

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› gwschulz@sfbg.com

There are some dark clouds hovering over City College of San Francisco. The District Attorney’s Office is investigating political corruption allegations, a long-awaited audit of half a billion dollars in bond spending is just months from completion, and several infrastructure projects are running tens of millions of dollars over budget.

But Chancellor Phil Day won’t be around to clean up those messes. He’s leaving City College for a new job on the East Coast at the National Association of Student Financial Aid Administrators as early as March 1.

Day’s announcement came just weeks before the school’s Board of Trustees Jan. 10 unveiling of the results of an internal investigation into who knew what about City College money from taxpayers being diverted to an election campaign committee that should have operated entirely independently of the school.

The investigation concludes that there was no evidence that contractors made donations to a campaign committee formed by the school’s leadership in exchange for favorable business arrangements.

But the report does confirm that two lower-level bureaucrats, Stephen Herman and James Blomquist, instructed business tenants who used school facilities — the coffer vendor Bean Scene and Bay Area Motorcycle Training — to sign rent checks over to the committee instead of to the school. Neither tenant appeared to have any intention of contributing to the committee.

The timing of the checks is also questionable. The school returned the Bean Scene’s $20,000 rent check shortly after recognizing a potential violation of the state’s Education Code, which prohibits using school funds for electioneering purposes. But officials then violated the same provision when a $10,000 rent check from the motorcycle-training outfit wasn’t returned to public coffers until a year and a half later, when the San Francisco Chronicle‘s Lance Williams began snooping around.

"The fact that an apparent misuse of public funds could be discovered, corrected, and then occur again after such a short period reveals a glaring lack of oversight of the College’s involvement in fundraising from College contractors, literally from start to finish during the campaign," the report states.

City College’s trustees and school administrators created the Committee to Support Our City College in 2005 as a campaign vehicle for convincing voters to authorize $246 million in bond projects, the third such bond election for City College in a decade.

The report’s executive summary in part downplays the significance of the Chron stories from last April that inspired the probe in the first place. Rather, it implies that the fund diversions had more to do with a poor accounting system and an 11th-hour decision to rush the bond election to voters with minimum preparation.

It’s not clear how the report will impact a DA’s investigation of the campaign committee related to the same allegations. The Guardian revealed last summer (see "Day’s Dilemma," 8/8/07) that just days before the November 2005 election, Kamala Harris’s office also requested documents stemming from the college’s $8.7 million purchase of land in Chinatown that the county determined was worth only $1.7 million for tax purposes.

We also reported that City College’s half a billion dollars in infrastructure improvements are running approximately $225 million over budget and as a result, the school has gutted projects promised to voters and reallocated about $130 million in order to sustain others (see "The City College Shell Game," 7/4/07). An expansive management audit of the school’s bond spending is due in June.

In a prepared statement, Day insists the fund diversions were an accident, and he complains that if the San Francisco Ethics Commission had notified it of the mistake sooner, the school would have corrected it. The Guardian reported that the Ethics Commission had known the Bay Area Motorcycle Training check was illegally used by the committee but waited for more than a year to notify the state’s Fair Political Practices Commission of a possible elections law violation (see "At the Crossroads," 7/18/07).

"As the chancellor and CEO of this college, I take responsibility for these mistakes," Day’s statement reads. "However, it is important to understand that these mistakes occurred innocently and inadvertently, and as soon as we learned of them, we took immediate action to rectify them."

An exasperated Day, who became City College’s chancellor in 1998, said in a phone interview that he didn’t believe the school’s troubles would make it difficult for his successor to return to the ballot and get voters to approve bond projects they’ve already partially paid for, including a stem-cell technology training center.

"I don’t feel like I’m leaving someone with disarray," Day told us. "It’s the people in the institution that sometimes make mistakes, not the institution itself."

Day’s departure also comes as a building inspector hired by the school in 2003 alleges in a federal lawsuit that he was wrongfully terminated last summer for blowing the whistle on illegal building code violations and for making safety complaints during facility renovations. The suit was filed Dec. 24, 2007.

Plaintiff Lawrence Lauser contends that he’d repeatedly informed his bosses at City College that building codes were being violated during construction work, but there was no willingness to fix them.

Instead of being outright fired, Lauser alleges, he was told the work had run out. "That was a complete sham," his attorney, Frank Sarro, said. "There wasn’t a lack of work at all." Lauser is also suing his union, the United Brotherhood of Carpenters and Joiners Local 22, for refusing to request arbitration with the school on his behalf.

"He just had a strong feeling that things should be done by the book," Sarro said of Lauser. "And his bosses didn’t want to hear it."

Metal is forever

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Andreas Geiger turns his camera on his hometown of Donzdorf, Germany, a tidy little village containing half-timber houses, oompah band–loving old-timers, and the hugely successful metal label Nuclear Blast. Clocking in at just under an hour, Heavy Metal in the Country does peek into the Nuclear Blast HQ — where middle-aged moms carefully tape-gun mail-order packages stuffed with Eddie statues, Cannibal Corpse LPs, and T-shirts glorifying corpsepainted Norwegians Dimmu Borgir — but this isn’t a doc about the label. The film’s main focus is Donzdorf’s populace: in addition to Nuclear Blast’s Markus Staiger, who founded the company as a teen 20 years ago, we meet some dedicated local metalheads (including a 12-year-old Star Search contestant who worships AC/DC) and a few residents (like the town’s vicar) who admire metal’s ability to inspire, even if they think it’s inspiring all the wrong things. Fans of the local scene, take note: a shot in a record store features a quick cameo from Bay Area folk-metal outfit Slough Feg’s self-titled first release.

HEAVY METAL IN THE COUNTRY

Sun/13, 10:30 p.m., $8–$10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

Tiger tales

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More on the SF Zoo:
>>20 Questions the zoo won’t answer
>>Editorial: Take back the zoo
>>Opinion: Shut down the zoo
>>From 1999: The Zoo Blues

› news@sfbg.com

When I first heard about the attack at the San Francisco Zoo, I felt strangely vindicated to learn that a Siberian tiger had been involved. I am irrationally prejudiced when it comes to big cats: I don’t like Siberians. Of all the tigers, lions, jaguars, and other exotic animals I have known in my day — and I grew up on a wild animal farm, so I have known quite a few — the only ones that truly frightened me were a chimpanzee named Lolita and a pair of Siberians (they’re known as Amurs now) that lived in an old shed about 100 feet from my front door.

When I read in March that two chimps from a California primate sanctuary had attacked a 62-year-old man, biting off much of his face, tearing off his foot, and mutiutf8g his genitals, I thought of Mike’s thumb. And when I heard that Tatiana had attacked three young men, killing one of them, I immediately thought of his ear.

Mike Bleyman was a biologist who built a research and breeding compound outside Pittsboro, NC, and like many exotic-animal fanatics he had a tendency to lose body parts. Fortunately, the surgeons in Chapel Hill were skilled at sewing them back on.

Mike was also my stepfather. My parents divorced when I was in junior high, and when my mother moved in with Mike on "the farm," I went with her.

I was present when Lolita bit Mike’s thumb right through the bone, almost severing it completely. I was away at college when the tiger got him.

Mike had arranged a trade with the Albuquerque Zoo in New Mexico — two Siberians and a Himalayan black bear for a young Sumatran tiger. Mike hit both tigers with tranquilizer darts. But ketamine, the drug of choice for sedating big cats, takes several minutes to work, and being an impatient man who didn’t play by the rules, Mike entered the cage before the recommended time had passed. When he approached the male, the female roused herself. She slashed Mike across the back, dislocated his elbow, and removed his ear.

The fact that Mike was able to extract himself from the cage alive is testament to the fact that the ketamine had at least begun to have an impact. Siberian tigers are not creatures you want to mess with.

Our other tigers, all Bengals, were sociable and playful. As I walked by they would chuffle their hellos. I would chuffle back and reach through the fence to scratch their necks or rub their noses. The Siberians, however, had a flat affect, rarely vocalized, and menacingly tracked passing humans.

I know it’s not fair to judge an entire subspecies by two individuals, and these cats had every reason to be sullen. They had evolved to preside as alpha predators over rugged territories of hundreds of square miles, and they were being forced to live sedentary lives in a gloomy shed probably no bigger than 200 square feet. But fair or not, they freaked me out.

I have been thinking a lot about those cats in the past couple of weeks as I have read the news stories coming from San Francisco. As someone who has bottle-fed several cubs, built my share of tiger cages, and shoveled more than my share of tiger shit, I know more than a little about Felis tigris.

I have been equally fascinated, if not more so, by the behavior of the other species that populates this tragic tale, the one known as Homo sapiens. In addition to being a former tiger farmer, I am also a journalist who once covered San Francisco politics. I still work occasionally as a communications consultant to nonprofits, and in my day job I am a manager of a small state agency and work regularly with elected officials. So when I look at this story through the lens of a behaviorist, I think about the traits of various human subspecies — politicians, bureaucrats, managers, spin doctors, journalists, self-proclaimed experts, and supposed guardians of health and safety. Frankly, I am not impressed.

Tatiana was killed for being a tiger. Tigers have only one self. They are what they are; end of story. Humans are a different order of being: we are capable of self-deception. We can lie to ourselves, we can deny what is right in front of us, we can try to shift blame, and we can avoid the things we know we should face.

And thereon hangs this tiger tale.

TARZAN AND TIGER ISLAND


People have often asked me over the years why my stepfather had all of his animals. I like to tell them it was because he thought he was Tarzan. It’s not the absolute truth, but it is as valid as any other answer.

It started in the 1970s, when he just drove down to Florida one day and came back with a tiger cub.

For her first several months there, Gretchen had the run of the farm. I remember one weekend when Mike was teaching us to shoot: my sister Gwenn was lying in the bed of a battered red Toyota pickup, one eye closed and the other sighting down a rifle barrel at a paper bull’s-eye. She never saw the tiger stalking her from behind. As soon as Gretchen was near enough, she closed in a sudden burst, easily cleared the side of the bed, and landed squarely on Gwenn’s back. Gwenn just huffed, "Gretchen, get off," and calmly squeezed the trigger.

Gretchen, however, was soon too large to be treated like a funny-looking dog. Mike hired a backhoe operator to dig a moat around a knoll where an abandoned farmhouse perched. The man arrived on a day when Mike’s very wild foster daughter, Dianne, had cooked brownies. The backhoe operator didn’t realized they were laced with pot and ate a few. It took a long time to finish the job, in part because the guy kept nodding off, and in the end the moat had a peculiar shape.

Mike didn’t mind. He just put up an acircular fence around the acircular moat and called it Tiger Island.

The fence was 12 feet tall and built of heavy-gauge chain link. A barbed-wire overhang jutted inward from the top at a 45-degree angle. A tiger might be able to leap to the top of a 12-foot fence, but the moat meant there was no solid place from which Gretchen could launch herself.

If she tried to hurdle the fence, she’d have to start at least 10 feet back. And if she crossed the moat and pulled herself onto the narrow bank, she would have to jump straight up. That would mean an encounter with the overhang. She wouldn’t climb the fence because chain link is too wobbly. It was the way the moat and the fence and the overhang worked together that made the compound secure. Even when the moat ran dry in later years, a tiger would still have had to jump from the bottom of the dry moat, making the total leap on the order of 16 or 17 feet.

In other words, a stoned heavy-equipment operator and a somewhat oddball zoologist, with a few thousand dollars’ worth of chain link and barbed wire, managed to make a very secure tiger pen. I have to wonder why the privatized San Francisco Zoo, with millions of dollars in bond money and a director who earns $339,000 a year, couldn’t.

THE MISSING WALL


Early reports from San Francisco described the tiger grotto as having a wall and a moat as if they were separate things and gave dimensions for both — initially 15 feet for the moat and 20 feet for the wall. When I read that, I began examining aerial photos to look for other points of egress. I studied the height and the angle of the side walls.

All tigers can climb trees. Amur habitat includes mountain ranges. They don’t like steep slopes, but they’re capable of scrambling over rocky faces. Perhaps Tatiana got out that way, I thought, but I soon rejected the idea.

The aerials showed me the initial reports were inaccurate. There never was a wall and a moat. Tatiana’s compound was nothing like Gretchen’s. There was only a moat, and the so-called wall was simply the far bank. The moat isn’t, in zoological terms, either a physical or a psychological fail-safe. It’s simply a way of recessing a wall into the earth so it doesn’t block human sight lines.

A dry moat can actually be worse than a wall because the far bank gives a tiger launching points. When the jump-off point is around the same elevation as the top of the far bank, as it is at the San Francisco Zoo, the moat’s depth may not matter. The question becomes not how high the tiger can jump but how far it can leap. History and a close look at pictures of the grotto suggest that is exactly the question San Francisco and zoos everywhere should be asking.

One rule of thumb is that a moat needs to be four times the average body length of the species it is suppose to contain, which for an Amur is just an inch shy of six feet. That means a moat should be at least 24 feet across. I’m skeptical of this calculation. Mean body length for a mountain lion, for example, puts the recommended moat distance at just over 13 feet, yet there are credible reports of mountain lions leaping 35 feet.

An alternative is the cat’s known leaping distance plus 20 percent. The oft-reported leaping distance is 20 feet, so the minimum width would again be 24 feet. There are accounts of tigers leaping 30 to 33 feet, but I have not been able to determine whether these were documented. In China, the Yangtze River runs through Leaping Tiger Gorge, so named because a tiger leaped the river to escape a hunter, according to local lore. The river at its narrowest is about 82 feet wide. The story is a fable, but it gives you a sense of the tiger’s reputation as a prodigious leaper. Based on my years of observing tigers at play, 30 feet does not seem at all out of the question.

Such calculations likely contributed to the standards of two Association of Zoos and Aquarium committees. Both the AZA Felid Technical Advisory Group and the AZA Nutrition Advisory Group recommend a minimum width of 25 feet for a tiger moat.

So imagine my reaction when Zoo director Manuel Mollinedo stated his belief that the tiger could not have escaped from the moat, while also saying that according Zoo records, the moat was 20 feet across. I have never met Mollinedo, and he didn’t return my calls, but in my opinion the man has no idea what he is talking about.

Then came reports that the moat is 33 feet across. Well … sort of, maybe, kind of. It may be 33 feet from wall to wall, but the bank on the grotto side slopes to a flat floor 20 feet across. Some clever bloke decided to make the transition look more natural by placing fake boulders atop the slope. These project out into the moat and in some cases rise above the grotto floor. A tiger that launched from the lip of one of these would have to cross far less than 30 feet.

I asked the Zoo for the narrowest leap between the outside wall and these "rocks." Zoo officials didn’t respond. So I went out there with my tape measure.

The tiger grotto is closed off, and Zoo officials also declined to answer my request for access to the area. But through a side window I was able to study a neighboring lion grotto with a similar design. A rock ledge stuck out into the moat more than seven feet, leaving a gap I measured along the outer wall at about 25 feet. Using aerial photographs and online measuring tools to look at Tatiana’s grotto, I repeatedly got widths of less than 24 feet.

In other words, the width of the moat most likely does not meet AZA standards, which could hardly be described as overly cautious.

NO MARGIN FOR ERROR


The world soon found out the bank of Tatiana’s grotto was less than 12.5 feet high, and experts quickly agreed that a motivated tiger could have surmounted the wall. Yet Mollinedo was still expressing disbelief.

We know tigers pluck monkeys from tree branches, bound over steep rock faces, and jump on the backs of large prey. But how tall do they stand, and how much can they elevate? The best evidence I can find of an Amur’s reach comes from the field studies of Anatolii Grigor’evich Yudakov. One way Amurs mark their territory is by making scratches high in the bark of trees. Yudakov measured these marks at 210 to 290 centimeters, or roughly 7 to 9.5 feet.

For an Amur standing on its hind legs to reach the top of a 12.5 foot wall, it would have to elevate another 3 to 5.5 feet. Remember Gretchen jumping effortlessly over the side rail of a small pickup? Four feet.

A major prey species for Amurs is the Manchurian red deer, which stands up to five feet at the shoulder. Though not sourced, many references report a vertical leap for tigers of six feet. Take a tiger with a reach of almost 10 feet and a vertical leap of six feet, and suddenly the industry standard of a 16-foot wall has no appreciable margin for error.

Then there are the events of May 14, 1994, when a Bengal tiger in India’s Kaziranga National Park attacked a man on the back of an elephant. According to a press release from Wildlife Trust International, executive director Vivek Menon reviewed footage of the attack and exclaimed, "I could never imagine that a tiger could so effortlessly leap from the ground onto an adult elephant’s head, which is at least 12 feet above the ground."

There has been much speculation about whether a captive tiger is capable of matching the jumping ability of a wild cat. Presumably a confined tiger would be sluggish, out of shape, her muscles atrophied. No one to my knowledge, though, has studied the sports physiology of tigers.

I can say from personal experience that even captive tigers are incredibly agile and powerful. We had a Bengal named Engels (the litter was born on May Day) who lived on Tiger Island. One day a female Bengal tried to snatch some food from him. He swiped at her almost casually, hitting her in the side. The force of the blow immediately stopped the young tiger’s heart, and she fell over dead.

THE LONG JUMP


So what happened that day at the Zoo? So far, none of the witnesses are talking. Media accounts suggest one scenario: Tatiana may have stood on her hind legs against the wall, pushed off from the bottom of the moat, grabbed the top of the wall with her front paws, and leveraged herself up and over by digging her hind claws into the wall. That’s conceivable, I guess. Tatiana may even have escaped before the attack and waited for her prey in the tall grass beside the moat.

I have a very hard time imagining that, though. For one thing, the wall curves outward at the top. For another, such methodical, incremental movement is not typical of a tiger. They stalk their prey slowly, but in a brutal burst, they close with amazing speed. I am convinced Tatiana exploded from the grotto, landed on the lip, and then powered her way up. Whether she sprang from one of the protruding rocks, the sloped bank, or the moat floor is almost immaterial, but I am inclined to believe she jumped over the moat.

Strangely, Mollinedo may have been on the right track at a Dec. 28 press conference when he said, "How she jumped that high is beyond me." She may not have jumped high at all; I suspect she just jumped long.

I base this on my observations of tigers and my study of grotto photographs, but it is supported by history. There are three known escapes from Tatiana’s grotto and one near escape. In one case the escape went unwitnessed.

Keepers Jack Castor and John Alcaraz walked by the grotto one day a few years back and saw a Bengal named Jack wandering outside, Alcaraz told me by phone. They yelled at him, and he jumped back in.

David Rentz witnessed another escape in 1959, when he was a young Zoo volunteer. He’s an entomologist in Australia now, and he recently wrote in his blog that the tiger "flew across the moat from his position on the other side … and sprung back to the grotto all in one graceful movement." There had been previous reports this same tiger could jump the moat.

Then there’s the near escape witnessed by Marian Roth-Cramer in 1997. In an interview in the Dec. 27 San Francisco Chronicle, she said, "I saw the tiger leap over the moat." This makes me wonder why so much coverage has focused on the height of the wall and not the width of the moat.

Media coverage has also focused on whether the men taunted or teased Tatiana. I find this discussion ludicrous. Zoos know animal abuse comes with the territory. They must anticipate it, prevent it, and prepare for its consequences. It’s part of the job. And besides, how does one taunt a tiger?

When I think of taunting, I think of the French kibitzers and King Arthur’s men in Monty Python and the Holy Grail, a scene reprised in Spamalot. I imagine some kids shouting into the grotto, "Your mother was a wild boar, and you father smelt of porcelainberries. I scent-mark in your general direction."

Teasing a confined animal means tempting it with something it can’t have — a ball, say, or your throat.

Tatiana wasn’t teased. She got what she wanted.

Tigers attack for limited reasons — they see you as prey, they see you as a threat to them, their cubs, or their food, or they dislike you because of something you did to them. Perhaps Tatiana saw the young men as a threat. Perhaps they pissed her off. But a simpler explanation is that their behavior got the cat’s attention, and perhaps they crossed the fence and got too close to the edge, until at some point Tatiana identified Kulbir Dhaliwal as prey that had come within range. It seems significant that the attack occurred at twilight, since tigers are crepuscular, meaning they are most active then. It’s their favorite time to hunt.

Naturalist and western novelist Dane Coolidge wrote in 1901 that Indians classify tigers as game killers, cattle lifters, or man killers. People have suggested tigers become human killers because they develop a taste for human flesh. I believe tigers will eat almost anything — but they’re wary of taking on prey that might fight back effectively. They lose any hesitancy when they discover just how vulnerable we humans are. Tatiana proved she had no inhibitions about dining on human flesh when she attacked keeper Lori Kamejan in 2006.

Carlos Sousa Jr. apparently tried to distract Tatiana from her attempted "kill," and I use that term loosely since tigers naturally feed on prey that is still alive, and captive tigers are in-between creatures, psychologically speaking. Wild cubs learn from their mothers to dispatch prey effectively, but captive-bred tigers are never taught that skill. In terms of hardware, they may be the world’s finest killers, but their software is buggier than Windows Vista.

Tigers often have to protect their prey after an attack. They are followed by wild dogs and bears that try to scavenge their kills, and herd animals will sometimes try to rescue a herdmate. Tatiana most likely fought off the threat from Sousa, slashing his throat in the process, then tracked her wounded prey to finish what she started. It wasn’t a rampage, a vicious and angry outburst, as media reports have described it, just the methodical, instinctive actions of a top-of-the-line predator.

THE BIPED PROBLEM


If you look at what led up to Tatiana’s escape, you follow a trail of denial and avoidance.

Consider the players, starting with Zoo management and keepers.

Zoo staffers have known for almost a half century that a tiger could jump out of that grotto. Carey Baldwin, then the Zoo director, witnessed the escape with Rentz in 1959. His solution, according to Rentz’s blog, was to post instructions to keep the offending tiger indoors. Castor’s solution to Jack’s escape was to fill the moat with water, according to Alcaraz, but that practice ended after Jack died. Neither solution was permanent or designed to deal with the next strong-legged, strong-willed tiger to come along.

When Roth-Cramer witnessed the near escape, a passing keeper apparently laughed it off. She reportedly wrote a letter to then–Zoo director David Anderson, but there is no evidence her letter produced any response.

As far as we can tell, no one ever tried to convince the AZA or federal regulators that they needed tougher standards or tougher enforcement. No one took the story to the press or published a journal article to warn other Zoo professionals. No one posted public warnings, ordered changes to the grotto, banned tigers from the exhibit, or shut the lion house.

Mollinedo should have known about the problem if his keepers knew. But there seems to be a lot he doesn’t know, and previous Guardian reports and a recent Chronicle article suggest communication has broken down between employees, particularly keepers, and Zoo management. Lower-level staff complain of not being heard, not being consulted. Morale is low. Institutional knowledge is being lost as keepers quit in frustration.

And what about the regulators? Ron Tilson, the conservation director of the Minnesota Zoo, said in a Dec. 27 Chronicle story that the AZA standard, which he said was seven meters (closer to 23 feet), is "very conservative." Yet this has less than a 20 percent safety margin when you consider the conventional wisdom about how far a tiger can jump, and it is far less than reported leaps of 30 feet or more.

The day after the attack, the AZA issued a statement that "AZA accreditation standards contain no specific dimensions for big cat enclosures." The AZA did not return calls seeking comment, but what it provides is really a set of guidelines produced by advisory committees for a voluntary association composed of the very institutions being regulated. The guidelines aren’t consistently known and have never been fully implemented.

We know the AZA accredited the San Francisco Zoo despite a wall almost four feet shorter than the recommended height.

In 1974 the Philadelphia Zoo surveyed 10 other zoos about their tiger moats. It published the findings in the 1976 International Zoo Yearbook. San Francisco reported its moat was 13.5 feet deep. Detroit said its moat was 15.5 feet deep. Chicago’s moat was only 21 feet wide, and Tulsa reported between 15 and 20 feet. Oklahoma’s moat was only 17 feet wide. Half of the surveyed zoos couldn’t meet AZA recommendations.

There are signs the San Francisco Zoo did not meet other AZA standards. For example, the AZA’s 2008 Accreditation Standards and Related Policies states, "A written protocol should be developed involving local police or other emergency agencies." On Jan. 3, I e-mailed 20 questions to the Zoo’s public relations firm, many of which related to AZA standards. For example, I asked about the last emergency drill and about gun training. I also asked for copies of related Zoo policies. The Zoo never responded. But the next day Mollinedo announced that the Zoo is working with police at Taraval Station on a coordinated emergency response and that police and Zoo shooters will be training together.

The United States Department of Agriculture regulates zoos as exhibitors under the Animal Welfare Act. That act and the rules written to implement it are primarily meant to ensure healthy conditions for the animals. They contain specifications for the size of the fences around the outside of a zoo facility to keep unauthorized people out, not for the fences separating the animals from visitors.

And local oversight? The city owns the grounds and the animals. Zoo employees are part of the city employees union. But since 1993 the nonprofit San Francisco Zoological Society has owned the institution and operated it under a contract with the city. There were problems at the Zoo when the city ran it, but, as Sup. Tom Ammiano told me, "Nobody died."

The contract retains a role for the city through a Joint Zoo Committee of society board members and Recreation and Park Department commissioners. I have gone though the minutes of that committee going back several years, and I have to say the committee provides as much oversight as the stuffed animals in the Zoo’s gift ship. As Ammiano put it, "It’s all lip service."

The employee relations problems, the animal injuries and deaths (see Opinion, page 7), and other management issues at the Zoo are nothing new. Savannah Blackwell reported on these same sets of issues for the Guardian twice — see "The Zoo Blues" (5/19/99) and "The Zoo’s Losers" (5/7/03) — and there is no indication anything has been done.

The city’s contract with the Zoological Society and the Joint Zoo Committee should mean Zoo documents are public under the city’s sunshine laws. But the Zoo has not been forthcoming with key documents requested by the media. Sup. Sean Elsbernd has called for hearings, and Ammiano said there will be multiple hearings. "I think the key issues are accountability and transparency," he said.

The Zoo’s high-priced director has demonstrated that his knowledge of the animals under his care, the condition of his facilities, and the concerns of his staff are embarrassingly limited. In press conferences he looked befuddled, evaded questions, broke every rule of crisis communication, and speculated about the victims without clear information.

The Zoo hired Sam Singer, supposedly a crisis communication specialist, but I have attended multiple trainings in crisis communication, and I have to say he seems more like a fixer to me. And despite this, Mayor Gavin Newsom and the society’s board publicly support Mollinedo.

Mollinedo and his PR people have tried to direct blame toward the victims. Perhaps they were drunk, stoned, rowdy, throwing things — but if Tatiana was killed for being a tiger, it could also be argued that Sousa was killed for being a young man.

There’s a whole process of brain development that scientists are now beginning to understand. The maturation of brain cells through something called myelination starts from the back of the brain. The front of the brain, the seat of executive functions like judgment, matures last. Young people often don’t make good decisions. Boys, in particular, take unnecessary risks.

In the public health world, we understand this and concentrate on policies that control risk and reduce harm. This doesn’t mean we shouldn’t hold the survivors accountable for anything they might have done, but it does mean the Zoo has no business shifting the blame.

So where does that leave us? It leaves us with more avoidance than a tiger has stripes.

In the end, this was a human problem. People weren’t doing their jobs. They had not taken action when it was clearly needed. And in the end, the only innocent creature in this drama was the one that had no choice other than to be what she was. Her name was Tatiana.

And now she is dead, along with a young man whose parents loved and miss him very much.

Craig McLaughlin is a former Guardian managing editor. He is coauthor of Health Policy Analysis: An Interdisciplinary Approach (Jones and Bartlett, 2008).