Whatever

Crazy

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› news@sfbg.com

Shortly before midnight on April 21, 2001, Jason Grant Garza walked into the psychiatric wing of San Francisco General’s emergency room and said he was having a mental health crisis. A staffer there refused to admit him. When Garza insisted on seeing a doctor, he wound up strip-searched and thrown into jail. Now, after six years of legal wrangling and bureaucratic buck-passing, SF General has officially conceded that Garza was denied proper service. But Garza says he is still waiting for the help he needs and the justice he demands.

As I sat across from Garza on a recent afternoon, it wasn’t hard to imagine a busy hospital worker or government official blowing him off rather than dealing with his frenetic energy. Diagnosed with a so-called "adjustment disorder," Garza was intense, to say the least. Running his hands through his wiry, gray-streaked hair and leaning over the table as he spoke, the 47-year-old Panhandle-area resident railed against "the system" for well over an hour. At one point, he likened his suffering to that of "a starving kid in Africa … [except] the starving kid in Africa still has hope. I have none of that."

Garza’s ire and his penchant for hyperbole might be exasperating at times, but his behavior also seems to bolster his main contention — that he needs help with his mental health, help that he claims a flawed public health care apparatus has failed to provide. He says his attempts to receive care and support have only exacerbated his condition, increasing his isolation and his sense of persecution. "I’m dead right," he said repeatedly. "And yet I’ve gotten nothing for it."

Garza declined to recount specific details of his story or be photographed. Instead, he referred the Guardian to a 2003 deposition he gave to deputy city attorney Scott Burrell. According to the deposition, his ordeal began shortly after his lover and "soulmate" killed himself in January 2001. That April, Garza became despondent over his loss and called a suicide hotline. The phone counselor directed him to visit SF General’s Psychiatric Emergency Services.

Garza took a cab to SF General and told PES charge nurse Paul Lewis that he was "wigging out" and badly needed to see a doctor. According to Garza’s deposition and other court documents obtained by the Guardian, Lewis asked him if he was suicidal. Garza is quoted in his deposition as responding, "If I was crossing the street and fell, I don’t know if I’d get up." Lewis determined that this answer meant Garza was not suicidal and thus not in need of emergency care. He asked Garza to leave. When Garza refused, the hospital’s institutional police escorted him out.

Garza did eventually get into the hospital that night, but not in the way he was hoping. After he was ejected from the premises, he stole back into the main lobby and called city police to help him receive treatment. But hospital cops returned instead and stuck him in a holding room. Sheriff’s deputies arrived four hours later, early in the morning of April 22. They arrested Garza for trespassing and possession of marijuana, even though he had a prescription for medical cannabis in his wallet.

At the city jail, Garza finally got someone to acknowledge that he was experiencing a psychiatric emergency. He says he told jail staffers that he "didn’t care if he lived or if he died," and as a result, he was stripped of his clothes and placed naked in a cell for his own safety. "That nurse [at the jail] classified me as an emergency," Garza told us. "So one says I’m in an emergency, and the other [at SF General] says I’m not…. At what point am I going to get any help?"

To recap: When Garza voluntarily tried to find care, he was told he was not sufficiently distressed. Only when he was arrested and thrown into jail for demanding help was he declared a danger to himself. His "treatment" consisted of a strip search and a jail cell.

But that’s only the beginning of the insanity.

The Emergency Medical Treatment and Active Labor Act was passed in 1986 to prevent hospitals from triaging out, or dumping, difficult or impoverished emergency room patients like Garza, a former business owner, cabdriver, and bookkeeper who has been on Social Security disability since 1995. EMTALA mandates that any patient who goes to an ER must be given an "appropriate medical screening examination." After he got out of jail, Garza sued the city, SF General, Lewis, and other city employees, contending they violated his rights under the act. He could not afford a lawyer, so he represented himself.

In one of the strangest twists of this twisted tale, Garza finally made it into the inner sanctum of SF General’s PES as a result of his suit against the city. But as with his night in jail, the circumstances of his psychiatric care were not what he was expecting.

While Garza was giving a deposition at the City Attorney’s Office in March 2003, his behavior prompted staffers to call in the authorities. According to an official report of the incident, Garza made suicidal remarks like "I have no desire to live." He also allegedly said that he "needed/wanted bullets and a gun." These statements are not present in the 168-page deposition. Garza did acknowledge to the Guardian that he became upset that day, especially when questioned about his experiences at SF General and the suicide of his lover, but he claimed that deputy city attorney Burrell "set him up" and that the calls to the mobile crisis unit and police were part of "an attempt at witness intimidation." Whatever the reason for the calls, Garza was detained for a 5150, a procedure under which subjects are involuntarily committed for up to 72 hours. The City Attorney’s Office had no comment on the issue.

Amazingly, police took Garza to the same PES department at SF General where the saga began. This time, though, he made it past the lobby and received a medical screening exam, marked by a report and other SF General paperwork. The mere fact of this report’s existence, Garza claims, proves that he did not receive proper care when he went to the hospital voluntarily in 2001. Deputy city attorney Burrell informed Garza by letter that the only record the hospital could produce from his 2001 visit was a triage report filled out by Lewis, the nurse. EMTALA does not permit triage of a patient without a subsequent medical screening examination.

However, in pretrial motions, the city argued that Lewis treated Garza like any other would-be patient and thus complied with the law: "EMTALA requires hospitals to provide a screening examination that is comparable to that offered to other patients with similar symptoms." In other words, Garza’s treatment may have been poor, but so was everyone else’s, so he had no case, the city contended. Judge Phyllis J. Hamilton agreed and tossed out the suit.

Perhaps the strongest proof of Garza’s "adjustment disorder" and need for psychiatric care, ironically, is the fact that he continued to press his case even after his lawsuit was tossed out, taking on a health care system that could make anyone feel unhinged. For the past six years, he says, he has badgered "10 to 15" local, state, and federal agencies, as well as government officials like Sup. Bevan Dufty and aides to House Speaker Nancy Pelosi (D–San Francisco). In the process, he has compiled an encyclopedic collection of letters, petitions, records, and even audiotapes of phone conversations.

"There isn’t a single agency that’s in charge of anything," Garza said of his dealings with the health care bureaucracy. "You’re parsed. You’re sliced and diced and parsed as a medical patient … and it’s designed to fail."

Not surprisingly, Garza’s efforts to find accountability have irked some officials and members of the bureaucratic corps. When he requested a copy of his arrest report from the Sheriff’s Department, he received a mocking denial letter signed "R.N. Ratched," a reference to the asylum nurse in Ken Kesey’s novel One Flew over the Cuckoo’s Nest. As the Guardian reported in 2002, Sheriff’s Department legal counsel Jim Harrigan eventually confessed to penning the letter, but only after Garza raised a fuss before the Sunshine Ordinance Task Force.

At Garza’s urging, the Centers for Medicare and Medicaid Services (CMS) asked the California Department of Health Services to investigate his treatment at SF General. In a letter dated Nov. 13, 2006, CMS official Steven Chickering informed Garza that the DHS "found no violation of statue [sic] or regulations." Chickering concluded his letter to Garza by warning him to back off. "Your frequent communications have become disruptive, distracting, and nonproductive. Therefore I have instructed CMS Regional Office staff not to accept telephone calls from you in this matter."

Despite his setbacks with the CMS and other agencies, Garza pressed on. He contacted the Office of Inspector General at the federal Department of Health and Human Services and asked it for help. OIG spokesperson Donald White declined to discuss specific details of Garza’s case, but he did tell the Guardian that "Mr. Garza came to [the OIG] directly, and we contacted CMS, and they conducted another investigation."

That second investigation found an EMTALA violation after all.

On April 19, Garza’s relentless — some might say quixotic or even crazy — pursuit of what he calls the truth finally produced some results. Nearly six years to the day after his 2001 visit to SF General’s PES, hospital officials inked a settlement agreement with the OIG in which SF General conceded that Garza had not been examined properly, a violation of section 1867(e)(1) of EMTALA. Section 6 of the settlement states plainly that the hospital "did not provide [Garza] with an appropriate medical screening examination on April 22, 2001."

The hospital agreed to pay a fine of $5,000. But Garza, as White told us, "is not a party to the settlement." In other words, he got nothing.

"That’s the way EMTALA works," White said, meaning that hospitals found in violation of the law pay restitution to the government, not to the victim. "We took the steps required under the law."

Reached by phone, Iman Nazeeri-Simmons, SF General’s director of administrative operations, acknowledged that hospital officials signed the settlement agreement but noted that in the course of the investigation leading up to it, "the state did give us a very thorough EMTALA survey and came out with no problems."

"It has been made clear to Mr. Garza that he is more than welcome to come back and access services here," she added.

Garza denied that he had received any follow-up calls from SF General offering services, and he balked at the idea of returning there: "That’s like sending someone back to the priest that molested them." He told us he would like to pursue further legal action against the hospital and the city but still has not found a lawyer. After the settlement was signed, he claimed, he asked officials at the OIG "where I could go now for legal and medical help, and they told me, ‘That’s not our jurisdiction.’ "

"So even though I’m dead right, I’m still without help because everybody’s pointing fingers … as opposed to getting me the help I need, because they don’t care, they’re unaccountable," Garza said. "Ten different agencies told me I was wrong, and now [with the settlement] I’m right?"

He threw up his hands. "Does that make sense to you?" *

Rock ‘n’ read

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› kimberly@sfbg.com

SONIC REDUCER Anyone who’s thumbed through the oodles of zany organ, squealing chipmunk, and queasy-listening albums from the ’50s onwards knows this to be true: every generation has its version of Muzak, whether its members like it not — thanks to clueless parental units. And the class of 2025 will undoubtedly have vibe ‘n’ synth instrumental renditions of "About a Girl," "D’yer Mak’er," and "Cherub Rock" dancing in their heads — no thanks to the Rockabye Baby! series on Baby Rock Records that appears to be multiplying like bunnies monthly. What next — sleepy-time Mentors? But what would baby lend an ear to once he or she started dabbling in books, student-body politics, and witchcraft? In other words, WWHPLT — what would Harry Potter listen to?

Boston’s Harry and the Potters have been working off that premise for the past three years, touring the country’s finest libraries. After outgrowing San Francisco’s main library and drawing several hundred to their show at the Civic Center last year, they’ve decided to get booked, adult-style, at Slim’s, alongside Jurassic Park IV: The Musical, which dares to pick up where the last dino blockbuster left off.

So, I tease, you’re doing a real tour this time? "Why is playing libraries not a tour?" the older, seventh-year Harry, Paul DeGeorge, 28, retorts by phone as he hauls T-shirts into the cellar of the Tucson Public Library, the site of that night’s show. "It’s actually a lot more work, because we set up our sound system every day."

He may be playing in a basement, but DeGeorge and his brother Joe, who appears as fourth-year Harry, aren’t playing to our baser instincts. "I thought this would be a great way to play rock to a whole new audience that doesn’t experience that," he explains. "If Harry Potter had the cool effect of getting kids to read more, maybe we can get kids to rock more too!"

The proof is in his now-20-year-old sibling. DeGeorge started feeding his younger brother Pixies, Nirvana, They Might Be Giants, and Atom and His Package CDs when the latter was nine, and apparently the scientific experiment paid off. "I could see the effect immediately. By the time Joe was 12, DeGeorge says, "he was writing songs about sea monkeys that referenced the Pixies" — and popping up in the Guardian in a story about early MP3.com stars.

And what about the silly kid stuff on Baby Rock Records? "I’d rather hear the original songs," DeGeorge opines. "Instead of Nine Inch Nails for babies, I’d just make a good mixtape for my baby. You can do ‘Hurt’ and just lop off the ending. It’s supereasy — anyone can do it!" Read it and weep, Trent.

SERPENT SPIT "So the proctology jokes remain." Thus came the news from filmmaker Danny Plotnick that Nest of Vipers, his freewheeling podcast highlighting the wit and storytelling chops of such SF undergroundlings as Hank VI’s Tony Bedard, the Husbands’ Sadie Shaw, singer-songwriter Chuck Prophet, and Porchlight’s Beth Lisick, was now officially off the KQED site and fully independent (and available through iTunes). "I had a contract for six episodes to be distributed by KQED," Plotnick e-mailed. "Ultimately they released eight episodes. They didn’t renew the contract because the show was too edgy for them."

Unfortunately, that also means the customer-service episode that triggered those treasured proctology-convention yuks, which was supposed to go up on the public station’s Web site on June 15, has been delayed till July 1 as Plotnick figures out new hosting.

But at least the assembled vipers will continue to writhe unchecked. Inspired by Plotnick’s favorite sports talk shows, Nest of Vipers aims to issue a weekly breath of venomous, randomized air in an ever-constricting radio landscape. "So often on radio there’s a bunch of experts pontificating about whatever," he told me earlier. "This is more about real people talking about real experiences," or like hanging with the gritty raconteurs at your favorite dive bar. The next episode, for instance, sounds like a doozy: Bucky Sinister talks about working the phones at PlayStation on Christmas morning, and Bedard has a yarn about biting into a Ghirardelli chocolate bar and finding a maggot — thinking it’s his big payday, he returns it to the company. You have been served! *

HARRY AND THE POTTERS

With Jurassic Park IV: The Musical

Fri/29, 8 p.m., $12

Slim’s, 333 11th St., SF

(415) 522-0333

www.slims-sf.com

NEST OF VIPERS

www.nestofviperspodcast.typepad.com

www.myspace.com/nestofviperspodcast

GET INTO THE BAND

CAVE SINGERS


Seattle Matador starlets break out the rustic initial Invitation Songs. Wed/27, 9 p.m., $8–$10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

ORGANIZED GRIND


Jamin and J-Dubber combine protest gangsta with ye olde funk and minihyph on Grind Pays (Organized Grind). Thurs/28, 10 p.m., call for price. Fourth Street Tavern, 711 Fourth St., San Raphael. (415) 454-4044

BRIAN ENO’S 77 MILLION PAINTINGS


Partake in the Hot Jet’s imagescape of "visual music." Fri/29–Sun/1, 8 p.m.–2 a.m., $20–$25. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

ALBUM LEAF AND ARTHUR AND YU


Incoming Korg attack! James LaValle’s gorg dream orchestrations cavort with Lee and Nancy–esque vocals. With Under Byen. Sat/30, Slim’s, 333 11th St., SF. (415) 522-0333, www.slims-sf.com

AUDRYE SESSIONS


The Oakland combo parties over its new CD — after vocalist Ryan Karazija spent a very unlucky Friday the 13th in April being brutally mugged and left in a pool of blood with a fractured skull after a Minipop show at Mezzanine. Sat/30, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

RACCOO-OO-OON


On Behold Secret Kingdom (Release the Bats), the night critters generate a fine squall of free jazz, noise, drone, and jungle psychedelia. Knocking over trash cans never sounded so intentional. Tues/3, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923, www.hemlocktavern.com

FIRE DRILL AT THE CHRON BUILDING!!! Oh wait, it’s just empty from all the cuts. Sorry.

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By G.W. Schulz

During a conversation we had recently with a certain interview subject regarding layoffs at the Chron, this person was sure to correct us by distinguishing between actual “layoffs” and “buyouts.” Well, sure, buyouts might taste slightly better, but they’re both still poison for your career. Just ‘cause management prefers to call them something else doesn’t make “downsizing” settle any easier.

More announced departures at the Chron, by the way, if that’s the description you’d prefer. A foreign and national correspondent named Anna Badkhen who reported from Iraq, Kashmir, Chechnya and New Orleans after Katrina is leaving for the Boston Globe. She was also a one-time Moscow bureau chief for the Chron. Romenesko picked up a memo from the Globe on the move.

Another familiar byline, Patrick Hoge, is leaving after nearly 20 years at the Chron. He wrote regularly about homelessness, health care and mental illness. Reporter Glen Martin, also with the Chron for nearly 20 years, is leaving as well.

Meanwhile, as we noted earlier, the Merc has officially announced 40 newsroom cuts. No one knows yet who’s leaving, but there will be no buyouts, we’ve gathered. Buyouts. Layoffs. Whatever they’re calling them.

Anyway, guess what! The San Jose Newspaper Guild is offering one-time grants of $500 for families caught in a financial crises as a result of the cuts! That should about cover the mortgage, utilities, groceries and the kid’s flu medicine for about, oh … a week?

chron1.jpg
Old Chron building, c. 1900

Editor’s Notes

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It’s Pride, and I’m going to shamelessly plug something. ‘Tis the season for shameless plugging! Whatever your orientation, take a break from strutting your sizzling stuff soon and visit the GLBT Historical Society on Mission Street (www.glbthistory.org). The archives are a treasure trove, and "Out Ranks," the current exhibition displaying the effects of queer soldiers from World War II through Iraq, is a must-see.

To my mind, the only place gays in the military belong is on a porn DVD — definitely not on an aircraft carrier deployed to Kuwait. But there are incredible personal stories in "Out Ranks," scattered among the crisp dress uniforms and bright blue dishonorable discharge papers, many faded to a trendy shade of robin’s egg.

Stories like that of Sylvia Rivera, a transgender woman drafted in 1967 who fought police at Stonewall. Or Helen Harder, a Women’s Army Air Corps member who signed up during WWII with her girlfriend (how hot is that?). The show also contains relics of queer antiwar protests, including a poster of a hunky, half-naked Jesus screaming, "Thou Shalt Not Kill!" Yummy.

Recently, board member Gerard Koskovich gave me a tour of the society’s archives, the largest collection of queer historiana in existence. He showed me underground newsletters for queeny World War I GIs and photo albums of ’70s lesbian weddings. There were boxes of flyers for ancient gay bars like the Anxious Asp and Fickle Pickle, Super 8 reels of street riots and disco dance floors — and a container holding Harvey Milk’s bullet-riddled clothing.

"Here’s a gown the first Gay Empress, José Sarria, wore," Gerard said, unfurling a brittle re-creation of Audrey Hepburn’s Ascot ensemble from My Fair Lady. Tears sprang to my eyes. "And that," he said, pointing to a nondescript sewing machine, "is what Gilbert Baker sewed the first Pride flag on."

I lost it. All that fabulousness up close was just too much. I bent down quickly, pretending to tie my shoelaces to hide my exploding sobs.

It was then that I realized I was wearing pumps.

Sequined pumps. Purple sequined pumps. I stared down in astonishment. A pair of leopard-print hose raced up my legs, blooming at my upper thighs into a dazzling Lycra minidress. Enormous pads sprouted from my shoulders, and my hair kinked out into a frizzy bleached mullet. Good lord, I was becoming Sylvester. I was riding a giant mirror ball through space. "Yooou make me feel!<\!s>/ Mii-ighty real!"

It was all a hallucination, of course. Family can make you do that, hallucinate. Love is a drug indeed. And the glittery fabric of history, despite its many bullet holes, still connects us all.*

Remove Jew now

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EDITORIAL Sup. Ed Jew should have resigned from the Board of Supervisors immediately after admitting to reporters that a May 18 FBI raid of his homes and offices recovered $40,000 in cash that he demanded from a constituent with regulatory issues.

Even if one believes his implausible story about intending to give the money to a playground project, Jew’s actions are still unethical, unseemly, and illegal. Politicians must never, under any circumstances, accept cash payments in exchange for services, and those who do belong in prison.

But he didn’t resign, choosing instead to put his personal ambition and stubborn refusal to take responsibility for his actions ahead of what’s best for the city and his constituents. Then, when public records and testimony from neighbors made it clear that Jew didn’t really live in District 4, as the law requires and as he declared in sworn statements under penalty of perjury, Jew should have been honest with the public instead of spinning still more elaborate and unbelievable lies. Again, he should have done the honorable thing and resigned.

But if the surreal rally his supporters staged June 15 at City Hall is any indication, Jew intends to keep fighting this until someone drags him from the building.

That’s what needs to happen now. It’s no longer about Jew but about whether a system designed to prevent these kinds of abuses works. People need to have their confidence in city government restored, and that requires immediate action by Mayor Gavin Newsom, Attorney General Jerry Brown, and the courts.

District Attorney Kamala Harris did her job when she investigated the residency issue and filed nine felony charges against Jew on June 12. City Attorney Dennis Herrera did his job when he set reasonable deadlines for Jew to prove his residency, then announced June 18 that he was pursuing action to remove Jew from office.

Now it’s Newsom’s turn. The time has come for him to do his job, and that means doing everything in his power to ensure that Jew is ejected from City Hall as soon as possible.

Same thing for Brown, who should immediately certify Herrera’s request to file a quo warranto lawsuit that would deem Jew unqualified for the office he holds and remove him. Whatever Superior Court judge gets the case should put this on the fast track and help give District 4 residents a qualified, reputable representative.

They don’t have that now. And until they do, there is a dark cloud hanging over City Hall that affects everyone inside. It’s time for Jew or the system to remove that cloud. *

The budget’s opening battle

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› sarah@sfbg.com

Mayor Gavin Newsom and Sup. Chris Daly have been engaged in a high-profile clash over city budget priorities in recent weeks. Newsom appeared to win the latest battle when he galvanized an unlikely coalition and Daly clashed with some of his progressive allies, prompting Board of Supervisors president Aaron Peskin to remove Daly on June 15 as chair of the Budget and Finance Committee.

"This is not about personality, and it shouldn’t be about the mayor’s race. It should be about making sure we have a good budget," Peskin told the Guardian shortly before announcing that he would be taking over as Budget and Finance chair just as the committee was beginning work on approving a budget by July 1.

Yet this latest budget battle was more about personalities and tactical errors than it was about the larger war over the city’s values and spending, areas in which it’s far too early for the Newsom camp to declare victory. The reality is that Newsom’s "back-to-basics budget" — which would increase spending for police and cityscape improvements and cut health services and affordable-housing programs — is still likely to be significantly altered by the progressives-dominated Board of Supervisors.

In fact, while the recent showdown between Newsom and Daly may have been diffused by Daly’s removal as Budget and Finance chair, it’s conceivable that a clash between Newsom and the supervisors is still on the horizon. After all, eight supervisors voted for a $28 million affordable-housing supplemental that Newsom refused to sign, and the mayor could yet be forced to decide whether to sign a budget that lies somewhere between his vision and Daly’s.

Stepping back from recent events and the supercharged rhetoric behind them, a Guardian analysis of the coming budget fight shows that there are difficult and highly political choices to be made that could have profound effects on what kind of city San Francisco becomes.

If Daly wanted to spark a productive dialogue on whether the mayor’s budget priorities are in the best interests of the city, he probably didn’t go about it in the right way. But the approach seemed to be born of frustration that the mayor was refusing to implement a duly approved program for an important public need.

Daly has argued that when he introduced his $28 million affordable-housing supplemental in March, he thought it would be "noncontroversial." Last year the board approved and Newsom signed a $54 million supplemental budget, including $20 million in affordable-housing funds. Daly wrote on his blog that he hoped his latest $28 million request would help "stem the tide of families leaving San Francisco, decrease the number of people forced to live on the streets, and help elders live out their days with some dignity."

But Newsom objected, first criticizing Daly in the media for submitting it too late, then refusing to spend money that had been approved by a veto-proof majority, with only his supervisorial allies Sean Elsbernd, Michela Alioto-Pier, and Ed Jew opposed. Daly pushed back against what he loudly labeled the mayor’s "backdoor veto," which he considered illegal.

"You may not believe the question of affordable housing and affordability is more important than redesigning the city’s Web site or perhaps installing cameras in police cars or fixing a pothole, but to say that the money does not exist is a lie," Daly said at a board meeting.

So when Newsom submitted his final budget June 1, Daly proposed restoring the funding and taking away $37 million from what he called the mayor’s "pet projects." His suggestion triggered a political firestorm, since his targets included a wide array of programs, including $700,000 for a Community Justice Center, $3 million for one police academy class, $10.6 million for street repairs and street trees, $2.1 million to expand the Corridors street cleaning program, and $500,000 for a small-business-assistance center. In their place, Daly argued, the city would be able to restore funds cut from affordable housing, inpatient psychiatric beds, and services for people with AIDS.

In addition to uniting against him those constituencies whose funding he targeted, Daly’s proposed cuts in law enforcement — and his brash, unilateral approach to the issue — threatened to cost him the support of Sup. Ross Mirkarimi, a progressive with public safety credentials who represents the crime-plagued Western Addition. So it was a precarious situation that became a full-blown meltdown once the Newsom reelection campaign started phone banks and e-mail blasts accusing Daly of endangering public safety and subverting the normal budget process.

Pretty soon, with Daly’s enemies smelling blood in the water, it became a sort of feeding frenzy, and various groups urged their members to mobilize for a noon rally before the June 13 Budget and Finance Committee meeting. "We are a sleeping giant that has awakened," small-business advocate Scott Hauge claimed as he e-mailed other concerned stakeholders, who happened to include Friends of the Urban Forest and public housing activists, thanks to Daly’s call for a $5 million cut in Newsom’s Hope SF plan, which would rebuild public housing projects by allowing developers to also build market-rate condos at the sites.

"Mirkarimi seems to feel strongly about having cops and infrastructure, which are typically the priorities of conservatives," Daly told the Guardian as he announced plans to cancel the June 13 budget hearing, which he did after accusing Newsom of engaging in illegal electioneering.

Daly also accused Newsom of abusing his power by securing the City Hall steps for a budget rally at the same time, date, and place that Daly believed his team had secured — a mess-up city administrator Rohan Lane explained to us as "an unfortunate procedural thing."

But while Daly told us he "needed to hear from progressives who enjoy diversity, because if we don’t get more affordable housing dollars, San Francisco is going to become increasingly white, wealthy, and more conservative," all anyone could hear the next day was a pro-Newsom crowd chanting, "No, Supervisor Daly, no!" outside City Hall.

Newsom spoke at the rally and claimed that Daly’s proposal to cut $5 million from Hope SF would eliminate "$95 million in local money to help rebuild San Francisco’s most distressed public housing," a figure that includes the bond issue Newsom is proposing. With the 700 to 900 market-rate units included in the program, Newsom claims the cuts will cost the city $700 million in housing.

"Stop the balkanization of San Francisco!" Rev. Al Townsend roared, while Housing Authority Commissioner Millard Larkin said, "People are living in housing not fit for animals. Protect policies that give people a decent place to live."

"This is about your priorities," Newsom said as he made the case that fixing potholes, sweeping streets, and putting more cops on the beat are now San Francisco’s top concerns.

"I’ve never seen this type of disrespect to the public process," Newsom said, addressing a crowd that included a couple of Daly supporters holding "Homelessness is not a crime" signs alongside people dressed as trees, a dozen people in orange "Newsom ’07" shirts, Newsom campaign operative Peter Ragone, and former Newsom-backed supervisor candidates Doug Chan and Rob Black (the latter of whom who lost to Daly and now works for the San Francisco Chamber of Commerce).

"Gavin Newsom’s budget reflects that he has been listening to you. It’s not something he has dreamed up is his ivory tower," Townsend said, while Kelly Quirke, executive director of Friends of the Urban Forest, pointed out that Daly’s proposal would mean the 1,500 trees that the Department of Public Works planted this year "would not be watered," and Police Commissioner Yvonne Lee said the proposal would "eliminate 50 new officers that could be on streets, plus a $400,000 system to identify the source of gunfire."

What Newsom’s supporters didn’t mention was that his proposed budget, which would add $33 million for the Police Department to help get more officers on the streets and pay existing officers more, also would drastically shift the city’s housing policies by transferring about $50 million from existing affordable-housing and rental-support programs into spending on home ownership and development of market-rate units. And that comes as the city is losing ground on meeting a goal in the General Plan’s Housing Element of making more than 60 percent of new housing affordable for low-income residents.

Daly doesn’t think people fully understand the implications of Hope SF and said public hearings are needed so they "can understand it better." Yet the Newsom rally still touted the mayor’s concern for those in public housing projects.

"We’re not interested in rebuilding unless the tenants are supportive," Doug Shoemaker of the Mayor’s Office of Housing told the Guardian, promising that existing public housing units will be replaced "on a one-to-one basis" and noting that 85 affordable rentals, along with 40 to 50 units for first-time home buyers at a below-market rate (for a household of two with an income of about $58,000 annually) and hundreds of market-rate condos, will be built.

"The market-rate condos will cross-subsidize the rebuilding of public housing," said Shoemaker, who claims that the "lumpiness of the mayor’s budget" — in which home-ownership funding increases by $51 million, while programs benefiting the homeless and senior and families renters appear to have been cut by $48 million — "is best understood over the long term" and is related to the redevelopment projects in Bayview–Hunters Point and Mission Bay.

"The hardest thing about explaining these figures is that it sounds like a game of three-card rummy, but we need to fuel whatever is coming down the pipeline," he said.

The confusing fight over affordable housing has even split its advocates. Coleman Advocates for Children and Their Families publicly urged Daly not to hold Hope SF funds hostage to his housing supplemental, while the Family Budget Coalition urged Newsom and the supervisors to "work together to find at least $60 million during the add-back process to prioritize affordable housing."

But with Daly gone from the Budget and Finance Committee, how will his proposals and priorities fare? Sources say Peskin was irritated with Daly’s budget fight and his recent Progressive Convention — both actions not made in consultation with colleagues — as well as his increasingly public spat with Mirkarimi. Yet Peskin publicly has nothing but praise for Daly and supports many of his priorities.

"We are working with the same schedule that Daly’s office laid out," Peskin said, noting that a lot of the decisions about funding will depend on "what ends up coming from the state." San Francisco could still lose money from the state or federal budget. During a June 18 budget hearing, Sup. Bevan Dufty introduced a motion to amend the mayor’s interim budget by appropriating $4 million for HIV/AIDS services, to be funded by General Fund reserves, for use by the Department of Public Health.

This was one of Daly’s top priorities, and as the hearing proceeded, it became clear that there was a method in the former chair’s apparent budget-dance madness. Newsom’s budget would restore $3.8 million of the $9 million in AIDS grants lost from federal sources, with Newsom asking Congress to backfill the remaining reductions to the Ryan White Care grant. Sup. Sean Elsbernd questioned the wisdom of appropriating $4 million now, when the feds may yet cough up, and Mirkarimi questioned whether doing so would send Washington the message that it doesn’t need to help us.

"It’s a discussion we have every year," Controller Ed Harrington said. He recommended appropriating $4 million now and sending the following message: "Yes, we think this is important, we’ll try and figure out how to fix it, but this shows it isn’t easy. It’s a political call rather than a technical one."

In the end, the Budget and Finance Committee voted 3–1, with Sup. Tom Ammiano (the only supervisor to publicly support Daly’s alternative budget) absent and Elsbernd dissenting, to appropriate $4 million, on the condition that if additional federal and state funds are granted to backfill the Ryan White Care grant, the controller will transfer the $4 million augmentation back to the General Fund.

The same kind of balancing act is expected on Daly’s other suggestions to restore funding for affordable housing and public health departments, so it’s still too early to tell whether his priorities might ultimately win the war after losing the battle.*

Steven T. Jones contributed to this report.

For more details on the city budget process and a schedule of Budget and Finance Committee meetings, visit www.tiny.cc/BJRSN.

The Queer Issue: Back to the future?

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› culture@sfbg.com

I’m supposed to meet my editor, Marke B., to talk about this piece at noon at some cheap Mission restaurant that won’t bankrupt my lousy checking account. I arrive 15 minutes late; he’s running at least 30 behind. As I sit and wait for him, I can’t help but laugh — queers are always late. As a queer with a drag-queen alter ego, Felicia Fellatio, I know this is especially true — that hoary old chestnut about "running on drag time" has the ring of solid validity. Trannies are like Muni: we’re never on time.

But a growing body of scholarly queer literature suggests that the underlying cause of our tardiness may be more than simply wanting to be fashionably late. In fact, our predictable lack of punctuality might be a symptom of what many psychologists see as the gay community’s prolonged adolescence; there may be a sense of time unique to homos that exists outside heterosexual norms.

WIND IT UP


Put simply, queer temporality theory says that because our lives can’t be completely legally or socially mapped out according to the heterosexual model (getting married, having kids, sharing retirement benefits, expecting inheritance), we feel less pressure to conform to other aspirations (completing a degree, saving for a house, planning retirement) in the stereotypical Game of Hetero Life. Basically, tardiness is a form of subconscious queer rebellion. This can manifest itself as a rejection of all schedules, however quotidian. It can also lead to a profoundly different view of what the future means to queer people, especially in terms of freedom of choice. Well-known queer theorist Judith Halberstam elaborates on this theory, from a transgender point of view, in her book In a Queer Time and Place: Transgender Bodies, Subcultural Lives (New York University Press, 2005).

Some studies also posit that, because many of us grappled with the whole coming-out thing at the same time we were going through puberty, our adolescent maturation period was extended, thus stretching out our psychological development — and effectively slowing down our mental clocks. We just need more time to process things and act on them. Other queer temporality theories focus on the psychological effects of AIDS, which instilled in our community a sense of imminent mortality that negated the future and focused our attention on the present. Rather than making decisions based on what may be, we began to concentrate on what is, creating art and culture that offered immediate transcendence through humor and rage, rather than any abstract hope for the future. "AIDS quickens that sense of needing to and actually being able to draw forth from one’s spirit that work which will have resonance for other people," the late, great filmmaker Marlon Riggs said, and the recent work of performance studies scholar José Esteban Muñoz tries to show how queers have incorporated that sense of "quickening" into their lives and actions.

SPRUNG FORWARD


Of course, we may just run late for things because we’re busy, either at work (most of us rely only on ourselves for financial stability) or at play (our culture is still pretty party-centric, so we have a lot of hangovers to deal with). Plus, putting on all that makeup is practically a full-time job for us queens. Cut us a little slack so we can look fabulous. And all of the theories above seem awfully generalized — some may bristle at the suggestion that we be cast as supposed victims of a pathology that prolongs our adolescences and screws with our mental clocks. It’s not as if there aren’t queer people living as much as they can according to the hetero model, especially now that legal restrictions against same-sex marriage and adoption are relaxing in some areas.

In fact, the pendulum seems to be swinging the other way in terms of the queer rebellion against the straight timeline. As noted by broadcast journalist Tovia Smith last month on National Public Radio, in her piece "Marriage Causes Shift in Gay Culture," it seems that queers have gone "from a radical movement bent on challenging societal norms to a community now eagerly embracing those conventions as their own."

Smith drew her conclusion based on an interview with an upper-middle-class white gay couple from Cambridge, Mass. — the type of control group against which queers have traditionally defined themselves. Whatever negative connotations the phrase "prolonged adolescence" may conjure up, a case could be made that this is precisely what allows queer culture to thrive. Adolescence is when a personality is at its most fluid, and queer identity is the essence of fluidity. Halberstam sees queer temporality as a positive, radical reaction to heterosexual society’s mores, pitting it against the "time of inheritance," whose purpose is merely to shore up "the historical past of the nation" and protect "national stability." In the ’90s, a vibrant queer culture of artistic expression, political activism, and social and sexual interaction embraced the notion of prolonged adolescence.

FALLING BACK


Queercore bands like Pansy Division and Tribe 8 co-opted the in-your-face, live-fast-die-young aesthetic of punk, inviting listeners to throw off the shackles of heterosexual society’s expectations and, in the words of Pansy Division, "join the cocksuckers club." Homocore fanzines reveled in childlike graphics and gleefully reinterpreted teen fan magazines like Tiger Beat, giving them a decidedly homosexual spin. The hallmarks of puberty — geeky awkwardness, swoony crushiness, questionable outfits, wanton partying, sexual exploration — became queer fashion statements. Prolonged adolescence was also a means of connection in a time of grief and frustration, a flashpoint where queer history met the present. The AIDS Quilt used a common symbol of childhood comfort to unite and console mourners, and activist organizations like ACT UP and Queer Nation energized their members with the élan of belonging to a rebel schoolyard gang.

But that was the past, and there’s no denying that, with more access to the heterosexual lifestyle opening up for queers, the future is upon us. HIV is no longer a death sentence (for people who can afford the meds), and any evidence of necessary rebellion is awfully hard to find in young gay people these days, at least on the face of it. Prada and Beyoncé have replaced vintage clothing and queercore as coins of the young gay realm, and the psychological and social effects of the current lust for consumerism and mainstream pop culture on queers today will be for future theorists to puzzle out. To me, it represents a sad trend that aspires more toward societal acceptance than political subversion, an adjustment of our internal clocks to tick to the tired straight beat. Call me nostalgic, call me behind the times — just don’t call me late for cocktails.

The slow fade of Sly Stone

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› a&eletters@sfbg.com

FULL CIRCLE This spring Epic/Legacy finally started releasing Sly and the Family Stone: The Collection, the band’s seven albums complete with previously unreleased music, new liner notes, and great sound, with the final installment, Greatest Hits, to come July 24. The event had been on the horizon for some time, but like everything connected with Sly Stone, a fan was never sure when — or if, for that matter — the music would be available.

If you aren’t familiar with Stone’s music, get this collection and enjoy. These days it’s popular to credit the Beatles, Brian Wilson, Jimi Hendrix, and a few others as the essential pioneers from that era — with no mention of Stone, who was as important as any. If you’re wondering why that is, find the title track from his hugely popular 1971 album, There’s a Riot Goin’ On. It’s on the brief side — as in zero seconds, which was Stone’s idea of a joke or something. As San Francisco Chronicle writer Joel Selvin points out in the notes, the riot was going on in Stone’s life.

There was a moment in the late 1970s when music fans were asking, "What happened to Sly Stone?" Time passed, and the question evolved into "Whatever happened to Sly Stone?" The answer — "I don’t know" — didn’t change, until one day, sadly and inevitably, the question generated only another question — "Who?" — an answer all by itself.

In the early 1980s — somewhere between "what" and "whatever" — the band booked a show at the now-defunct Keystone Berkeley. Stone had gone phantom, which made the performance an event. Accordingly, the place was packed. The band was introduced and began to vamp, and after way too long — it was clear the Family didn’t know what to expect — Stone emerged and took his place behind a keyboard and, without acknowledging anyone, began to play. The band was thrown at first, but after a few halting bars and some nervous glances, they seemed to recognize the groove. Never mind the key or tempo, or where they should jump in. It didn’t matter, because suddenly Stone lurched into something else, with the same result. A moment later he did it again. And again. And again.

The set didn’t last more than a few minutes. That was the upside. The downside? Everything else.

Yet forgotten or not, Stone was once arguably the most important figure in pop. During the late 1960s and early ’70s, the Vallejo native wrote and recorded one hit after another: "Dance to the Music," "Everyday People," "Stand!" "I Want to Take You Higher," "Hot Fun in the Summertime," "Thank You (Falettinme Be Mice Elf Again)," "Family Affair." He brought black music to San Francisco’s tumultuous hippie scene and created rich, innovative, rock-flavored R&B, played by a deliberately integrated band. Rock fans — most of them white — welcomed the bridge to black music and, by inference, black people. If the door didn’t swing as wide or as often the other way, a glimpse of the band’s appearances on YouTube, which has great Family Stone material, shows a genuinely mixed audience responding to the group’s appeal for peace and understanding.

Stone was a founding father of modern funk, a wildly creative force who added innovations to the sound as it flourished. His music reshaped the tastes of black and white listeners, and one miserable Sunday morning in August 1969, his band took the Woodstock stage — it was 3:30 a.m. — and absolutely stole the show.

You can only hope The Collection will have a similar impact. The band’s four pre-Riot albums offer a treasure chest of rich, increasingly funky soul. No matter how cynical Stone became — the black superstar playing to a largely white audience, the musical genius forced to pander to the tastes of a pop audience, the master manipulator turning every scene to his own advantage — the music was charming and irresistible. As was the man who created it.

Although some of his most important work was still before him, Stone ushered in the 1970s in paranoia and retreat — a perfect fit with the moment. He flipped off superstardom with an arrogance only a superstar could muster. Once outgoing and engaging, Stone burned promoters, his band, and fans. The once-steady supply of new material slowed to a trickle, and Stone became a no-show at dozens of concerts. He slid into an increasingly opaque and eventually impenetrable world. Riot and 1973’s Fresh — forget 1974’s Small Talk — were as adventurous and self-involved as music could be. Most of the original Family was gone, and the losses of drummer Greg Errico and bassist Larry Graham — who reportedly slept with one eye open after falling out with Stone — were particularly felt. This music was dreamy and solipsistic. Stone’s huge smile and the Family vibe were gone, replaced by a menacing undercurrent. Credits on both albums are, apparently, haphazard, which means that the contributions of Miles Davis, George Clinton, and Bobby Womack, for instance, aren’t acknowledged.

That Stone could attract such talent was a testimony to his gifts, and to the legendary partying that went on at his Los Angeles mansion. Still, if James Brown invented funk, Stone got in where he fit in: the ground floor. Riot may clock a man losing his grip on reality, but it also captured a musical innovator exploring the possibilities of a crucial movement. *

‘Cosmo’ video games as silly as the mag

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By Stephen Torres
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As long as there have been admin and reception jobs, there has been un-relenting, mind-numbing boredom as well. Since the positions were held primarily by the female set for such a long time, publications such as Cosmopolitan, founded by the inimitable Helen Gurley Brown in the sixties, found a place jammed into the desk drawers or bags of all those working girls. Or so Miss Brown had hoped. I’m mean, what gal on the go would read anything else?

Nowadays, when you can’t take the monotony of data entry or similar thankless office tasks, one’s options are opened up to whatever you possibly could desire through the magic of the Internet. Never behind the times, Cosmo has added its own brand of pastimes that every girl will doubtlessly enjoy: video games. So I channeled Miss Moneypenny and decided to have myself a look.

The first game is entitled BoyToy and was recently highlighted on Gawker.com — and I really couldn’t agree more with their take on the matter. I’m not one for video games anyway, but it is an inane simulation of what its like to be your alter ego — the girl who gets what she wants from the boys simply by snapping her fingers. The overall impression I got was not that of feeling empowered by living through a blond and tan version of myself named Bunny, but more the miserable experience of being her put-upon slave Cord. It’s like having a split personality that requires more booze, more music, and more attention. Quite frankly, I thought I’d have more fun with Minerva, the slutty nemesis in hospital whites.

Summer splashdown

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Ra and I have never gotten along. As the sun god of the Egyptians, he says people should walk sideways with one hand up and the other down. I say people should walk forward, with hands by their sides. He says Jews should be slaves. I say Jews should be rich and powerful. He says door should be spelled soldier-falcon-cat … Things between us really came to a head over the whole Library of Alexandria fire mess, though. Words were exchanged, perhaps regrettably. Since then he hasn’t exactly been overly generous with his golden rays — to me or any other San Franciscan. It’s not that he’s completely shut us off. He teases us with just enough warmth, only to freeze us out once we thankfully shed our jackets. It’s his way of forcing us to be grateful to him. Jerk.

Now it’s June. Children are shrieking, lovers are lying, teenagers are doing drugs, and everyone and everything looks like a potential mate. It’s the time of year when I get the most fed up with Ra’s bait-and-switch shit. My psychologist suggests that the best way to deal with a bully is just to ignore him. I’m paying her to be right, and even if her tactic doesn’t get us more summer light, it may keep us from getting so flustered. Another thing that might help: a few drinks, ones that offer a little more than great flavor and good liquor. Even if we can’t have an actual summer, we can always down a few cocktails like those below, to which any eager marketing exec would attach the phrase "fun in the sun."

SANTIAGO SUN


Polk-Nob bar Rye is well known for its Honey Delight, a cocktail that mixes gin and bitters with honey and tangerine and orange juices and that reportedly tastes like Sunny Delight. Putting so much effort into something that tastes like Sunny D makes little sense to me, so I opt for the similarly juicy, rum-laden Santiago Sun. This drink has the same gritty sweetness that makes mojitos and caipirinhas so popular. But some of us get a little embarrassed ordering post-trendy mos and caips aloud these days; this cocktail will help you save face. It’s crisp and strong, with a fair share of citrus to keep the rum humble. The pummeled kumquats nestled at the bottom of the drink are perfect for nibbling on while you sit in Rye’s ultra-urban lounge pretending you’re Ernest Hemingway during one of those tempestuous Cuban summers.

Rye, 688 Geary, SF. (415) 474-4448

PAT PONG PUNCH


Hit Potrero Hill’s Lingba Lounge on the right night, and you’re in for a dance treat. Hit it on the wrong one, and you’ll be stuck in an empty, sleeked-out bar with uncomfortable furniture. On either occasion, though, there’s no reason to get stumped by Lingba’s menu of neo-island cocktails. Simply dive into the Pat Pong Punch, a mixture of bourbon and fresh tamarind and pineapple juices. This cocktail is great for its simplicity: the bourbon gets soaked in the sweetness but isn’t taken under. When the juices have washed away, the oaky bourbon is left resting easily on the tongue. On nights when you require something a little tackier — a little tikier — order the Shipwreck, a drink that comes in a coconut, or the Bowl of Monkeys, a drink that’s served ablaze. The price of a Bowl of Monkeys includes a Polaroid of the experience, so you should probably wait until your friends from Burlingame arrive before ordering it.

Lingba Lounge, 1469 18th St., SF. (415) 355-0001, www.lingba.com

SINGAPORE SLING (OR SO)


Remember the part in Fear and Loathing in Las Vegas where Hunter S. Thompson says he was "drinking Singapore Slings with mescal on the side"? You might think such a cool line would have led to a proliferation of this lovely traditional drink. Yet slings in this city are rare. When I ordered one at the Hotel Utah recently, the bartender said he couldn’t make one because he didn’t have simple syrup. This is not even a typical ingredient. I got a nice approximation there anyway, with gin, bitters, brandy, and Cointreau. Some may point out that this is not really the recipe for a Singapore Sling, but in my experience that doesn’t matter much. The drink has a history that goes back to the first part of the 20th century, and the original recipe is long lost. Subsequent attempts to reconstruct it have created a wide variety of Singapore Slings. The excitement of ordering one and seeing what kind of fruity gin cocktail arrives may be more pleasurable than the drink itself.

Hotel Utah, 500 Fourth St., SF. (415) 546-6300, www.thehotelutahsaloon.com

CANTALOUPE MARTINI


The flavor of this Lush Lounge concoction resembles cantaloupe as much as the drink resembles a martini: not much at all. The most straightforward way to achieve a cantaloupe-flavored martini would have been to infuse vodka with the fruit. The Lush, for whatever reason, has come up with an intriguingly complex work-around, mixing watermelon liqueur, orange juice, citrus vodka, and lime. Surprise — it’s good. I’m glad no one informed these lushes that cantaloupe is far less citrusy than most of the ingredients used here, because the drink ends up as a pleasantly tart ode to a Tropical Watermelon Starburst (the purple flavor in the green pack).

Lush Lounge, 1092 Post, SF. (415) 771-2022, www.thelushlounge.com

PINK PUSSY


It’s possible to imagine that this little number, served at the Metro in the Castro, was born as a Cantaloupe Martini (see above), then evaporated down to its Starburst essence and reconstituted with liquor. It uses many of the same ingredients, but doesn’t taste like any particular kind of Starburst. It just has that sticky imitation-fruit feel going on that underlies all things Starburst. One of my favorite drinks in San Francisco is the cucumber gimlet at Bourbon and Branch, because it perfectly captures that soft but biting base flavor of cucumber. I find it equally remarkable that the Pink Pussy can so unerringly replicate an archetypal candy flavor (although it’s not too heavy and has enough alcohol to keep pace with its sweetness). But what’s in the drink may not be as important as what the drink’s in: a towering highball glass, a somewhat ironic play on the straitlaced aesthetic of early 20th-century modernism, considering the cocktail’s moniker.

Metro, 3600 16th St., SF. (415) 703-9750

BOURBON AND GINGER


Cocktails that taste like candy are fun, but after a couple sugar-rush headaches you start wanting something cleaner. The bourbon and ginger at Little Baobab isn’t your typical Jim Beam and ginger ale mixture — for one, it uses real ginger juice, which makes a world of difference. The juice’s lush tang stands up harder to the alcohol than any generous splash of Canada Dry could. The lack of carbonation is also surprisingly refreshing — the cocktail doesn’t taste watered down with air. It’s full and thick, with an insistent spiciness.

Little Baobab, 3388 19th St., SF. (415) 643-3558, www.bissapbaobab.com

LYCHEE LEMONGRASS FIZZ


Along with tasty if pricey sushi and a beautiful — if perhaps similarly pricey — waitstaff, the eternally hip Blowfish Sushi to Die For also offers this wonderful drink, which has the taste and smoothness of a lychee-ice-cream shake. Unfortunately, it’s not very alcoholic; you’ll need two to get a buzz. However, it’s soft and easy enough to lead you gently into the Japanese version of Tipsyville. Soda water provides a touch of sparkle, and lemongrass syrup spices it up, keeping repeated sips from slipping into monochromaticism.

Blowfish Sushi to Die For, 2170 Bryant, SF. (415) 285-3848, www.blowfishsushi.com

DOCTORED ORANGE CR&EME FRAPPUCCINO


If I can get this by the maniacal Guardian censors, I’ll recommend the Starbucks Orange Crème Frappuccino — although somewhat altered from what its makers intended. It’s a regular Frappuccino with the addition of the citrus flavor you might find in those Dutch orange chocolates, but Disneyed up. Get a large to share with your companions on the way to your first bar and throw in some Irish whiskey and a few caffeine pills. You’ll probably have spent the first part of your day drinking beers at your cousin’s graduation party or your step-aunt’s trailer or the garden party for your niece’s communion. This is a nice way to commit yourself to the evening, should there be any doubt.

Starbucks, every-freakin’-where. www.starbucks.com

Take another letter

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› andrea@altsexcolumn.com

Dear Andrea:

I just saw Secretary yesterday, and then read your column that mentions the same movie and similar sentiment ["Thwang," 5/30/07]. My situation is a bit different because I’ve known how I feel for a while but never seen or experienced it. Also, I’m a stripper and rarely have sex but am extremely sexual. I’ve got a serious lust affair with the eroscillator but think I’ve maybe given up on a love that will be feminist but dominating and aggressive, too. In the movie, Maggie is looking through classifieds for a partner, and that is way too dangerous for me. How do I quiet the arguments between feminism and being truly submissive? Also, having to be seriously up-front about wanting some serious kink might kill the whole deal for me. Do these relationships actually happen in real life? How?

Love,

Sub Grrrl

Dear Grrrl:

Right. There was a moment when every other conversation, magazine article, and academic conference was devoted to exploring the conflicts and connections between radical feminism and radical sexuality. It was called "the ’80s." You probably missed it owing to not being born yet, but that stuff is still in print, and whatever isn’t is gathering dust in the sorts of used bookstores heavily populated by overweight cats and should be easy to find. Most of the best-known pro-kink feminists of the time were very, very lesbian (see Gayle Rubin on the academic side and Pat Califia for "literotica"), but that doesn’t mean they didn’t have anything to say to straight women.

Obviously, of all the possible permutations, male dominant–female submissive is likely the most discomfiting to you. But, happily, the flip side of the "this weird sex thing goes against every political, ethical, or religious principle I consider right and true" coin is so often the Big Hot. Go to any upscale S-M party (yes, these really do exist) in San Francisco or Seattle, and at least half the women crawling around their master’s boots begging to be punished ’cause they’ve been very bad are in real life junior partners at onetime all-male law firms, or teach gender theory at small but prestigious liberal arts schools. In other words, they are quite fully "empowered," thanks, which doesn’t keep them from voluntarily surrendering said power come Saturday night, and may in fact add to the appeal. The classic, even clichéd, old-style S-M enthusiast, after all, is a member of Parliament who reports like clockwork to the bawdy house every Thursday afternoon for a brisk caning …

Um, yes. Where were we? I’m not sure where you, who perform naked for sexually aroused strangers for a living, got the idea that playing the personals is particularly dangerous. Perhaps from the same episodes of Law and Order in which a few pieces of S-M gear stashed under a suspect’s bed signal that a severed head in a shoe box cannot be far off? I would never suggest that you meet someone for coffee and immediately go home with him to check out his cool dungeon. Far from it. But the meeting-for-coffee part is perfectly safe. After that, you proceed as normal, which includes sharing your interests and aspirations … which is the next place we’re going to have some trouble, I see.

If being up-front about your weirditude is a potential deal-breaker for you, then I suspect you are a spontaneity freak. They are common, but many or most can have the need to proceed by whim or fancy beaten out of them by a stern application of reality. Spontaneity is fun and sexy, but it’s also responsible for most of your unwanted pregnancies, a vast number of STD transmissions, and who-all knows what other havoc. It’s also inconsistent with S-M at any level more technically advanced than the (admittedly often completely satisfactory) bend-over-and-spank variety. If you do go ahead with this, and you do find someone worthy of your submission, you are going to have to talk about it, whether you want to or not. Not only is it unsafe to do S-M with people you know nothing about, it isn’t even fun. What if you want to wear a neat little skirt and heels while bending prettily over nearby furniture, while he wants you to be a bad puppy and sleep in a kennel in the kitchen? What if your idea of submission is saying, "Yes, sir," a lot, while his idea of domination includes branding irons and cattle prods? Can you see how this could get ugly?

In romantic fantasy, the heroine meets the rough but passionate and shirtless master of the manor when she fetches up at his door as a penniless et cetera. In real life, I’m sorry to tell you, she meets him online or at an S-M "munch" or through kinky friends or at a party. And then they talk. I’m sure you’d rather toss your hair tempestuously while a dark and stormy stranger bends you over his knee and yanks down your pantaloons, but you’ll get over it.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Money for nothing and the booze for free

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By Molly Freedenberg

During the summer of 2000, as a a recent college grad with a lot of desire to drink and only a little money with which to do it, I made a chart of Portland bars’ happy hours, drink specials, and free food nights so I’d always have know where to drink affordably. The chart was divided by day. It was color coded. It also was a ridiculous waste of time – particularly since bar policies change so often that my chart was quickly rendered obsolete.

But I stand by the fact that the idea of such a resource was a good idea: for example, it’s Wednesday, it’s two o’clock, and I’m thirsty. Oh look! The chart says it’s half off beers at My Father’s Place right now! … or whatever.

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New York businesses already know that giving away alcohol is actually in their best interest. But Bay Area bars still need to catch on. “I never thought I’d say it, but SF needs to loosen up a bit,” said myopenbar staff writer Dave Schonenberg.

Well, the folks at sf.myopenbar have taken that idea (not from me, mind you) and improved upon it by about a thousand perfect. These wise folks compile a list of all the ways and places to drink for cheap or free in the SF area. And they’re actually places you’d want to go, like Amnesia for karaoke and $2 PBR, El Rio for free oysters and $2.50 drinks (today), or the Swap SF event for vodka, coffee, and clothes-sharing for $5 (Saturday). Plus, they include events like Critical Mass (Drinking on your bike is free, isn’t it?) and art gallery openings.

Tongues and tales

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› a&eletters@sfbg.com

The unconscious, the underworld, the undead — what is it that under-the-mattress anxiety points to, exactly? And what might it have to do with a pack of powdered French fops in Louis Seize costumes? Given the blissful nonchalance with which Dark Porch Theater’s Under the Bed tackles that thing called plot, it’s probably best not to mull it over too much. Suffice it to say that all of the above and a live band serve as lower bunkmates to Leonard Pinklestein (Chris Carlone), a World War II soldier crashed out on a fluffy brass bed, the limbo life raft for a lost soul that slipped its earthly mooring on the beaches of Normandy.

It’s a testament to the grace in some brands of lunacy that this swift, enjoyably madcap dance musical — a self-styled fairy tale set in purgatory, created and directed by Margery Fairchild and copresented with SafeHouse at a new Howard Street venue known pretty aptly as the Garage — can seem so endlessly expansive on an otherwise cramped (if nicely atmospheric) stage. Under the Bed not only draws a dozen or more bodies from beneath its title furniture; it also sets them exuberantly in motion.

But back to that willful plot: run aground on a patch of purgatory under the management of a sort of manic night nurse named Harriette D. (a comically adept Fairchild), Leonard finds himself the pawn in a battle royal between his gleaming but slightly sinister hostess and the Greek goddess and maiden huntress Artemis (a vigorous Alexis Blade Perry). The latter storms Hades, or whatever, with the intention of reuniting Leonard and his lost love, the cheerful would-be revolutionary Rosemary Short (Hilde Susan Jaegtnes), who arrives soon after him as another Lethe-headed amnesiac, though with raised fist ever at the ready.

Harriette, who for assistance is wont to call on a member of the band, the somewhat reluctant Mr. M. (a laid-back Patrick Simms), also conjures the French courtiers previously mentioned. When not mincing, they act as willing executioners and wield the same device that left such prominent scar lines on their own effete necks.

A fairy tale naturally allows for all manner of incongruities, and Under the Bed‘s just sweeten the pot. No doubt the unusually collaborative nature of the production has something to do with them, as do a winsome score (composed of more than a dozen droll and dreamy songs), eclectic choreography (by Fairchild and Perry), and some nicely offbeat dialogue. Add to that the production’s generally sharp and always game performances, beginning with a fine, versatile turn by Carlone as the slumbering soldier, and the unlikely spell cast by Under the Bed is complete.

ANYTHING BUT STILL LIFE


Art in Artemisia is a dynamic, multifaceted force, skillfully and thoughtfully realized in just about every aspect of the Dell’Arte Company’s thought-provoking dramatic study exploring the life and work of the 17th-century Italian painter Artemisia Gentileschi (Barbara Geary). In director Giulio Cesare Perrone’s well-acted and visually striking production, which closed its run at the Magic Theatre last weekend, the rape of the artist by Agostino Tassi and the sensational trial that followed in 1612 — as well as the biblical story of Judith, whose beheading of Holofernes served as a heroic subject for Gentileschi at a time when female painters were rare and deemed unable to handle such material — become the ever-present, intervening background to a physically choreographed dialogue set in 1635 between Artemisia and her model Giulia (Keight Gleason).

If the script (cowritten by Perrone and Geary) veers at points into an awkward mesh of heightened speech and contemporary frankness, the production design carries the theme of art’s transformative power in several directions. From the cleverly abstract yet functional use of painting materials and everyday objects in Perrone’s scenic design to Greta Welsh’s dynamic chiaroscuro lighting, composer Youn Joo Sim’s transporting score, and choreographer Yong Zoo Lee’s incorporation of the histrionic postures of the painter’s canvases, Artemisia‘s mise-en-scène elaborates a vision of symbolic and psychic redress that echoes down the centuries. *

UNDER THE BED — A FAIRYTALE SET IN PURGATORY

Thurs/7–Sat/9, 8 p.m.; Sun/10, 7 p.m., $12–$20

The Garage

975 Howard, SF

(415) 793-8030

darkporchtheater@gmail.com

Gunning for Boots

0

› kimberly@sfbg.com

SONIC REDUCER Where have all the outlaws gone? Now that Paris Hilton seems like the highest-profile sorta-one-hit wonder to run afoul of the law, it’s easy to believe that pop’s rep for rebellion is seriously in question. (And with Warner Bros. jettisoning the overexposed jet-setter, who knows if she should even make the tally?) Yet just how disturbing or subversive is it to glom on to corporate punks like Good Charlotte or hitch your fortunes to soaking-in-it onetime gangstas like Snoop "Soul Gravy Train" Dogg? How revolutionary is it to play music your parents might approve of, à la white-bread soul poppers Maroon 5?

But those petty pop-crit worries wane on hearing about the Coup mastermind Boots (né Raymond) Riley’s Memorial Day misfortune. In the early-morning hours, long before most locals were firing up the grill and chugging microbrews, Riley was looking down the wrong end of a San Francisco Police Department gun barrel while innocently attending a get-together at a friend’s warehouse in SF’s Dogpatch-Waterfront zone. Why? Likely for nothing more than driving while black.

Riley had just parked his car near the warehouse when he was blinded by flashlights, and he realized that he was surrounded by cops. "They were saying, ‘Don’t fucking move, don’t fucking move,’ and came straight at me," Riley told me from his Oakland home, where he had just fed his kids their Sunday breakfast. "They put my hands above my head, searched me, and searched my car, even though they were looking for someone who was stealing tires. You know, if they had a description of a light-skinned black man with a big Afro and sideburns, maybe they should have taken me in. But they were yelling, ‘Are you on probation? Do you have a warrant?’ And every time I said no, they said, ‘Don’t lie to us. Don’t fucking lie to us.’"

Neighbor Hoss Ward had been walking his dog by the warehouse when he spied officers with flashlights lurking between parked cars amid the trash on the street. "I thought that was weird. They didn’t question me, but I’m a white man," he said later, verifying that Boots parked, got thrown against his car, and had guns pulled on him. "It’s not unusual for someone to pull up in a beater car," Ward said. Yet this incident smelled like racial profiling: "That’s what the vibe felt like."

"I walked over there and said, ‘What the hell is going on?’" recounted Riley’s friend Marci Bravo, who lives at the warehouse. Eventually Riley was released, but, Bravo continued, "It was really messed up. We fire off fireworks, burn things in the street, and there’s been no problems with cops. They’ve actually come and hung out before.

"It’s just a nasty case of police profiling."

In the end, Riley said, the officers didn’t even check his ID. At press time, police representatives had not responded to inquiries about the incident, and Riley was planning on filing a grievance with the city watchdog agency the Office of Citizens Complaints, a process that the longtime activist is, unfortunately, familiar with. After a 1995 Riverside performance with Method Man, Riley and kindred local hip-hoppers Raz Caz, E-Roc, and Saafir were pulled over and pepper-sprayed in their car seats following a yelling argument at a club. Then there was the incident during the Coup’s 2006 tour around, ironically, their Epitaph album Pick a Bigger Weapon. Shortly after the tour manager urinated next to a semi at a Vermont rest stop, the tour vehicles were stopped by plainclothes officers who claimed to be surveilling a cocaine deal in the truck. "Half the band woke up with guns in their faces," the Coup leader recalled.

Riley’s experiences in and out of our enlightened — for some — city bring home the ugly, everyday reality behind the entertaining anecdote with which the Arcade Fire’s Win Butler regaled the Greek Theatre crowd June 2: he was almost arrested for the first time that day when Berkeley police dragged him out of a rec facility for arguing over the use of a public basketball court. "They called for backup and everything," Butler marveled onstage.

"There are stories all the time," Riley offered matter-of-factly. "Everyone knows you used to get fucked with in San Francisco and Berkeley."

"Usually it’s not anything with me specifically being a rapper," he continued. "I might have even more protection because of that. Like at this get-together, somebody came up and said, ‘Don’t you know who this is? This is Boots Riley.’ They might not have known who I am, but they realize this isn’t the regular case where they can do whatever they want." *

ALIGN YOUR CHAKRAS, CAMPERS

Talk to underground trance DJs, and they’ll point to the Harmony Festival as the hot spot forest ravers will be orbiting. Indeed, one of the main organizers, Howard "Bo" Sapper — who, along with Sean Ahearn, Scott McKeown, and Jeff Kaus, is putting on the 29th music and camping fest — agrees that a healthy, fire-breathing portion of the expected 40,000 at the three-day event will be die-hard burners drawn to the seven-year-old techno tribal night. Sapper also points proudly to the diversity of the musical lineup, including Brian Wilson, Erykah Badu, Rickie Lee Jones, the Roots, Common, moe., and Umphrey’s McGee. "I’m not sure if we’re going mainstream or the mainstream is coming to us," Sapper said, listing the green exhibits and this year’s theme, Promoting Global Cooling. "It’s part of the paradigm shift going on in America."

OVERNIGHT MUST-HAVES


Earplugs

Air mattress

Plenty of water

Patience

HARMONY FESTIVAL

Fri/8–Sun/10, $20–$500

Sonoma County Fairgrounds

1350 Bennett Valley Road, Santa Rosa

www.harmonyfestival.com

Nerves of Chrome

0

› a&eletters@sfbg.com

Whatever happened to all the cyberpunks? Once upon a Blade Runner, it looked like neo-noirists and novelists from the early 1980s were finally getting turned on to George Orwell’s vision, predicting a dystopian, nightmarish future in which humans were subject to conditioning and control. Even musicians were getting it: perhaps inspired by Lou Reed’s Metal Machine Music (Buddah, 1975), such artists as Suicide, Throbbing Gristle, and Pere Ubu were dabbling in a postapocalyptic music world by the close of the ’70s. But if there was one band that dared to define the genre back then, Chrome was it.

Lauded by critics and fans as one of the pioneers of industrial rock, the San Francisco outfit coupled psych-punk and electrodub with lyrical themes of alienation, paranoia, and ’50s sci-fi cinema, though its sound mirrored bands like the Sonics and Wipers when drummer Damon Edge and bassist Gary Spain came together in 1976. Following the release of its debut, The Visitation (Siren), later that year, the group folded once its members realized the album was a sales flop. Everything changed, however, once Spain and Edge hooked up with Helios Creed, a guitarist whom Spain had jammed with during the early ’70s. As Creed explained over the phone, "Chrome was the only band that was doing something I was interested in … space rock, punk rock, and the sci-fi kind of thing."

"It was really psychedelic, and it wasn’t in to be psychedelic back then. It was just punk and Budweiser," he continued. "Psychedelia would remind punks of the hippies, so they wouldn’t want anything to do with that. And I said, ‘Well, that’s great, ’cause acid punk doesn’t exist.’"

Creed also revealed that a falling-out during the recording sessions for Chrome’s sophomore effort, Alien Soundtracks (Siren, 1978), resulted in Spain’s exit in 1977 and subsequently ushered in a radical shift away from the band’s protopunk beginnings.

"Damon started playing some tapes that they had made a year or two before that were outtakes from The Visitation, and I said, ‘God! This stuff is fucking great!’" Creed said, laughing. "I liked it better than The Visitation, and I suggested that we make stuff like that and integrate it into our punk set."

Alien Soundtracks‘ 1979 follow-up, Half Machine Lip Moves (Siren), adhered to this formula as well. Joining scratchy, three-chord guitars and trash can–like drums with Creed’s growled vocals and an excess of waterlogged-sounding effects, the result mirrored some otherworldly murky realm. By the time Creed and Edge’s final collaboration, 3rd from the Sun (Siren), was released in 1982, the combo was heading in a more gothic direction, similar to that of contemporaries Killing Joke and Swans.

Chrome remained a duo until its ’83 demise, though the bandmates adopted a taped drum machine nicknamed Johnny L. Cyborg as their third member and briefly enlisted John and Hilary Stench from Pearl Harbour and the Explosions. During this period the group was primarily a recording project and only played live twice, to sold-out crowds in San Francisco and at a Bologna, Italy, festival. Edge moved to Europe to start another version of Chrome, while Creed remained stateside to work on his solo career, angry that he was left behind.

After Edge died in 1995, Creed carried on with the band because he felt he was just as entitled as his ex-bandmate to put out Chrome records. Since 1996, Creed has recorded a handful of full-lengths under the Chrome moniker but tends to focus more on his solo material. His current West Coast tour will include Chrome and Helios Creed songs, and he revealed he hasn’t ruled out a future full-on Chrome tour. Creed also wanted to set the record straight about his strained partnership with Edge.

"Don’t get me wrong. I don’t hate Damon. We just went through some shit," he clarified. "I forgive and love everybody." *

CHROME

With Battleship

Sat/9, 9:30 p.m., $12

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

The convention was no bust

0

Prog-6.jpg
Run, Ross, Run

By Tim Redmond

No, we didn’t walk away with a candidate for mayor, and yes, that was disappointing to a lot of us. I actually thought for a brief moment that the chants of “Run Ross Run” as Sup. Mirkarimi took the stage late in the day would make a difference, that he would realize he has a constituency and that running for mayor would be a good move for him politically, but that didn’t happen. After a strong speech proclaiming that “somebody” has to take on Gavin Newsom, Mirkarimi made clear that it wasn’t going to be him.

And Chris Daly, who had at one point said that he would run if noboby else did, bowed to the reality of the fact that he has a young child and another on the way, and took a pass.

But overall, the convention was uplifting, inspiring and productive. Whatever the daily papers may say, Daly made the right point at the end: The state of the progressive moment in San Francisco is strong. Progressives control the Board of Supervisors, the School Board, and a number of other top positions; half of the elected officials in San Francisco now put themselves under the progressive banner, Daly noted.

And the green and blue baloons and beads represented what could be a very hopeful future trand — the left wing of the Democratic party and the Green party, working together on what is for most a shared aganda.

We ought to do this sort of thing more often.

A few great moments:

Richard returns

0

By Molly Freedenberg

Did you miss your chance to see Richard Cheese at the Red Devil Lounge on May 27? Even though he added a late night show just for you? You poor sucker. rcheese.jpg

You missed the best Dick Cheese live performance I’ve seen yet. Yes, he played Vegas versions of “Me So Horny” and “Brass Monkey” and even the theme to the Spiderman cartoon from the ‘80s. Yes, as usual, he cruised through the crowd spouting loungey, slightly-offensive compliments to members of the audience (even once getting stuck mid-room when a song ended, and asking his band to redo the last few measures so he could sing his way back to the stage). And yes, he changed smoking jackets several times, ending up in his martini-glass version. But there was something else to this performance. A subtle excitement. Maybe he was drunk from the early show? Or just slap-happy? Or maybe there’s something about a San Francisco crowd that really is special for him. Whatever it was, we all seemed to be riding the same wave – somewhere between awe at how good the band actually is and awe at how fucking hilarious it is to do something so silly so well.

So why am I telling you all this? Just to rub in that there’s nothing you could’ve done that Sunday night that would’ve been better than this?

No. (Although that’s fun too.) I’m telling you because Dick is coming back. On August 28, he’s returning to San Francisco as part of the farewell-tour-that-will-never-end. So here’s your chance. You can still see Dick Cheese live. But tickets always sell out. And they go on any minute (supposedly today at 10am). So get your shit together and go buy some .

You’re welcome.

Thwang!

0

› andrea@altsexcolumn.com

Dear Andrea:

I have always enjoyed having women walk all over me with lots of stomach stomping. Shoes, boots, or barefoot, this is something that I crave daily. Now my problem is that after doing this for most of my life, I just can’t seem to find women who are cruel enough. I try to select women who are 200-plus pounds, but even they leave me needing more (though it hurts like hell). I know my body can’t take much more, but I enjoy it. I just can’t get stomped hard enough. Am I out of control?

Love,

Stomp Me

Dear Stompy:

Dude.

I’d say you were a bit out of control if I believed any of this had ever escaped the realm of fantasy and stomped its way into the harsh light of day. You "try to select" women over 200 pounds, do you? From what pool of eager applicants would you be selecting them? And why would the cruelty quotient of the available pool be diminishing?

The only way you could regularly fulfill this fantasy is by engaging professionals, not that there’s anything wrong with that. There’s no shortage of large women (or reasonable facsimiles of women) who would be willing to do this for you as cruelly as desired. If that is how you’ve been scratching your itch and it really is getting harder to scratch, then you may indeed have some sort of satiety problem. If so, you’ll have to do what anyone else who’s built up too much of a tolerance to alcohol or heroin or any other abusable substance does: cut way down or quit it until you can indulge at a reasonable dosage again.

This isn’t harmless. So if you’re really doing it and not just flapping your face, I suggest that you keep an eye on how much weight you’re taking and where. I can’t believe that a gentleman with your proclivities has never heard Kirsty MacColl’s "In These Shoes?," a song that pulls off the not-inconsiderable trick of being both seductive and hilarious:

"Oh," he said.

"Won’t you walk up and down my spine,

It makes me feel strangely alive."

I said, "In these shoes?

I doubt you’d survive."

Love,

Andrea

Dear Andrea:

I’m 21 and female and have always felt kind of indifferent about sex. I can enjoy it OK. I get horny as much as other people my age, as far as I can tell. It just isn’t that interesting to me.

I thought maybe I was gay, but I’ve experimented with women and nothing changed. Then recently I watched the movie Secretary, and it was like a revelation! I want the kind of relationship portrayed in that film — loving but desperately kinky. Do you think it is possible for BDSM to be an inbuilt kind of sexual preference, as unchangeable as homosexuality? And what happens if you suggest it to a boyfriend who hasn’t expressed any previous interest in it? I don’t want to scare anyone off.

Love,

Take a Letter

Dear Letter:

Indeed, but neither do you want to commit the sin of false advertising — passing yourself off as normal so as not to frighten the boat or rock the horses or whatever, only to send a man off screaming when you finally get around to telling him what you’re really after. It’s far less comfortable and a hell of a lot more work just to try to find a compatible fellow kink in the first place, but trust me here — it’s worth it.

As for kink as an inborn tendency like (most) homosexuality: Oh, hell yes, I think it’s possible. We all know people who’ve gone freaky for a while because it seemed for whatever reason to be the thing to do and then reverted, but for every trendoid there’s an earnest freak who can remember being the kid who always wanted to be the captive princess or the cowboy tied to the fence by wild Indians and was never all that enthusiastic about being rescued when the time came. I believe a lot of people can enjoy a little role play or think it’s fun to get tied up prettily and tickled or teased, but people can enjoy a little of all kinds of things. If you see something like Secretary and feel the deep and unmistakable thwang of a chord being struck way deep in your soul, I think you can trust that that cord was there all along awaiting striking.

I can’t help wondering just how many such strikings that movie is singularly responsible for. I thought it was sizzling hot myself, but I think the writer and producers have a lot to answer for. I get the feeling there were a lot of people, young women in particular but not exclusively, who were just going about their lives, la la la, and then James Spader bent Maggie Gyllenhaal over that desk, and thwang! They’ll never be the same.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Too quiet in Oaxaca

0

By John Ross
OAXACA, OAXACA (May 27th) — On the first anniversary of the beginning of last summer’s feverish uprising here, the city’s jewel-box plaza which had been occupied for seven months by striking teachers and their allies in the Oaxaca Peoples’ Popular Assembly (APPO) from May until October when federal police forced them into retreat, shimmered in the intense spring sunbeams. The only massive police presence on view was the city police department’s orchestra tootling strident martial airs to a shirt-sleeved crowd of gaffers. Here and there, handfuls of burley state cops, sweltering in bulletproof vests and helmets in hand, huddled in the shade quaffing aguas frescas (fruit water) and flirting with the senoritas.

Evidence of last summer’s occupation has been obliterated. Surrounding government buildings have been scrubbed clean of revolutionary slogans and no marches were scheduled to commemorate last May 22nd when the teachers first established their camp in the plaza. Indeed, militant members of Section 22 of the National Education Workers Union (SNTE) were not encamped in the stately old square for the first time since the section’s founding 27 years ago. Ulises Ruiz Ortiz (URO), the object of their fury, was still the despotic governor of Oaxaca.

Despite the relaxation of U.S. State Department travel advisories and the apparent calm, few tourists were strolling the cobblestone streets of Oaxaca’s historic center and the cavernous colonial hotels around the plaza were virtually deserted.

The 2006 uprising has put a serious kibosh on the international tourist trade, the backbone of the local economy. If the experience of San Cristobal de las Casas after the 1994 Zapatista uprising is any lesson, the tourist moguls will take years to recoup.

“Apparent calm” is a euphemism oft utilized to describe the uneasy lulls that mark social upheaval in Mexico. True to the nation’s volcanic political metabolism with its fiery spurts of molten fightback and sullen, brooding silences, the Oaxaca struggle seems to have entered into a period of internal contemplation.

Government repression, which featured death squad killings and the jailing of hundreds of activists, slammed the lid down on the social stew but did not extinguish it. Discontent continues to brew and fester, the bad gas building down below. The structures of the Popular Assembly and the teachers union, which served to catalyze this discontent throughout 2006, remain intact.

To be sure, the social movements that lit up red bulbs as far away as Washington last year are not enjoying their best moments. Section 22, which itself is a loose amalgam of left factions, is wracked with division and dissonance, and its titular leader, Enrique Rueda Pacheco, is held in profound contempt for having forced the strikers back into the classroom last October and abandoning the APPO to savage government repression.

Moreover, in response to the 70,000-strong Section 22’s rebellion against the leadership of the National Education Workers Union (SNTE), union czarina Elba Esther Gordillo, a close confidante of President Felipe Calderon, chartered a new Oaxaca local, Section 59, to diminish the control that the militants exert over the state’s classrooms.

The division has put a dent in the teachers’ usual aggressive stance and instead of walking out this past May 15th, National Teachers Day, when new contracts are negotiated, Section 22 tentatively accepted a 4.8 percent base wage increase (above the 3.7 percent Calderon had conceded to other sectors) and 122 million bonus pesos to “re-zone” Oaxaca for cost of living increases in this tourism-driven state.

Although the “maestros” did participate in a two-day boycott of classes in May to protest the Calderon government’s privatization of government workers pension funds, whether the teachers will take part in an indefinite national walk-out June 1st that has been called by dissident education workers organized in the Coordinating Body of Education Workers or CNTE, remains unresolved at press time.

Nonetheless, the teachers’ disaffection with Ulises remains strong and Section 22 spokesperson Zenen Reyes last week (May 23rd) called upon the teachers and the APPO to push for cancellation of the Guelaguetza, an “indigenous” dance festival in July that has become Oaxaca’s premier tourist attraction. Last year, the strikers and the APPO destroyed scenery and denied access to the spectacle, forcing URO to suspend the gala event. In its place, activists reclaimed this millennial tradition of Indian cultural interchange by staging a “popular” Guelaguetza in the part of the city they were occupying, and plans are afoot to repeat that celebration this year.

The Oaxaca Popular Peoples Assembly, which came together after the governor sent a thousand police to drive the maestros out of the plaza last June 14th and which at one time included representatives of the state’s 17 distinct Indian peoples and many of the 400 majority indigenous municipalities plus hundreds of grassroots organizations, is equally fractured. Having borne the brunt of the repression – 26 killed, 30 disappeared, hundreds imprisoned – the Popular Assembly has been reduced to a defensive posture when only months ago it was an aggressive lightning rod for social discontent.

Even more debilitating than the government crackdown has been the prospect of upcoming local elections August 7th to choose 42 members of the Oaxaca legislature and October 5th balloting for 157 non-Indian municipal presidents (majority indigenous municipalities elect their presidents via traditional assemblies.) While the APPO considers that its goals transcend the electoral process and rejects alliance with the political parties, some Popular Assembly leaders engage in a quirky dance with the left-center Party of the Democratic Revolution (PRD) which last July almost catapulted Andres Manuel Lopez Obrador (AMLO) into the presidency.

Prominent APPO mouthpiece Flavio Sosa, jailed by Calderon as his first political prisoner, is a former Oaxaca party leader and the PRD has mobilized to achieve his release.

Perhaps the cruelest blow the APPO and the striking teachers struck against Ulises came during July 2nd 2006 presidential elections. Although URO had promised the long-ruling (77 years – at least in Oaxaca) Institutional Revolutionary Party (PRI) a million votes for his political godfather Roberto Madrazo, the popular movement inflicted the voto del castigo (punishment vote) against the PRI, handing the state to AMLO’s presidential bid in addition to electing both PRD senators and nine out of 11 federal representatives to the new congress for the first time ever.

The left party seemed positioned to bump Ruiz again in 2007 by taking the state legislature and neutralizing the tyrannical governor’s clout. But instead of rewarding the APPO and Section 22 for having dumped the PRI in 2006, the party has responded by excluding activists from its candidate lists.

“If, at one time, there was hope that elections could provide a solution to the conflict, exclusion of the APPO has canceled them,” writes Luis Hernandez Navarro who follows Oaxaca closely for the national daily La Jornada.

One Oaxaca-based PRD insider who preferred not to be named confides that APPO activists were vetoed by the left party’s national leadership least front-page photos of the candidates hurling rocks during last summer’s altercations lend credence to the perpetual allegations of the PRI and Calderon’s right-wing PAN that the PRD is “the part of violence.” Most local candidacies were distributed in accordance with the laws of PRD nepotism and amongst the party’s myriad “tribes.”

The exclusion of the APPO activists so infuriated 50 members of grassroots organizations led by Zapotec Indian spokesperson Aldo Gonzalez that they stormed the PRD’s Oaxaca city headquarters May 18th, leaving its façade a swirl of spray-painted anguish. The failure to select candidates from the popular movement, Gonzalez and others charge, throws the elections to URO, suggesting that the PRD has cut a deal with the APPO’s arch enemy.

Given the hostilities the upcoming elections have sparked so far, the August and October balloting could well signal another “voto del castigo” – this time against the PRD.

The election season was in full swing by mid-Spring in Oaxaca. PRD leader Felix Cruz, who had just coordinated Lopez Obrador’s third tour of the Mixteca mountains (AMLO was conspicuously absent during last summer’s struggle), was gunned down in Ejutla de Crespo on May 21st. Juan Antonio Robles, a direction of the Unified Triqui Liberation Movement (MULT), a participating organization in the APPO, met a similar fate the next day. That same week, a car carrying a local candidate for Elba Esther Gordillo’s New Alliance Party was riddled with gunfire along the coast. Drug gang killings have also jacked up the homicide rate in the state – under Ulises’ governance, drugs and drug gangs have flourished.

Meanwhile, in classic “cacique” (political boss) style, the PRI governor is out and about dishing up the pork to buy votes, passing out cardboard roofing and kilos of beans, building roads to nowhere and bridges where there are no rivers to cross, to pump up his electoral clientele. Gifting opposition leaders with pick-up trucks to enlist their allegiances is a favorite URO gambit, notes Navarro Hernandez.

Despite the ambitions of some of its members, the APPO is not enthusiastic about participating in the electoral process. At a statewide congress in February, APPO members were allowed to run for public office as individuals and only if they resign from any organizational function.

Miguel Cruz, an APPO activist and member of the directive of the CIPO-RFM or Popular Indigenous Council of Oaxaca – Ricardo Flores Magon (Flores Magon was a Oaxaca-born anarchist leader during the Mexican revolution) is not a partisan of the electoral process. Seated in the CIPO’s open-air kitchen out in Santa Lucia del Camino, a rural suburb of Oaxaca city where police gunned down U.S. journalist Brad Will last October, Miguel explains his disdain for how the elections have split the APPO “when they were supposed to bring us together.

“Everyone is working on their own agendas now and the so-called leaders are all looking for a ‘hueso” (literally ‘bone’ – political appointment.) This is a crying shame. The APPO is a mass movement, not a political party. Our consciences are not for sale.”

June 14th, the day last year Ulises sent a thousand heavily armed police to unsuccessfully take the plaza back from the striking teachers, is a crucial date. The APPO and Section 22 are planning one of their famous mega-marches which last summer sometimes turned out hundreds of thousands of citizens. Will June 14th signal a resurgence of massive resistance and if it does, will the popular leadership be able to restrain hotter heads and government provocateurs that last November gave the federal police the pretext to beat and round up hundreds? Miguel Cruz is hopeful the APPO will persevere. “Whatever the ‘leaders’ do and say, the APPO lives down at the bases.”

Up the steep, windy hill in San Pablo Etla, where the cognoscenti live above the hurly-burly on the streets of Oaxaca, political guru Gustavo Esteva views the popular struggle down below geologically. “The popular movement in Oaxaca is like an active volcano” he writes in La Jornada, “last year when it erupted, the movement left its mark in the form of molten lava trails. Now the lava has cooled and formed a cap of porous rock that marks the point through which the internal pressure will find its way to break through to the surface again.”

John Ross is in Mexico City hot on the trail of Brad Will’s killers and re-immersing himself in the real world. Write him at johnross@igc.org if you have further information.

09 F9

0

› annalee@techsploitation.com

TECHSPLOITATION I have a number, and therefore I am a free person. That’s the message more than a million protesters across the Internet have been broadcasting throughout the month of May as they publish the 128-bit number familiarly known as 09 F9. Why would so many people create MySpace accounts using this number, devote a Wikipedia entry to it, post it thousands of times on news-finding site Digg, share pictures of it on photo site Flickr, and emblazon it on T-shirts?

They’re doing it to protest kids being threatened with jail by entertainment companies. They’re doing it to protest bad art, bad business, and bad uses of good technology. They’re doing it because they want to watch Spider-Man 3 on their Linux machines.

In case you don’t know, 09 F9 is part of a key that unlocks the encryption codes on HD-DVD and Blu-ray DVDs. Only a handful of DVD players are authorized to play these discs, and if you don’t own one of them, you can’t watch Spidey in high definition — even if you purchase the DVD lawfully and aren’t doing any copying. For many in the tech community, this encryption scheme, known as the Advanced Access Content System (AACS), felt like a final slap in the face from an entertainment industry whose recording branch sues kids for downloading music and whose movie branch makes crappy sequels that you can’t even watch on your good Linux computer (you guessed it — not authorized).

When a person going by the screen name arnezami managed to uncover and publish the AACS key in February, other people immediately began reposting it. They did it because they’re media consumers angry about the AACS and they wanted Hollywood and the world to know that they don’t need no stinkin’ authorized players. That’s when the Motion Picture Association of America and the AACS Licensing Administrator (AACS LA) started sending out the cease and desist letters. Lawyers for the AACS LA argued that the number could be used to circumvent copy protection measures on DVDs and posting it was therefore a violation of the anticircumvention clauses in the Digital Millennium Copyright Act. They targeted blogs and social networks with cease and desists, even sending notice to Google that the search engine should stop returning results for people searching for the AACS key (as of this writing, Google returns nearly 1.5 million pages containing it).

While some individuals complied with the AACS LA, in many cases community sentiment was so overwhelming that it was impossible to quell the tide of hexadecimal madness. Popular news site Digg tried to take down articles containing the number, and for a while it appeased the AACS LA. But Digg is a social network whose content is determined by millions of people, and as soon as Digg staffers took down one number, it would pop up in hundreds of other places. At last Digg’s founder, Kevin Rose, gave up and told the community that if Digg got sued, it’d go down fighting. Many other sites, such as Wikipedia and Wired.com, deliberately published the number in articles, daring the AACS LA to sue them. Sites like MySpace and LiveJournal are also rife with the number — like Digg, these sites are made up entirely of user content, and it would be practically impossible for administrators to scrub the number out.

The AACS key protests have become so popular because they reach far beyond the usual debates over copyright infringement. This isn’t about my right to copy movies — it’s about my right to play movies on whatever machine I want to. The AACS scheme is the perfect planned obsolescence generator. It will absolutely force people to upgrade their existing DVD players because soon they won’t be authorized to play new DVDs. Even worse, the AACS scheme allows movie companies to revoke authorized status for players. Already, the AACS LA has revoked the authorized status of the WinDVD media player, so anybody who invested in WinDVD will have to reinvest in a new player — at least, until that player’s authorized status is revoked too.

The AACS, more than any other digital rights management scheme, has revealed that the Hollywood studios have formed a cartel with electronics manufacturers who will do anything to suck more money out of the public. If you want to watch lawfully purchased movies, the only sane thing to do is post the number. Stand up and be counted. *

Annalee Newitz is a surly media nerd who can’t help but notice that you’re reading this column on a nonauthorized device.

A horse is a horse?

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HANDS OFF A professor of mine was fond of posing a certain thought experiment. As Martian anthropologists, free from any earthbound cultural conceptions, his students had to come up with a baseline definition of sex. First he’d field their not wholly impartial attempts. Then he’d coolly roll out his description: it’s an involuntary muscle spasm caused by applied friction.

Writer Charles Mudede and director Robinson Devor attempt a similar thought experiment with their beautifully lensed but frustratingly airy documentary, Zoo. Only, in the case of their subject, the applied friction is generated by an Arabian stallion, which brings about not an involuntary muscle spasm but the accidental death of the man whose colon the stud has perforated in flagrante.

Perhaps no one would have known of Kenneth Pinyan, a divorced Boeing engineer initially identified only by his online moniker Mr. Hands, had he and a circle of fellow “zoos” (short for “zoophiles”) who occasionally got together on a remote farm in rural Enumclaw, Wash., to express their erotic attraction to animals not routinely filmed themselves. But in our culture, nothing stirs up a media shit storm like a leaked sex tape, especially when it’s of the interspecies variety.

Whereas my professor tried to get his students to see how inseparable sex is from culture by forcing us to think outside cultural lines, Mudede and Devor attempt to divorce the “horse sex case,” as it was jokingly dubbed, from the tabloid sensationalism that accrued to it. While Zoo gives the now disbanded and publicly shamed circle of men associated with the incident a space in which to explain their desires, they still emerge as ciphers for a yearning beyond the pale.

Indeed, the oblique strategies Devor favors — talk radio snippets and loose reenactments, off-camera interviews with the zoos and with an animal-rights activist and a cop who made calls to the farm — cast his subject in an almost mythological light. Sean Kirby’s lush cinematography certainly does its part to transform Enumclaw into a rustic Eden; the zoos’ slow-motion ambling toward the barns is swathed in the dusty violet blanket of a blooming tree or silhouetted against the ocher smudge of dawn. We could be in a Ford commercial or in an establishing shot from that other American pastoral of unmentionable vices, Brokeback Mountain.

If the link between bestiality and homosexuality seems specious, or worse yet, part and parcel of the kind of relativism frequently trotted out by the religious right, let’s not forget (thanks, Michel Foucault!) that until roughly the 19th century, be it with horse or man, all nonprocreative sex was considered sodomy. There are echoes of this genealogy in the anxiety voiced among Zoo‘s disembodied Greek chorus over the issue of consent (or its absence). In particular, the animal-rights activist’s likening of the horse to “a violated child” is uncannily reminiscent of conservative rhetoric surrounding homosexuals, supposed predators who, pre-Stonewall, were forced to inhabit a twilight world not unlike that of the clandestine community of zoophiles.

These contradictions and similarities point to some recurrent stumbling blocks in our thinking about sex. The most perverse act in Zoo, it could be argued, is the gelding of the offending stallion “for its own protection,” so that it can no longer be a potential object of desire.

Zoo raises such issues with far more frequency than it discusses them. Unlike Werner Herzog, who tersely evaluated his subject Timothy Treadwell in 2005’s Grizzly Man, Mudede and Devor avoid commentary. Zoo is far more fascinated by this supposed limit case of sexuality than interested in fleshing out Pinyan and his world beyond the details already enumerated in what was surely a very curious obituary. (Matt Sussman)

MY RECTUM FOR A HORSE I suspect there will be a lot of walkouts from Robinson Devor’s documentary about the 2005 Enumclaw horse incident, in which an airplane engineer referred to as Mr. Hands sustained fatal injuries while bottoming for a horse. But it won’t be the easily offended who run from their seats.

The revenue that small theaters are surely losing to senior discounts on Away From Her‘s ticket sales will easily be recouped from ill-informed frat boy field trips to what they think will be Internet Horse-Schtupping: The Movie. Barebacking jokes during the trailers will give way to a disappointed silence during a mesmerizing opening shot of what looks like a pixie flying in a field of blackness, slowly expanding and revealing itself to be the light at the end of a tunnel.

Zoo, intriguingly, never really crawls out of that tunnel. The movie, which is about the horse-loving men in Mr. Hands’ community as much as it’s about his death, presents an impressionistic collage of nature images, reenactments, voice-overs, and media samplings. (Turns out Rush Limbaugh and I see eye to eye on some things.) It’s also a collage of emotional cues: some scenes allow the music to suggest sinister qualities in the men’s activities, but there are also images that look like mood lighting was added to Harry Potter’s photo shoot for Equus, hinting at a level of intimacy that boring old queer and straight folks couldn’t possibly understand.

Devor isn’t just allowing for more than one response to the facts — he appears to be courting them all, creating a sort of controlled chaos that, of course, frees him from the restraints of his own opinion. The result is a coolly aestheticized yin to the snickering yang of the online frenzy in 2005.

This may come off as a cop-out to partisans on either side of the debate, inasmuch as it exists, about zoophilia and bestiality (after all, Edward Albee’s 2002 play The Goat, or Who is Sylvia? lost no artistic integrity in more directly addressing the implications of interspecies hanky-panky). Devor shouldn’t be criticized for undertaking a detached aesthetic exercise, it seems to me, yet to follow this tack with such a flammable subject can’t help but be a comment in some way. But in what way?

Zoo could reasonably be accused of either acquitting the Enumclaw zoophiles by their mere association with the film’s artsy ambivalence or, a more insidious possibility, fostering a hyperawareness of what is downplayed, implying disgust via a kind of negative-space sensationalism. Whatever the stunt, the film isn’t stunted. While some of the reenactments feel a bit too literal for the tenor of the rest of the film and the actors often seem poorly directed, there is an undeniable harmony to the whole. Zoo emits a quiet, narcotic hum that the gross-out contingent in the audience won’t likely stick around to tap into.

ZOO

Opens Fri/25 in Bay Area theaters

See Movie Clock at www.sfbg.com

www.thinkfilmcompany.com

Ends meet

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› andrea@altsexcolumn.com

Dear Andrea:

I’m married to the woman of my dreams and the love of my life. My problem is that with women in the past I’ve always really enjoyed doing it doggy-style. I find it a total visual-animal turn-on, and of course there’s the physical pleasure of the position itself … need I say more? My problem is that my wife and I have never been able to get into the position because of our configuration (I’m tall; she’s short). And though it doesn’t bother her, I definitely miss being able to do it that way. I wonder if other couples have this problem and if you have any suggestions.

Love,

Mismatched

Dear Mis:

Yes, they do (of course!), and yes, I do (likewise). Size-discordant couples are common enough — just look around you — that people make products for precisely this problem. Do your part for the economy and go buy something.

I don’t know what happened to the people who made me accept samples of the quite nicely made but incredibly bulky foam wedges and blocks (about the size of my apartment’s closet) meant to enhance one’s sex life by better aligning tab A with slot B, but there are other such products out there. I could never really get into the set I had, anyway, after we used them to prop up a massively wounded leg we happened to have in the family at the time, so I gave them away.

A search on "sex pillows" or "sex position pillows" brings up a number of products, some of them inflatable, which would solve the storage problem. Most sites advertise by draping a pneumatic blond upside down over the product so her hair responds to gravity but her breasts do not, but that can’t be helped. Well, it can, actually: the other place to get wedges, blocks, and bolsters meant to prop up body parts at particular angles is the medical supply warehouse, which is depressing in quite a different way. Your call. Either source should get you something you can work with. Good doggie! I mean, good luck.

Love,

Andrea

Dear Andrea:

My boyfriend isn’t circumcised, and we can’t get a condom to stay on. It’s not for lack of trying: we went through a whole box and even consulted Internet diagrams, with no success. They just wouldn’t go or stay on. So we both got tested, and I went on the pill. While I was there, my doctor lectured me on why I should use condoms, and I explained my situation. He said any condom should fit on any penis at anytime. Are we stupid? Is there a trick?

Love,

Misfit

Dear Mis:

Does "find a new doctor" count as a trick? Anyone who’s ever been a child can remember how it felt to be lectured without being listened to and how one either tuned out ("wah wah wah," went the grown-ups in the Peanuts specials) or made sure to do whatever was exactly opposite the ordered behavior. It’s kind of funny when doctors act this way harmlessly (for example, insisting that my lesbian friend use a condom every time and take a pregnancy test before getting a new prescription), but what about when someone really might be at risk and doesn’t want to tell the doctor because he or she hates getting lectured? How about that, huh?

Anyway. Your question didn’t end up where I thought it was going, considering where it started. Most uncirc’d men who have problems with condoms either can’t get the thing on to begin with or complain of getting bits of themselves caught in a fold of the rubber and going thwap like a window shade in a Warner Bros. cartoon. I’m not even sure how, exactly, a condom is supposed to fall off of something as essentially beflanged as an uncut penis, unless … unless … it’s just too big all round.

You’ve obviously tried long and hard, as it were, and I hate not to give you credit for your efforts, but if all the condoms came from the same box, it doesn’t count. He needs to order a sampler and start trying things on. We women have to do that every time we want to buy a stupid T-shirt, and the guys have it easy with their small, medium, and large. Think of it as his turn having to mess with sizes and styles. Start with something labeled "snugger fit," which on the condom sites is always carefully couched as a matter of preference and not brute biological necessity, so it shouldn’t be too dispiriting.

Then again, counterintuitive but not out of the question: they’re not too big; they’re too tight, like a pair of ill-fitting panty hose that can’t quite make it past your hips to snug in at your waist, so they keep rolling down, and you have to spend the entire day semisurreptitiously yanking them back up. Not that such a thing would ever happen to me or, I hope, you.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

The mark of Zidane

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› johnny@sfbg.com

Z marks the spot, whether that spot is the television, cinema screen, museum installation, or the memories of millions of people who’ve borne even cursory witness to the career of Zinedine Zidane, especially its instantly mythic — as opposed to merely controversial — final athletic moments. All of the above spots are touched on by the masterful Zidane: A 21st Century Portrait, a multiformat work at the crest of a current fascination with athletic documentary. Shadowed by Verónica Chen’s undersung swimmer drama Agua (2006), Douglas Gordon and Philippe Parreno’s project reveals sports’ potential as a source for pure cinematic dynamism. Moreover, it taps into a famous athlete’s tremendous resonance as a subject of artistic portraiture.

The presence of the word Portrait in Zidane‘s English title is an important one. The film’s codirectors (the latter of whose recent installation The Boy from Mars is a favorite of filmmaker Apichatpong Weerasethakul) shot only one match, from Real Madrid’s 2005 season. But they are portraying both Zidane and this century. If ever there was a solitary — if team-playing — figure up to the task of embodying or at least evoking a universe, Gordon and Parreno have chosen him. To use the vintage words of ABC’s Wide World of Sports, Zidane’s actions have transcended the thrill of victory and agony of defeat.

Zidane makes its public SF debut at the Yerba Buena Center for the Arts, thanks to film curator Joel Shepard. (One can always dream of a future screening at the Metreon, where its Kevin Shields– and Bay Area–influenced sound design, Mogwai score, and panoramic scope would be ideally realized.) Because I’ve only seen it on DVD, in lieu of writing a review, I recently spoke with Gordon. The Turner Prize–winning native of Glasgow, Scotland, began our talk while looking at a Neil Young record in a bookstore, before grabbing a cup of tea, and maintained his casual good humor whatever the topic.

GUARDIAN What led you to choose Zidane as the film’s subject? Were you a fan?

DOUGLAS GORDON Yeah. The first time we met Zidane, it was difficult to try and behave like adults. I can speak French OK, but I tried to introduce myself and sounded like a girl meeting John Lennon in 1960. I fell to pieces.

SFBG The George Best movie Football as Never Before (1971; directed by Hellmuth Costard) has been cited in relation to Zidane. But it comes from a different era, and Best is a different kind of subject or icon, and you’re using different equipment.

DG We developed our idea in blissful ignorance of Costard’s movie. But when we were having trouble figuring out how to deal with portraying the halftime period, someone mentioned [it] to us. At that point it wasn’t available on DVD, so Philippe actually flew from Paris to Berlin to go to the National Film Archive in Germany.

Later, we watched it together and looked into Costard’s practice. Obviously, he didn’t want to engage with the industry of cinema or the vocabulary of cinema — it was almost antithetical to his practice — whereas we wanted to play with the idea of a star and how a star is mediated, to see if we could get under the skin rather than stay on the surface.

SFBG Can you tell me about your tactics in using 17 cameras within one game to capture Zidane? To me, television hasn’t figured out how to present soccer. Some sports translate intimately to television, but soccer is often held at a distance.

DG Most televisual representations of football are based on a kind of theatrical convention of only shooting from one side — you have an entrance-left-exit-right type of motion. By breaking that down, you actually break up the architecture of the stadium. It’s no longer rectangular; it’s become circular in a way.

We wanted to make a portrait of a man: a working man who happens to be Zinedine Zidane, and the work happens to be football. It wasn’t a particularly good day at the office for him — he didn’t score any goals, and he got red-carded. But we wanted what we did to be along the lines of a Robert Bresson picture; to capture the honesty of the everyday.

Kon Ichikawa’s 1965 Tokyo Olympiad was a reference, and — more for me than for Philippe — the NFL. I wasted my youth watching 16mm, fantastically well-photographed NFL [footage]. Beautiful stuff, [shot by] cameramen who’d just come back from the war [in Vietnam]. Seagulls might flap by in front of them, and it wouldn’t be edited out. There was something rough about the NFL stuff that we wanted. There’s a couple of scenes in Zidane where the camera drifts up. That was deliberate, but it’s a reference to the sort of accidental beauty that can happen in that type of footage.

SFBG One thing that the film brings across is that there are long periods of the game when Zidane is meditative and literally just standing. Then when he does move, it’s incredibly sudden and really focused.

DG Some people have said that it’s a little reminiscent of nature programming. He’s definitely on the hunting side of things rather than the hunted.

It’s an exercise in one man’s solitude, though. There happen to be 80,000 people in the stadium, and he’s part of a team of 11, but there are huge periods where he’s completely alone.

Before shooting, we went to about 15 or 16 games and sat on the pitch. One of the big differences about the way we shot the film is that, apart from one camera, everything was on his level. There’s only one aerial camera that we used very sparingly as a backup. We knew the way he would walk around and that he’d pace himself during the game, so when we talked to the [project’s] producers, another reference we used was the corrida. You just don’t know if he’s the bull or the bullfighter.

If you were inside the head of Zinedine Zidane, you wouldn’t see him at all, which would sort of defeat the purpose of the film. But we did want to give his point of view, and there are specific passages where you see him move his head as if he’s a little disoriented. At points like those you don’t really know if you’re looking at the world through his eyes or looking at him.

SFBG What was his response to your portrait?

DG He’s not a man of many words, but he got pretty animated [when he saw it].

We kept him informed. We knew it was going to be a fairly hardcore exercise and that it was better to tell him how we were approaching it step-by-step rather than just turn up after a year’s worth of editing and hit him with [the finished work].

There were a couple of times [during the process] where he was really surprised and said, "That doesn’t look like me, this is not how I look on TV, this is not how I look in a newspaper — this is how my brother looks late at night talking to my mother."

We were nervous about how he felt he was portrayed because of the red card and the violence [in the match]. But he said, "I would do it again. The guy was an asshole."

SFBG That brings me to an inevitable question: what was it like to see things play out somewhat similarly in the final match of the 2006 World Cup?

DG I was in the stadium, and I couldn’t believe it. Of course, you couldn’t see what was going on because as usual there were another couple of Italians lying down feigning injury.

I knew we’d obviously stumbled upon something when, even before I’d seen the incident, people in the English press were quoting our film to make Zidane out to be a baddie.

SFBG Was that frustrating?

DG I think [Zidane]’s been sent out [of matches] more times than anyone else who wore the number 5 in the history of football. He’s a real person; he’s volatile.

It doesn’t really matter what [Italian player Marco] Materazzi said to him; what matters is that he said something to one of the greatest footballers of this generation. There’s five minutes left to go in [Zidane]’s career, and you want to taunt him about his wife?

SFBG How did you come to collaborate with Parreno?

DG Philippe and I have had mutual friends since the early ’90s. We’d pop up in the same group exhibitions around 1990 and 1991. He made a film with Rirkrit Tiravanija and Carsten Höller in 1994 called Vicinato, and then I got involved — along with Liam Gillick and Pierre Huyghe — in [1996’s] Vicinato 2. We’d spent a long time together talking about the script, and we shot it together down in Monaco. We watched a lot of football during that period as well.

But the genesis for the project really happened in Jerusalem, of all places. Philippe and I happened to be in a group exhibition ["Hide and Seek," curated by Ami Barak] there in 1996, and it just so happened the exhibition was under a football stadium, the Teddy Kollek Stadium. We finished our installations very early, and since Jerusalem isn’t a place to go idly wandering, we bought a football and played Keepy Uppy for about a week. During that time we spoke of what we remembered about being kids playing football, watching football, and what we aspired to [achieve]. Then we spoke about cinema and the fact that people had been waiting for us both to make a movie.

We chose Zidane partly because — and I think it’s the same after our film — he’s an incredibly enigmatic character. He has this absolutely impenetrable facade. He’s Zinedine Zidane.

Every time we met him, there was some other family member with him, and they’re all bigger than him. When he’s off the pitch, he’s not as big as he seems when he’s on the field. It’s incredible what happens to his physiognomy and physicality when he’s playing.

He was won over because during the first meeting we had with him, we said, "We want to work with you because, looking back over the past few generations, you represent something more than just another football star, something deeper than [Diego] Maradona or more complex than [David] Beckham." We had reedited some footage of [Manuel dos Santos] Garrincha, the old South American player, from a beautiful film [Garrincha, Joy of the People, directed by cinema novo pioneer Joaquim Pedro de Andrade] shot in the early ’60s. I think the fact that we’d chosen Garrincha and not Pele or Maradona, for example, really struck a chord with [Zidane].

SFBG What you’re saying goes back to the fact that Zidane both triggers and reframes issues of race and nationalism because he’s so powerful as an athlete and individual.

DG Someone told me that in France during the recent election there was a lot of graffiti over campaign billboards for [Nicolas] Sarkozy and Ségolène Royale saying, "Zidane, Zidane." I wish someone had taken a fucking photograph for me, but I could probably restage it somewhere.

Sometimes I think it even comes down to the Z. There’s something about it, like the mark of Zorro.

SFBG What have you thought about the art world response to Zidane?

DG We’ve spoken to a lot of people about sports, and about cinema. People have had a tendency to forget that Philippe and I used to say that we’re trying to drag people from the white cube [of art spaces] to the black box and from the black box to the white cube.

We didn’t lose sight of this, but it got lost along the way that Philippe and I knew [that] by choosing a subject or model like Zidane, we had the opportunity to really mix things up in terms of the audience. Kids could, in years to come, in turn take their kids to see it at the National Gallery in Scotland or the National Museum of Modern Art in Paris. For kids who have the DVD, that can work the same way that it does when kids who maybe have a postcard of a painting can see the real thing — they’ll have an affiliation with it.

SFBG How does the installation version of Zidane differ from the cinematic presentation?

DG It’s two projections — the cinematic one, plus one of the cameras. It seems like a glib deconstruction, but when you see it, it’s a different experience, much more demanding. It’s almost a forensic detail of how we made [it]; if you troll around to 17 different museums all over the world, you’ll see there are 17 different points of view.

Of course, when the one camera is the camera used in the cinematic version, you get this bifocal effect.

SFBG For you to have mentioned Bresson earlier while discussing Zidane is interesting, because the setting and subject matter are not what one would connect to Bresson. Usually when film directors mention him, their work is stylistically aping or imitating him.

DG The cinematography of [1966’s Au Hasard] Balthazar was influential. But more so, there’s a book Philippe sent to me [Bresson’s Notes on the Cinematographer, most recently published in English by Green Integer] that had an impact, in the way he talks about the difference between the model and the actor. This was really clear to us when we were trying to speak about Zidane. People would say he’s an actor, and we’d say, "No, he’s not, he’s a model." He’s not playing a role. He’s doing his job, but with the awareness of being looked at, and that’s very different from the way the actor performs. Some of what Bresson says in his notes almost could have been written specifically for the Zidane film. It’s nice to quote Bresson, because he’s so unfashionable.

SFBG And so great! Some of the best current movie directors also produce work for art spaces. You’ve given a lot of thought to the specificity of DVDs and cinemas and gallery or museum installations, so I wanted to ask you about those distinctions.

DG One of the things that Philippe and I were constantly asked [at Zidane‘s film premiere] was "Were you excited to be working in the cinema?" We weren’t more excited than we would be [working] anywhere else. If there’s anything that would identify a certain practice of our generation of artists, it is that most of us are working with the exhibition as a format, and the context informs the format while the format interferes with the context. A lot of people don’t get that at all. I’m not trying to blow an intellectual trumpet here, but there is a certain amount of practice necessary to understand that. This is why when someone like David Lynch tries to move out of the cinema or TV screen into the gallery, it doesn’t work sometimes. The filmmaker might not do enough with the gallery or the museum. *

ZIDANE: A 21ST CENTURY PORTRAIT

Thurs/17–Sun/19, 7 p.m.; Sun/20, 2 and 7 p.m. (all screenings sold out except for Sun/20, 2 p.m.)

Yerba Buena Center for the Arts Screening Room

701 Mission, SF

(415) 978-2787

www.zidane-themovie.com

Unwilling, unable

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› andrea@altsexcolumn.com

Dear Andrea:

My boyfriend and I are in our late 20s. He’s unable to have sex more than once a day, nor does he want to, even when we’ve been separated. He can’t get it up again even hours later, though we rarely try. He isn’t interested as often as I am in general.

My other lovers were often rarin’ to go soon after, or at least interested. My impression is that this is normal, particularly for young men. He’s unconcerned, but I feel rather unsatisfied and worry that with age his desire will further decrease. He’s also very slender and often lacks energy in general. I’m worried something is amiss hormonally or otherwise, which he dismisses. He’s had maybe one medical checkup since we met and doesn’t get much exercise.

Am I right to be concerned or is this normal? Am I selfish?

Love,

Wanting More

Dear More:

Your boyfriend appears to be what they used to call "neurasthenic" — rather languid and wan, with a nervous temperament and a tendency toward fainting spells and melancholy. Back then, he would have been fed beef tea and lightly poached eggs on toast and sent back to bed (alone!) to sleep it off for a month or two. Sadly, this sort of rest cure is no longer available to us, so we must make do with modern substitutes: Jamba Juice and gym memberships. He really does sound somewhat undernourished, and I bet you’re right about the exercise. Take him out for hamburgers or something. Walk there, if possible. Perhaps if he got his blood pumping on occasion, other forms of pumping would ensue.

There is, inconveniently, no good reason to believe there’s anything wrong with him that could be fixed with, say, giant injections of manly androgens. While it’s possible that his lowish libido is a hormone thing, it isn’t particularly likely. My best guess is that he’s just different from (some) other guys and different from you. You probably needn’t be concerned about him dropping dead from whatever’s keeping his libido low, but you might spare a little concern for yourself and your future. You’re not being selfish — this is serious. It’s likely to be you doing the compromising, so make sure you can before you promise anything permanent.

Couples perfectly matched in appetite are fairly rare, actually. Most people are adjusting a wee bit up or down all the time, depending, and it’s hardly worth noticing until it gets to be like one of those science fiction plots where one person’s running superfast and the other’s in normal time and they can’t see each other. We must resist the temptation to declare our partners functional or deviant by the degree to which their sexual desires match our own. Nor does it matter if he’s "normal" by others’ standards. He’s fine for him. It’s up to you to decide how fine that is with you.

Love,

Andrea

Dear Andrea:

I’m currently taking a selective serotonin reuptake inhibitor called citalopram (a.k.a. Celexa), and I can’t have an orgasm. My sex drive is low compared to normal but not nonexistent. With my boyfriend in my bed, I can still get turned on. And I can get so close to orgasm it feels like it must be about to happen, but somehow it never does, no matter how hard we both try. It’s immensely frustrating.

I considered stopping the medication, but I’ve tried numerous antidepressants, and this is the only one that’s allowed me to lead a normal life. I’m reluctant to sacrifice my mental health for my sex life, but I hate having to choose between the two. Can you help? Maybe your readers have similar experiences or some way to get round this?

Love,

Not Happenin’

Dear Happenin’:

Aaaaaargggh!

So frustrating. I think you’re right to rank your general mental health above your sex life, but then again, a rotten sex life when you used to have a good one is pretty depressing in itself. On top of that, there are armies of people in exactly your situation with no definite fix, so aaaarrrgh.

I’ve got three semi-half-assed suggestions; I wish I had a better one. The first is patience, since the side effects often wear off with time. The second is Wellbutrin, either alone or in addition, which is the solution for a lot of people, but I fear you may already have tried it. And the third involves getting various degrees of weird. You could apply something or take something to increase clitoral sensitivity (provided you’re a girl; you actually didn’t say). Maybe a pump or other sensitizing toy? Or Viagra (they still say it doesn’t work for women, but many women disagree), or alprostadil if you can track any down? And then there are creams containing L-arginine or some such that purport to aid arousal — and who knows? They probably don’t but occasionally appear to. None of these will hurt you (unless contraindicated for some reason; do your homework), and they won’t make you more depressed, so what’s to lose?

Anyone had any success with other remedies?

Love,

Andrea

Andrea Nemerson teaches sex and communication skills with San Francisco Sex Information. She has been a theater artist, a women’s health educator, and a composting instructor, but not at the same time. She is considering offering a workshop on how to have and rear twins without going crazy, since she’s currently doing that too.