History

Meg + metal + mallets = MPR fine jewelry

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By Mayka Mei

It couldn’t have been easy for artist and animator Michael Daley to choose a ring when he proposed to jewelry artist Meghan Patrice Riley. The woman is remarkably learned about the history of her craft. She talks vintage eras the way Guy Fieri talks grease.

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Meghan Patrice Riley working under quite the curly inspiration board.

We chatted in her corner of a shared studio space on Wednesday morning. The visit flowed into over an hour and a half of conversation and dress-up, the space between us filled with household names like W and Women’s Wear Daily, industry leaders like Lynne Christiansen, and respected resources like Dianne’s Estate Jewelry.

Big lineup for free SF 40th Woodstock celebration

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And now comes a press release from Lee Houskeeper, public agent whiz who was at Woodstock as a backstage hand and is now helping bring the 40th anniversary concert to life on Oct. 25th in Golden Gate Park.

San Francisco Celebrates The 40th Anniversary of Woodstock
Announces Partial Huge Line-up For Free Concert
Golden Gate Park — October 25, 2009

Event: “West Fest” Celebrating the 40th Anniversary of Woodstock
Producer: 2b1 Multimedia Inc. and the Council of Light in association with
Artie Kornfeld, the original producer of “Woodstock 1969”
When: October 25, 2009, 9am to 6pm
Where: Speedway Meadows, Golden Gate Park, San Francisco, CA USA
Non-Profit: 501-(c) 3
Admission: FREE
Contact: Boots Hughston, 415-861-1520 www.2b1records.com/woodstock40sf or woodstock40sf@yahoo.com

June 25th, 2009—Acts confirmed with more to come: Country Joe (Country Joe and the Fish), Denny Laine (Paul McCartney, Wings, Moody Blues), Lester Chambers (the Chambers Brothers), The Original Lowrider Band (with Lee Oskar), Harvey Mandel and the Snake band, Barry “The Fish” Melton, David Denny (Steve Miller), Alameda All Stars (Gregg Allman’s Band), Michael McClure (Beat Poet) and Ray Manzarek (the Doors), PF Sloan, Michael Narada Waldon, Jimmy McCarty (from Detroit Wheels), Peter Kaukonen (from Jefferson Airplane), Terry Haggerty (from the Sons of Champlin), John York (from the Byrds), Leigh Stevens (from Blue Cheer), The Great Jeffersonian Tricycle (members of the Original Jefferson Airplane), Greg Douglass (from Steve Miller), El Chicano, Cathy Richardson (Starship), David and Linda La Flamme (from it’s a Beautiful Day), Lydia Pense and Cold Blood, Lost Creek Gang and the Merry Pranksters, featuring, Ken Babbs, George Walker, and Mountain Girl, Scoop Nisker – KFOG, David Harris – speaker, Ben Fong -Torres (Rolling Stone), Jose Neto and Friends, Dennis Peron and Richard Eastman (Marijuana Initiative), Terrance Hallinan (Former SF DA),

Poster Artists series: Staley Mouse, Arnold Skolnick (original Woodstock 69 poster artist), Chris Shaw, Mike Dolgushkin, Wendy Wright, David Singer, Wes Wilson, Mark Henson, Carlon Ferris, Dave Huckins, Lee Conklin, Bob Masse, Andrew Annenberg, Victor Moscosco, Michael Moss, Thomas Yeats, Chrissy Costello, Gilbert Johnson, Ron Donovin – Fire House Crew.

In honor of Jimi Hendrix, who headlined the festival in 1969, 3,000
guitar players will attempt to break the World’s Record for the Largest
Guitar Ensemble playing “Purple Haze” — all at the same time!
Players are encouraged to register at:
www.steveroby.com/Jimi_Hendrix_Archives/Register.html
OVERVIEW:

Woodstock was not just an event, a happening, or a concert with 400,000 people. It was a pivotal moment of realization for an entire generation, an epiphany, a moment of realization for the entire country. The hip movement started in San Francisco a couple of years earlier in the Haight Ashbury and the “Summer of Love” had spread across the nation. There were now millions of hip people with 400,000 of them converging on Woodstock.

Woodstock was a statement to the world, “humanity had evolved”, coming together through peace, love and spirituality. An event whose original intent was to make money became the largest FREE event in history. The hip movement had come of age and was recognized by the world. The principles of love swept the country and we had become the ‘Woodstock Nation”.

Hundreds of San Francisco stars and musical luminaries will perform at this October 25, 2009 event to commemorate the original principles of peace, love and spirituality. The Woodstock 40th will begin with a blessing by the American Indigenous People and several Beat Generation poets. There will be many speakers from the Peace Movement, the Free Speech Movement and the Anti-War Movement along with many of the acts who originally performed at Woodstock (to be announced). There will also be an “Eco Friendly Green Village” highlighting the products, services, and information of the emerging green movement.

Lee Houskeeper
Managing Editor
San Francisco Stories
615 Burnett Avenue, Suite 2, San Francisco, CA 94131
http://www.sanfranciscostories.com/
(415) 777-4700 Newsservice@aol.com

Bike projects approved in SF

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By Steven T. Jones

After almost three years of no bicycle improvements in San Francisco — the result of a court injunction imposed because the city’s Bike Plan wasn’t submitted to proper environmental review — city officials have taken a pair of actions that will likely result in the biggest bicycling boom in the city’s history.

Last night, the Bike Plan’s new Environmental Impact Report was approved by the Planning Commission, and this afternoon, the Metropolitan Transportation Commission board unanimously approved the plan and 45 new bicycle projects around the city (delaying only the 2nd Street bike lanes for further study and discussion). Now, once any appeals play out, city officials will be able to return to court later this summer to get the injunction removed and construction on new lanes, racks, and other improvements should begin this fall.

Mayor Gavin Newsom, other officials, and bike advocates are right now holding a press conference on the steps of City Hall. Guardian reporter Rebecca Bowe, who has been covering the hearings, is there and will offer a full report later on this blog and in Wednesday’s Guardian.

Designer drugs: HomoChic unleashes piggy poppers

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By Juliette Tang

popperspig2.jpg

Just in time for your big gay Pride weekend, the talented artists at the HomoChic collective have launched their and improved site, now complete with an online store where you can get your very own designer poppers top. Created by SF’s Leo Herrera and NYC artisan Blue Bayer, these simultaneously classy and slutty swine-themed poppers tops are available in 14K gold plate or sterling silver, and come with a little chain so that you can conveniently wear your poppers around your neck (the coke necklace from Cruel Intentions is so ten years ago). Says Leo Herrera, co-founder of HomoChic, “”This piece of gay history is the best thing to happen to messy sex and sweaty dance floors since the pump lube bottle & the hanky code.” Herrera sat down with the SFBG to talk about the history of HomoChic, the innocent fun of poppers, and what it’s like to be a “chubby chasing feeder twink”.

SFBG: Can you describe, in your words, what HomoChic is? (And it’s absolutely gorgeous gorgeous, by the way). From my perspective, HomoChic is a little bit of everything, from photography to video to design to music to writing to fashion. From a creator’s viewpoint, what are you going for with the site?

LH: HomoChic.com is an artist collective, production house, and as of June 09, an online store for prints and gay artifacts. We produce events, films, costumes and images with a focus on gay anthropology and history. We are also planning on representing artists and performers through online promotion and commerce.

SFBG: How did HomoChic take off?

LH: HomoChic has taken off because of our focus on gay history and repackaging it in a way that isn’t too focused on looking toward the past (i.e. AIDS activism, “traditional” Pride) to shape ways of taking the Gay Movement to the future. At the same time, we are finding the resources and opportunities to create more of our own projects, so it’s something gay men of all ages can identify with. HomoChic started with myself, Jacob Sperber (co-founder of HoneySoundSystem) and my gay brother Allan producing art pieces that revolved around events and vice versa. Whether it is an after-party for an art show, or a film piece produced specifically to be a trailer for a nightlife event. The notion of Chic has always been associated with being a homo. As a lot of us, especially the younger generation, assimilate, we become too focused on being part of mainstream culture and forget that for a long time, the industries have looked to us to show them what’s cool and sellable, not the other way around. Think Madonna’s Vogue, or disco for example.

SFBG: How were you inspired to make your lovely pig-topped poppers bottles?

Don Ray, the man who broke the Michael Jackson story speaks

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Don Ray, an independent investigative reporter in Los Angeles, broke the story in l993 that the Los Angeles Police Department was investigating Michael Jackson as a possible child molester. He discloses the story for the first time on his blog and discusses the impact of Jackson’s death. View the original here. B3

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Thoughts on the death of Michael Jackson

Let there be no doubt about it, I’m saddened to learn that singer Michael Jackson has died.

My sadness isn’t, however, because I will miss his music. Truth be told, I don’t believe I could name any song he recorded since he sang “Never Can Say Goodbye” or “Ben” — whichever one came first. I probably heard him sing, however, before most anyone I know. I was stationed outside of Detroit in 1969 and 1970 and I remember watching him and his brothers on local television there.

He was cute and amusing. And it was clear he had a lot of talent.

It was 1993, however, when he sort of stepped into my life and changed things forever. It was when a Los Angeles Police detective blessed me by tipping me to what was, up until today, the biggest single entertainment story in history. I was able to break the story that the police were investigating the famous singer as a possible child molester.

Bending toward oblivion

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culture@sfbg.com

Gay liberation changed Martin Duberman’s life. In the 1960s, Duberman taught history at Princeton, hardly a bastion of radical thought. Yet he found himself invigorated by nascent counterculture movements and became a champion of the left, penning essays in The New York Times and serving as faculty advisor to the Princeton chapter of Students for a Democratic Society. At the same time, Duberman spent years in intensive psychotherapy in desperate attempts to "cure" his homosexuality. Soon after the emergence of the gay liberation movement, however, he rejected this homophobic vision and embraced a gay identity. His work also became queerer.

Over the years, he has written more than 20 books — biographies, plays, memoirs, history texts, and a novel — on a wide range of topics ranging from antislavery activism to the civil rights movement and Stonewall. His new book, Waiting to Land: A (Mostly) Political Memoir, 1985-2008 (The New Press 352 pages, $26.95), is a combination of diary entries and recollections from the Reagan years to the present. This latest work serves as a window into Duberman’s activist and scholarly careers, as well as his critiques of the mainstreaming of the gay and lesbian movement.

SFBG We’re approaching the 40th anniversary of the Stonewall riots, the symbolic event of early gay liberation, and I’m wondering if you think there’s any of this liberationist spirit left in the gay movement.

Martin Duberman Well, I guess it depends on how you define liberationist. In the early days, gay liberationists were aware of a great many other ills in the society besides their own. Their own were real, and they were well aware of that. But there was a lot wrong, they felt, with the system, and their central goal was to challenge many of the established institutions and values. Today most LGBT people seem to think of themselves — certainly they tell the mainstream — as "just folks," except for this little matter of a separate sexual orientation. That they’re patriotic Americans and they want the same things that everybody else wants, etc.

SFBG In Waiting to Land, you cover this assimilationist turn in the gay movement. You talk about the March on Washington in 1993 where gays in the military became the dominant issue. You also talk about Stonewall 25, which happened one year later in New York City, where one of the biggest fundraising events was held onboard a U.S. aircraft carrier, and where corporate sponsorship arguably overwhelmed any celebration of resistance, history, or culture. Has anything changed in the last 15 years?

MD The early ’70s were still fueled by the countercultural movement of the ’60s, and the early gay movement built on the insights and the demands of, say, the feminist movement or the antiwar movement. I mean there was so much going on in the ’60s, and together it all amounted to a challenge to the so-called experts. There was an across-the-board challenging of many traditional views, so finally that began to seep down, or up — whatever it is — to us. That’s the whole trouble, I think, with the assimilationist turn. It denies our own gay past and our culture and our politics. I mean, they’re willing to throw all that away in order to make stronger the claim that we’re just folks.

SFBG And do you feel like mainstream gay people have become more heterosexualized? I mean in that particular way of embracing long-term committed partnership, monogamy, or now even marriage, as the only type of love or intimacy that’s valid?

MD Yeah. Once again, the banner of lifetime monogamous pair-bonding has been raised. Now some of that is the result of AIDS, in which people were scared to death, so they settled down into so-called permanent relationships. Not everybody. But many more than had done so in the ’70s.

SFBG When you talk about AIDS in Waiting to Land, it punctures the style of your writing. You’ll be writing something that’s more ruminative, and then you’ll have three or four sentences about a friend who died or a series of friends who died, and then you go back into your thoughts about something outside of that.

MD I think that’s right. It’s why I put that subtitle in. I say "mostly political," because when it came to the death of friends, I did talk about my personal feelings, and my sadness, whereas most of the time in Waiting to Land I’m talking about external events or public policies.

SFBG You yourself have played a role as both an insider and outsider in a variety of realms. In Waiting to Land, you deliver scathing critiques of the rigid hierarchies and competitive structures of academia. You talk about the homophobia of the straight left, and you talk about the limited agenda of the gay mainstream. You talk about the exclusiveness of establishment theatre and mainstream media. Yet you’ve also worked inside all these structures. So I’m wondering how these institutions have formed your politics and how you’ve helped to form or transform these institutions.

MD [W.E.B.] Du Bois, the great African American leader, once said something — I think he called it double vision. He said that although he had had a superb education and was accepted by mainstream whites, nonetheless he felt he was a spy in the culture, a spy who was bringing the news about the mainstream back to his own people. And on one level, I have had a very easy time passing — I went to very good schools, I was on the tennis team in high school, etc. Nobody, I think, or very few people, guessed that I was in fact homosexual, and I did my best to play along with that. I was very career-oriented, I was very competitive — I always wanted to be first in my class, win the best prize for an essay, and that’s where most of my energy went throughout my 20s. But then once the counterculture began, I sort of leapt on it. I was immediately sympathetic, and I wrote lots of essays during the ’60s in which I was very strongly on the side of the New Left. And then it took a while longer after that before I realized that of course the same applies to being gay.

SFBG In terms of your role as both insider and outsider, do you feel that that’s helped you to develop stronger critiques of all those institutions, whether on the straight left, in the gay mainstream, or in establishment theater and media?

MD I think so, because I knew the inner workings of many of these mainstream institutions, and so I was able to see the falsity of many of the attitudes, especially toward people who are not middle-class whites. White men, I should say.

SFBG I think one thing you’ve tried very deliberately throughout your career, whether as a writer, an academic, or an activist, is to build movement ties across lines of class, race, gender, and age. In the new book, you talk about trying to bring an awareness of queer and feminist issues into the straight left, and an awareness of race and class into the gay mainstream — and feeling mostly like you’ve failed.

MD I think it’s because the mainstream left is no more receptive — they all claim that, "well of course we believe you people should have your rights, and of course we’re tolerant of your lifestyle." But when it comes right down to it, you cannot get them to hang around long enough to listen to the ways in which queer values and perspectives might inform their own lives. They don’t believe that for a second. And that hasn’t changed at all. At least, if it has changed, I haven’t seen it.

SFBG And what about in terms of the other side of the equation? With the dominant agendas of the big gay institutions centering on marriage, military service, ordination into the priesthood, adoption, and unquestioning gentrification and consumerism, do you think that those particular emphases prevent a deeper analysis of structural issues of racism and classism?

MD Well, of course they do. Mainstream America is still further behind the gay movement in dealing with any of those issues. So when you’re bending your energy to turning into the mainstream, you’re simultaneously burying your awareness of the class and racial and economic divisions that continue to characterize our country.

Mattilda Bernstein Sycamore (mattildabernsteinsycamore.com) is the author, most recently, of So Many Ways to Sleep Badly (City Lights) and the editor of an expanded second edition of That’s Revolting! Queer Strategies for Resisting Assimilation (Soft Skull).

Ghost chattin’ with Kristyn Gartland

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By Sean McCourt

Having survived the ferocious naval campaigns of World War II, the U.S.S. Hornet now stands as a living museum in Alameda, where guests can learn about the ship’s role in history, and, according to several eyewitness accounts, one can also catch a glimpse of the ghostly spirits of her departed crewmen. The 893-foot long aircraft carrier has recently been featured on paranormal-themed television programs such as the hit Sci-Fi channel show Ghost Hunters, where spectral apparitions were said to have been spotted roaming the decks in the dead of night.

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Ghost Hunters star Kristyn Gartland

Fans of that show, along with Ghost Hunters International and A&E’s Paranormal State, are all in for a special treat this weekend, when cast members including Kristyn Gartland, Donna LaCroix, Angela Alderman, Chip Coffey, and more will be on board giving lectures, meeting with participants, and even leading late night expeditions aboard the floating bridge to the past.

Kristyn Gartland, who works as the case manager for the Atlantic Paranormal Society (TAPS), the group featured on Ghost Hunters, joined the team after going through a long series of personal experiences and incidents at her own home.

Intelligent design

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a&eletters@sfbg.com

The first world is so jammed with manufactured stuff we can’t perceive most of it — even the stuff we buy rapidly and take for granted, to be replaced by each next-model thingy. This process is now our economy’s bedrock, as was underlined when the government’s first order of business after 9/11 was to encourage partying like it’s $19.99 via those "America: Open for Business" signs with Old Glory as shopping bag. Yet the economy and consumerism’s ever-more-tangible impact on our planet seem to scream, "Shop less!"

Durability vs. disposability and perennial style vs. trendiness are conflicting impulses on both sides of the buyer/seller equation. In theory we might all agree everything we buy should be functional, sturdy, and attractive enough to keep until it gives out. But this flies in the face of nearly all marketplace logic, and purchaser desire. The whole idea is to generate decisions made on what you want, not what you need. Better still if that line blurs.

The New York Times’ "Consumed" columnist Rob Walker describes this drive as one for "the ‘New Now,’ a ‘New Next’" in Objectified, the latest documentary by Gary Hustwit. Like his Helvetica (2007), which looked at the stealthily enormous role of typeface in our lives, Objectified is more an appreciation than a critique of something utterly ubiquitous in this case product design — and a few stellar personalities behind it.

Hustwit isn’t interested in history or the full range of design as much as celebrating those idiosyncratic individuals whose design imprint falls within the ongoing tradition of 20th-century modernism, with its clean lines, minimal detailing, and whiff of yesteryear’s sci-fi future. "Good design is as little design as possible" insists retired innovator Dieter Rams of German home appliance giant Braun. Many of the film’s interviewees — mostly designers well-known within the industry by name or firm (IDEO, Smart) — muse on products rooted in the post-analog "connected world." With an item’s inner workings now reduced to the microchip’s all-powerful DNA, there’s little need for form to resemble function anymore; practically everything can be some sort of smooth, small, amorphous blob or plane.

Still, as Objectified emphasizes in Helvetica‘s same alert, amused, admiring way, the best designers don’t aim for depersonalizing aesthetic perfection (let alone garish flamboyance). Instead, their goal is honing every manufactured object we require or enjoy so it makes the world a mite more user-friendly. There’s an ingratiating segment here observing just how much thought goes into Smart’s creating garden-shear handles even an arthritic could love. Elsewhere, one colorful industry type rails that there’s simply no excuse for bad design anymore. Yet another GPS no one can figure out should occasion "riots in the streets," he says.

Objectified‘s primary images of rhyming-row merch in consumerist temples (IKEA, Target, etc.) are "globalization" personified. Yet as one person mercifully mentions here, that neverending parade of stuff only reaches a lucky 10 percent or so. Since the other 90 percent aspire toward disposable income and luxury goods, our insatiable minority now ponders how to tell them it’s all been a horrible mistake.

The designers here are aware of, yet somewhat flummoxed by, that crisis: It’s the very nature of their jobs that "most of what you design ends up in a landfill." It will fall to a different documentary to chronicle how product design adopts new agendas of quasi-permanence, successive useage, and biodegradability. When and if that truly happens, Objectified might turn into beautiful detritus, an artifact from a vanished age of elegant waste.

OBJECTIFIED

Wed/24-Sun/28, 1, 3, 5 p.m.

(also Wed/24-Sat/27, 7 and 9 p.m. ), $8–$10

Yerba Buena Center for the Arts, 701 Mission, SF

(415) 978-ARTS, www.ybca.org

Grade A

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a&eletters@sfbg.com

It was a gathering of tribes with more tattoos and partially shaved heads per square foot than anywhere else in San Francisco. The sartorial imagination at times rivaled the one on stage. In other words, it was the eighth Fresh Meat Festival, celebrating transgender and queer performance, and Project Artaud Theater packed them in.

Announced as the largest festival of its kind in the country, Fresh Meat is the brain- (and heart-) child of Sean Dorsey. A smart organizer and good artist, he programmed a lineup that showcased not only gender but ethnic diversity: a Latino singer, an African American rapper, and a Sri Lankan theater artist, among others. Differences extended to quality; not all the performers were equal in either craft or talent. But this was a theatrically pungent evening whose concurrent themes couldn’t be missed. Joyful affirmation of self and the pain of not fitting in went hand in hand.

The evening opened on a note of female assertiveness. Taiko Ren’s exuberant women embraced those huge drums — for centuries restricted to the male of the species — as their birthright. Planting their hips and focusing their energy into the hard-hitting batons, they set the air humming with overlapping and shimmering resonances. Hip-hop closed the two-and-a-half-hour show. Allan Frias’ high-camp and razor-sharp Mind over Matter Dance Company’s Bring it to Runway exploded the fashion world’s dehumanized body as a clothes-hanger. Seen as manipulated mannequins, the dancers revolted into a brigade of hard-hitting, furiously stepping males and females whose individuality was as strong as their sense of common purpose.

Coming fresh from the Ethnic Dance Festival, the Barbary Coast Cloggers’ footwork and the body slaps in Hambone didn’t sound as finely synchronized as they have in the past. However, the marvelous Wind It Up, to Gwen Stefani’s yodel-infected song, highlighted the sly note of urbanity that’s always present in these dancers’ take on rural traditions. Another reminder that common dance traditions often exclude non-heterosexuals came from North American same-sex ballroom champions Zoe Balfour and Citabria Phillips. Their spacious Ballroom Blitz, a suave and light-as-air foxtrot, went by too fast. I would love to see what else they do.

Most of the solo performers came from Los Angeles. Ryka Aoki de la Cruz’ Alternator Domme was a little heavy-handed in its use of metaphor, but she is witty writer and quick-change artist who times her material — paying for car repairs with a gig in a dungeon — well. In the hilarious excerpt from Ramble-Ations: A One D’Lo Show, D’Lo transitions from a traditional Sri Lankan mother into an Angelino "tomboy". The work dove deeply into the poignancy of not wanting to be put into a gender — or any other kind of — box. Rapper Deadlee’s in-your-face "We Serve it Up Nasty" — with audience participation — was a rebellious rant against homophobia in hip-hop. Yet I wondered whether its transgressive tone didn’t strike a note of simple-mindedness with this audience. StormMiguel Florez has a beautifully flexible voice, yet his family-inspired songs sounded bland. SF’s own Shawna Virago — edgy, elegant, elegiac — premiered a lovely new work dedicated to Sean Dorsey.

Dorsey’s substantial Lou is his finest work yet, and the festival’s highlight. The excerpt (performed beautifully by Dorsey, Juan de la Rosa, Brian Fisher, and Nol Simonse) stood well on its own. Some of the verbal links between memory and history probably could be tightened, but the simple yet eloquent choreography opens up Dorsey’s language and Lou’s life remains simultaneously tender and powerful. As for the next Fresh Meat Festival: less between-the-acts talk and tighter tech, please.

Tear up the budget

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EDITORIAL Here are a few of the new taxes in Mayor Newsom’s no-new-taxes budget.

The cost of sending your kid to a city day camp will jump 35 percent. The cost of after-school latchkey programs will go up 112 percent. It will cost a dollar more to swim in a public pool. Annual swim passes for seniors and people with economic needs will rise by $25. And that’s on top of the Muni fare hike. Fines, fees and licenses will go up a staggering 41 percent.

In other words, poor people who use city services will see their taxes — that is, the cost of using city services — go up significantly. But rich people, big business, Pacific Gas and Electric Co., property owners — they won’t pay anything more at all. (Of course, if you own a small tatoo parlor, your city fees will go up 1,200 percent.)

This is one of the essential lies of the Newsom budget. It’s not revenue-neutral at all; it just raises taxes on the poor.

It’s also not a budget that shares the economic pain fairly.

The Firefighters union is screaming that the supervisors might want to cut a little bit from that bloated agency, but their protests defy reality. In fact, the budget analyst has identified more than $6 million in relatively painless cuts to the Fire Department — and if the supervisors went along with those recommendations, the department would still be getting more than $1 million in increased funding. It’s hard to argue for cutting firefighting in a city built of wood that’s had a bad history with fires. But the reality is that San Francisco’s fire-suppression system was designed long before the days of fire codes, smoke detectors, and sprinklers, and there just aren’t as many fires these days. The budget analyst suggests — as the controller did in 2004 — that the city could temporarily close a few fire stations without any appreciable reduction in public safety.

Firefighters in San Francisco get pay and benefit parity with the cops — and the cops have gotten nice raises recently, in part because it’s been hard to recruit people to work for the San Francisco Police Department. On the other hand, there are 5,000 people on the waiting list to apply for a job as a San Francisco firefighter.

The Police Department’s due for a budget increase, too — of more than $15 million. The budget analyst suggests that $4 million of that could be cut without damaging law enforcement.

Then there’s the Mayor’s Office, where a staff of five people handle public relations for Newsom, at a cost to the public of $653,571. When Art Agnos was mayor in the late 1980s, he managed to get by with just one press secretary. The population of the city hasn’t changed; the number of reporters at City Hall has decreased. Why does Newsom need five times as many people in his communications office? And how much of that public money is actually being used to promote the mayor’s campaign for governor?

Those are just some of the revelations from the reports of the budget analyst and the hearings so far. And they add up to a budget situation that’s very different from anything the city has seen in years.

The Board of Supervisors typically tinkers with the mayor’s budget, changing a million here and a million there. This time the mayor has in effect declared war on the supervisors, appearing with the firefighters at rallies and denouncing board members (at one point Newsom told reporters, "Thank god we have a mayor.") The outcome of the current budget hearings will be a test for the progressive majority on the board, and particularly for president David Chiu. The board members have to be willing to essentially tear up the mayor’s budget, restructure the priorities, replace the fee increases with fair new taxes (even if it means including in the budget projections for tax measures to go on the November ballot), and eliminate the embarrassing waste. *

Art listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For complete art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through July 5. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Signs: Wordplay in Photography." Thematic survey. Through Sun/14. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Retrospective of the German Symbolist artist. Through July 4.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through July 7. "Otl Aicher: Munchen 1972." Graphic design. Through July 7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through July 7. "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Under a Full Moon: 30 Years of Perpetual Indulgence." Show devoted to the Sisters of Perpetual Indulgence. Through June 28. "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through July 5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through July 5.

BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27. *

Renegade Rockers Hold Down 26 Years of SF Breakdancing

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By Michael Krimper


Renegade Rockers in action.

When a breakdance battle erupts — whether in a club or gym, or on the block or Youtube — heads heed and take note. In a swirling cypher, b-boys and b-girls display their skills on the floor in a back and forth rhythm, showcasing commando techniques and more daring, original styles to the appraisal of the crowd and their fellow crew members, and of course for themselves.

The electric dance style has come a long way since its formative years in the boroughs of 1970’s New York. The West Coast, and in particular the San Francisco Bay Area, has been at the center of many of the innovations contributing to the dynamic evolution of breakdancing. One of the legendary local crews still active, the Renegade Rockers, have been breaking boundaries since their founding at SF City College in 1983.

That longstanding history informs Renegades’ consistent dedication to the culture. In their upcoming 26th anniversary event, the crew plans to showcase the skills which keep them competitive with the top players of the worldwide breakdance community. “Organizing the Renegade Rockers anniversary events encourages the dance scene to keep pushing the limits and inspires new generations to come,” team captain Wicket tells me. Beyond the high energy battle competitions, the crew plans to spread the love by hosting a series of panel discussions on the history of street dance and workshops covering the basics, from foundational breaking to popping, locking, and rocking.

Film review: “American Artifact: The Rise of American Rock Poster Art”

1

By Laura Swanbeck

amerart.jpg

Synonymous with ‘60s counterculture, the plethora of rock posters adorning the walls of the Fillmore once served a more modest purpose. Concert promoter Bill Graham used to pass them out to the first 500 people out the door. If you love San Francisco’s role in rock and roll history or the very mention of Wolfgang’s Vault sends you scrambling for your collection of vintage vinyl, you will probably enjoy Merle Becker’s American Artifact: The Rise of American Rock Poster Art. Abandoning her corporate TV job, Becker traces rock poster art from its birth in the 1960s to its modern resurgence with burgeoning online communities such as gigposters.com. The subject matter might be inspiring, but the documentary’s execution is ultimately unsatisfying. While Becker reflects how Vietnam and the hippie era shaped the art form in the ‘60s, she lacks the conviction to dive headfirst into modern influences, glossing over the palpable imprint of pop culture, advanced technology, and the Iraq war. Although the film provides a few entertaining diversions with eccentric rock poster artists recalling how they gleefully flouted art school conventions to create their own psychedelic styles, Becker, providing the film’s monotonous voice over, fails to captivate. For a passion project, she sounds surprisingly dispassionate, not to mention disingenuous as she extols the virtues of nonconformity and independent art while ultimately returning to the corporate fold.

American Artifact: The Rise of American Rock Poster Art
Sat/20, 5 and 7 p.m., $6-9
Red Vic, 1727 Haight, SF
(415) 668-3994

PUC nomination delayed

3

By Tim Redmond

The nomination of Anson Moran for a seat on the San Francisco Public Utilities Commission was delayed today after Sup. David Campos asked for more time to review Moran’s record.

We’ve argued against the nomination, as have many public-power advocates. There is, of course, the argument that Moran is better than some of the turkeys Mayor Newsom might put forward and at least has some qualifications for the job. But on balance, this is someone who, when he had a chance as the agency’s general manager, did his best to sabotage public power.

After the jump is an excerpt from a detailed chronology of the PG&E/Raker Act scandal that we did back in 1997. The entire chronology — the most detailed history of the scandal every published, as far as I know, is available here.

Hot sex events this week: June 17-23

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Compiled by Molly Freedenberg

DevilDoll002_0609.jpg
Satan’s sultry songstress joins bawdy burlesqueteers at Friday’s Hubba Hubba Revue.

————-

>> MythFits
Elan, Leah Lakshmi, Piepezna Saramarasinha, and Luna Maia queerify classic myths in this series hosted by the legendary Michelle Tea.

Wed/17, 6pm. Free.
San Francisco Public Library
100 Larkin, SF
www.queerculturalcenter.org

————-

>> “Love and Sex in the Spin Cycle”
The Marsh presents Lambeth Sterling’s comedy concerning relationships, dating, marriage, and The Secret.

Wed/17, 7:30pm. $10-$15.
The Marsh
1062 Valencia, SF
(800) 838-3006
www.themarsh.org

————-

>> Frameline
The annual international LGBT film festival presents too many sexy, sensuous, thought-provoking, gender-bending, identity-questioning flicks to list (though I’d love to see Berated Woman, about an Orthodox Jewish woman who falls for a Christian Aryan Supermom). Check out the website for dates, times, and descriptions.

Thurs/18-June 28, times, locations, and prices vary.www.frameline.org

————-

>> Slinky Summer Tour of SF Strip Clubs
Slinky Productions hosts its award-winning walking tour of North Beach “gentlemen” clubs, this one open to couples. A professional exotic dancer will guide you through SF’s sexy history, host an elborate dinner at Chinatown’s infamous House of Nanking, and take you to Ruby Dolls, where you can pick up your own slink-a-licious outfits to take the magic home.

Fri/19, 6pm. $99/person or $190/couple, including club entrance, two drinks, and dinner.
Register at www.slinkyproductions.com

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>> MILF Fiction, Cougar Poetry and Cheeky Granny Literature
Anna Reed, author of Sleeping around Craiglist, hosts an evening of erotic readings about mature women and the carnal adventures they crave.

Fri/19, 6:30pm. Free.
Good Vibrations Polk Street
1620 Polk, SF
(415) 345-0400
events.goodvibes.com

Hello sailor

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By Matt Sussman


a&eletters@sfbg.com

Revolution seems to be on the minds and in the hearts of many in LGBT folk these days. The desire for change is palpable at the marriage equality marches that have now become regular occurrences, even if one isn’t marching under the banner of marriage equality. Indeed, the large and sustained outpouring of grassroots activism that has sprung up since Proposition 8 "passed" last November has been hailed, however ill-fitting the comparison, as "Stonewall 2.0."

Stonewall is undoubtedly a milestone — and its resonance with our current historical moment is underscored by the fact that Frameline 33’s closing night happens to fall on the 40th anniversary of the New York City riots. But Stonewall is not our only example of queers taking power into their own hands (San Francisco’s own Compton Cafeteria Riots of 1966, in which transgender people fought for their right to occupy public space, immediately comes to mind.) Nor are the social justice movements and underground film culture of the Stonewall era — both subjects touched on in a swathe of ’60s and ’70s-related films at this year’s festival — our only historical models for envisioning and enacting change. There are other histories, other battles, and other scenes to explore.

Local filmmaker Cary Cronenwett’s Maggots and Men — a stunning black and white historical fantasia on the possibilities, pleasures, and perils of revolution — proposes such another scene. Set in a mythologized postrevolutionary Russia but based on actual historical events, Maggots marshals early Soviet cinema, the gutter erotics of Jean Genet, and what at times seems like a transgender cast of thousands to build its case for the necessity of queer utopias. "I made a school boy movie, Phineas Slipped [under the name Kerioakie, in Frameline 26], so the next logical step was to make a sailor movie," says Cronenwett, explaining the germ for his film over the phone. "I wanted to make a film that created another world."

Maggots dramatizes the events of 1921, when the sailors of the seaport town of Kronstadt (whose failed 1905 revolution would be immortalized by Sergei Eisenstein in 1925’s Battleship Potemkin) drafted a resolution that supported the factory workers on strike in St. Petersburg. Deeming the sailors’ declaration of solidarity and demands for food and greater autonomy as "counter-revolutionary," the Bolshevik government launched a propaganda campaign against them, eventually sending the Red Army to take their island stronghold by force. The Bolsheviks eventually won the two-week long battle, in which both sides suffered heavy losses, killing or exiling the remaining sailors.

Told through the fictionalized letters of sailor Stepan Petrichenko (played by dreamboat Stormy Henry Knight, aptly described by Cronenwett as "the transgender Matt Dillon") to his sister and the performances of agitprop theater group Blue Blouse, Maggots repurposes the aesthetics of socialist realism to both pay tribute to the Kronstadt sailors’ quashed communal experiment and to use that same history as a means to engage with contemporary transgender lives and radical politics. "I’m wrapping together my different fantasies," explains Cronenwett. "There’s the sexual, kinda homoerotic utopia and then there’s this sort of communal utopia, where you have a society based on mutual respect."

If Maggots were a poem, it would undoubtedly take the form of an idyll. The sailors engage in a bucolic routine of communal farming and exercise, angelically sleeping in hammocks, carousing with the local ladies, and occasionally engaging in some alcohol-fueled sex with their fellow mates. Flo McGarrell’s gorgeous production design and composer Jascha Ephraim’s accordion-rich original score certainly contribute to the film’s reverie-like passages, but much of what is beautiful about the film is due in no small part to the handsome chiaroscuro visages of the film’s primarily trans-masculine actors. Cronenwett is as quick to cite Genet’s Un Chant d’Amour (1950) and James Bidgood’s Pink Narcissus (1968) as he is Eisenstein, as influences — and it shows.

But Cronenwett has other things, aside from "dirty sailor beefcake," on the brain. As he points out in a follow-up e-mail to our conversation, the trans actors in Maggots don’t just rewire the long history of the sailor as subject of homoerotic image-making in terms of gender, but also reframe the homosocial world of Krondstadt in terms of anarchist politics. "It’s not just cute butts that turn me on — it’s also ideas, and people’s politics. Not politics, like chatting about Obama or whatever, but people that are into creative ways of living and aren’t into non-consensual domination."

These politics were put into practice, as much by necessity as design, over the course of the four years it took to make the film. Shooting sporadically in rural Vermont (a frozen Lake Champlain uncannily summons the wintertime Baltic captured in photos of the Red Army’s 1921 advance); San Francisco backyards and gallery spaces; and Battery Boutelle in the Presidio and Battery Mendell in Marin, Cronenwett describes making Maggots as a "highly collaborative" process that involved the talents of friends, DIY artists, political organizers, nonprofessional actors, and anyone else who could be tapped via word-of-mouth (the film also received financial support from the Frameline Film and Video Completion Fund). At times, the filming even started to take on the communal can-do atmosphere of Kronstadt itself. "People slept on the floor and took cooking shifts, and helped make costumes," remembers Cronenwett of the Vermont shoot.

As much as Maggots is a homoerotic pastoral, the film doesn’t shy away from exploring the difficult, sometimes painful, realities attendant to any act of self-determination. As its very title — itself a reference to the rotting meat that sparks the sailors’ mutiny in the first act of Potemkim — suggests, the consequences of our actions can fester within us. "The sailors are still lugging around the violence from the revolution with them," writes Cronenewett. "Even in the salad days the violence is there just under the surface."

This violence takes on a different cast in the context of transitioning genders, something which the actors’ own mixed gender expressions continually underscore. "Transitioning is, hopefully, a liberating, positive experience. But it can also have some elements of violence associated with it. That can be a literal kind of violence — like chopping off body parts — or can be something more ethereal, like squashing aspects of ourselves to fit into either gender category."

The film is careful, though, not to hold up the sailors’ bloody defeat as a cautionary example of revolutionary hubris, just as it stylistically evokes Russian cinema of the ’20s and ’30s while avoiding that period’s penchant for egregious hero worship (flirting with martyrdom can be a slippery slope when engaging with the Soviet realism). In a sense, Maggots‘ restaging of history captures the full allegorical meaning of "utopia" — a social ideal that doesn’t exist and yet, nonetheless, remains an ideal. But, as Maggots also proves, film gives us the means to envision such ideals. At a time when our "revolutionary" moment seems blinded by tunnel vision — and has largely become defined by terms we never dictated — Maggots‘ kino eye reminds us that our past and our present are full of radical possibilities. *

MAGGOTS AND MEN

Sun/21, 1:30 p.m., Castro


The 33rd San Francisco International LGBT Film Festival runs June 18–28 at the Castro, 429 Castro, SF; Roxie, 3117 16th St., SF; Victoria, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $8–$10) are available at www.frameline.org.

Rusty never sleeps

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johnny@sfbg.com

I’ll be honest: interviewing Rusty Santos was a last-minute thing. I just found out that Santos’s group the Present is coming to SF. And let me tell you, I’m bummed. While Santos and bandmates Jesse Lee and Mina are making music here, I’m going to be across the country in their hometown of New York City. One listen to Santos’ production for Panda Bear’s sublime Person Pitch (Paw Tracks) is all it takes to recognize his special studio grace, and based on the spacious beauty of World I See (Lo Recordings, 2008) and the new Way We Are (Lo Recordings), the Present is one of the few contemporary bands I’m eager to see live. So if you check out one of the shows, tell me how good it was for you.

SFBG What are some of the first sounds you remember?

RUSTY SANTOS The sweet potato salesman’s song I heard as a kid in Japan. A lot of the vendors there sing these jingles that have probably been sung for generations and remind me of hymns. I lived in Nagoya for a few years when I was growing up, and my earliest sonic memories are from there.

SFBG What were some of your favorite musical experiences as a kid, in terms of listening to music and making it?

RS Playing in hardcore bands in high school was my most formative musical experience. Also singing in chorus in elementary school was important. My life was changed the first time I heard Michael Jackson.

SFBG You’re from Fresno and you’ve also lived in the Bay Area. What things did you love and not love about both?

RS I love how Fresno rests in the valley at the foot of an immense mountain range. Being at sea level but separated from the ocean felt pretty isolated, but there’s also this sense that the sky’s the limit. San Francisco has a lot more history, and is of course more worldly, so that was my introduction to the kinds of cultural activities I would pursue after moving to New York.

SFBG The Present is the Present, and as Rusty Santos you have songs or titles such as "Eternity Spans" and "Moving Time." What is it about time that interests or compels you?

RS Time has always fascinated me because I kind of feel like it doesn’t exist or at least doesn’t behave in exactly the same way recording equipment captures it. I feel that with music it’s possible to change the way people perceive time and help [them] appreciate it more.

SFBG Did you see that Alan McGee of Creation Records fame named the Present as one of his favorite groups?

RS Someone showed me that. I like a lot of Libertines and Babyshambles songs, and of course My Bloody Valentine. And Felt.

SFBG What’s the strangest or best description you’ve heard of your music?

RS That would have to be Alan McGee comparing it to [Wolfgang Voigt’s project] Gas. He’s wrong, but that’s a huge compliment.

SFBG Panda Bear’s Person Pitch is one of my favorite albums of recent years. You recorded it in Lisbon, and I’m wondering about your impressions of that place and how it might have influenced you.

RS Portugal is amazing. My last name is Portuguese and the first time I traveled there I felt like there was some lost family connection.

SFBG In an interview I did with him around the time of Tilt (Fontana, 1995), Scott Walker said he doesn’t like the compression of most modern recordings. Would you agree with his view?

RS Yes, I completely agree, except for when I disagree. Most of the time new music sounds flat and over-compressed, but in some cases it’s used to genius effect.


SFBG What are you looking forward to doing while you’re in the Bay Area?

RS I’m looking forward to checking out the bands we’re playing with and seeing old friends. It will also be nice to get some coffee and visit Golden Gate Park.

THE PRESENT

With Queens, Religious Girls, Our Brother the Native, New Future

Thurs/18, 9 p.m., $7 (21 and over)

The Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com


With Queens, Railcars, Egadz

Fri/19, 9 p.m., $8 (21 and over)

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

Wet stuff

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andrea@altsexcolumn.com

Dear Andrea:

I know you’ve written about the G-spot before, but I have to say I’m still confused. I can have orgasms when my boyfriend goes down on me but not from intercourse, which I guess is pretty common. I keep wondering maybe if he could find my G-spot? I was also wondering about female ejacuutf8g. I don’t think I’ve ever female ejaculated or had a G-spot orgasm. What can I do?
Love,

Hoping For More

Dear Hope:

You and quite an army, actually. All of your desiderata are perennials on women’s must-have lists. Sadly, though, unlike the "it" bag of the season, you can’t get just get a cheap knock-off at Target and be satisfied. Oh, wait, that’s not true — it’s actually entirely possible that the right tool might get the job done, and those, you can buy.

The G-spot, as we have discussed ad infinitum, is not so much a discrete spot as it is a convenient catch-all for a bunch of associated structures, including the erectile tissue around the urethra (paraurethral sponge), and the vast internal portions of the clitoris, the body and crurae (the external part is the glans). OK. We’ve done that. You may also remember that because all that good stuff is largely above the vagina, any fingers attempting to access it are going to need to apply a firm upward pressure. Think of it as that "You! Over here!" gesture that Carmela Soprano made to Charmaine Bucco that time when Artie and Charmaine catered her party. Fingers can do this successfully, but most often those are somebody else’s. If you want to do the preliminary exploration on your own, or want to speed things along, one of the approximately 100 million sex toys made for the purpose will likely do the trick.

Now, the wet stuff. May I just say, before we get started, that I really object to the term "female ejaculate" as a verb, even though I occasionally end up employing it? Let’s try to stick to using it as a noun, the stuff in that puddle there, and use just plain "ejaculate" for the verb, figuring we know we’re talking about the women-folk here. Good. So, ejaculation has a funny sort of recent history, going from utterly obscure and unmentioned to the subject of heated argument to feminist cause célèbre in less than 30 years, starting with Grafenberg (he of the Spot) in the 1950s. By the ’90s women (or sometimes womyn) were making theater pieces and giant marching puppets about it, while others were watching instructional videos and driving themselves and their partners frantic looking for the elusive spot and its payload, the equally elusive (female) ejaculate. By the oughts, the endless stream of articles about how to get yourself an endless stream of orgasms along with their attendant rivers of body fluids seems to be drying up, replaced largely with articles about … dryness. Low sexual desire and no sexual desire and how to spark up your marriage. The audience is getting older, I guess. The how-to books and videos produced during the boom years are all still around, though, so no reason not to give ’em a shot.

Love,

Andrea

Don’t forget to read Andrea at Carnal Nation.com.

PG&E attacks consumer choice

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rebeccab@sfbg.com

A ballot initiative backed by Pacific Gas and Electric Co. could amount to a death sentence for community choice aggregation (CCA) and expanded public power in California.

Dubbed the Taxpayers Right to Vote Act, the proposed initiative would require a two-thirds majority vote at the ballot before any local government could establish a CCA program, use public funding to implement a plan to become a CCA provider, or expand electric service to new territory or new customers.

The new hurdle would make it very difficult for a local government to move forward with a CCA, while at the same time making it much easier for a utility to defeat public power at the ballot.

Signed into state law in 2002, CCA allows local governments to buy up blocks of power to sell to residents, making it possible for cities and counties to set up alternatives to private utilities such as PG&E and, in many cases, to offer electricity generated by clean, renewable power sources.

The initiative is in its earliest stages, and it likely would not be placed on the state ballot until the June 2010 election. At this point, "it’s unclear how much of a campaign it’s going to be," according to Greg Larsen of the Sacramento public relations firm Larsen Cazanis, a spokesperson for the effort. "It’s a long way off."

That hasn’t stopped local CCA supporters from sounding alarm bells. "Urgent/Bad! PG&E State Ballot Measure To Kill Public Power & CCA," public power activist Eric Brooks wrote in the subject line of a widely disseminated e-mail last week. "It’s red alert time boys and girls," he wrote, saying the proposal "will kill all new Public Power and Community Choice Aggregation projects statewide."

Brooks isn’t alone: everyone the Guardian spoke with who is involved in the creation of San Francisco’s CCA voiced concern that the proposal could kill any future community choice efforts.

The proposed initiative was submitted to the California Attorney General’s office May 28 with the contact listed as the Sacramento law firm Nielsen, Merksamer, Parrinello, Mueller & Naylor, a powerful player with a long history of working with PG&E on ballot initiatives. Larsen confirmed that PG&E had provided the $200 filing fee, the only amount spent so far on the embryonic proposal.

The official proponent of the initiative is Robert Lee Pence, apparently the same person who was listed as an opponent of Proposition 80, a 2005 ballot measure that dealt with utility regulation. Opposition to Prop. 80 was heavily funded by PG&E and other utilities, and the initiative failed by a wide margin.

Pence’s group, Californians for Reliable Electricity, listed Steve Lucas as a contact on 2005 campaign documents. Lucas is also listed as the point person at Nielsen, Merksamer, Parrinello, Mueller & Naylor for questions regarding the Taxpayers Right to Vote Act.

The address listed for the organization is the same as that of Townsend, Raimundo, Besler and Usher — a Sacramento political consulting firm that also has a long history of working with PG&E on political campaigns. When asked about the PR firm’s role in the Taxpayer Right to Vote Act, Larsen acknowledged that they "may be involved as the campaign goes forward," but cautioned that any discussion so far has been preliminary.

The rationale behind the initiative is to protect taxpayers, Larsen said, because CCA programs "are major issues that communities undertake and require millions or billions of public dollars." The proposed initiative, he said, seeks to "ensure that voters — and frankly, their descendents — who will wind up being responsible for these programs have a say." If the measure passes, Larsen added, voters could still approve CCA programs — but with two-thirds of the vote, a supermajority that he contends is "staying in line with many other California requirements."

California Sen. Mark Leno, however, has a very different opinion. "I would hope that Californians would have come to understand that two-thirds vote thresholds are probably more responsible for damage to the state of California in the past 30 years than any other single factor," he said. "To hand a small minority controlling power is anti-democratic. This must be defeated." Leno also said he believes that the initiative would have drastic consequences for CCA programs if it passes.

Meanwhile, local CCA supporters say there is more to this than merely sticking up for taxpayers’ rights. If programs like Clean Power SF — the CCA initiative currently being developed in San Francisco — are fully implemented, then PG&E, which makes good money from its monopoly status, would face some actual competition. Naturally, the powerful utility would have an incentive to eliminate the alternative altogether.

Under the current system, PG&E "has to rely on the elected officials to kill CCA, and its much harder … to do that," says John Rizzo of the San Francisco Bay Chapter of the Sierra Club. But if the Taxpayers Right to Vote Act is enshrined in state law, "they could just pour in money and spread propaganda. Particularly the two-thirds requirement is just outrageous — it basically makes it impossible" to secure approval for any step toward CCA implementation.

"It’s a nasty ballot initiative," Mike Campbell, director of San Francisco’s CCA at the Public Utilities Commission, told us. "I think it’s clearly aimed at the heart of CCA." Campbell added that while he has been in discussion with SFPUC staff and others involved in hammering out Clean Power SF, he wasn’t at liberty to discuss a strategy for fighting the proposed initiative just yet.

Ross Mirkarimi, who chairs the city’s Local Agency Formation Commission — the body tasked with working in tandem with the SFPUC to implement San Francisco’s CCA — called the proposal "heinous — and yet I expect nothing less from PG&E.

"They can try to win by well-funded misinformation blitzkrieg," Mirkarimi noted. "If they’re able to spend $10 million without blinking here in San Francisco [on defeating a public power measure], they’re poised to spend tens of millions on this. As a state battleground, this elevates the fight that much more. We have to act in solidarity with other municipalities. We should be well-armed in repudiation of this effort."

There may be ways to attack the initiative in advance. The CCA legislation bars private utilities from seeking to undermine local CCA efforts. Assembly Member Tom Ammiano told us that the Legislature should look at how PG&E could be blocked from mounting a statewide effort to kill CCAs. "I think there’s some potential there," he said.

Julian Davis, who chaired the Prop. H campaign for public power last year, said he found the proposal very worrisome. "If you shut down community choice, you’re shutting down one of the major vehicles for clean energy," he said. To Davis, the initiative highlights "a disturbing trend of corporate America finding ever-more clever ways of tying the hand of local government in general. You know they’ll dump millions into this," he added. "The ultimate irony here is that none of us have the right to vote on anything PG&E does. None of us has a seat at the PG&E board table. It’s doublespeak."

Rachel Buhner contributed to this report.

Wild Thing!

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This year’s Frameline — a.k.a. the San Francisco International LGBT Film Festival — is one of the strongest in the event’s 33-year history. The Frameline Award, annually handed over to someone “who has made a significant contribution to lesbian/gay/bi/transgender film,” is being bestowed on George and Mike Kuchar, who in addition to meeting the criteria noted above, have also made significant contributions to filmmaking in general, and San Francisco filmmaking in particular. The Kuchar kudos mesh well with Frameline’s focus on 60s and 70s-themed films, including Guardian cover boy Joe Dallesandro (profiled in the doc Little Joe). Our coverage also includes a look at a long-awaited local project, Cary Cronenwett’s Eisenstein-inspired, transgender-populated Maggots and Men; nostalgic edu-tainment kid pic Free to Be … You And Me; and short takes on festival films, including Centerpiece selections Patrik, Age 1.5 and Prodigal Sons. (Cheryl Eddy)

The 33rd San Francisco International LGBT Film Festival runs June 18–28 at the Castro, 429 Castro, SF; Roxie, 3117 16th St., SF; Victoria, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $8–$10) are available at www.frameline.org

>>Hello sailor
Cary Cronenwett’s Maggots and Men (re)stages a revolution
By Matt Sussman

>>Kucharmania!
It Came from Kuchar is a splash of foam within a whirling cinematic cesspool
By Johnny Ray Huston


>>The man from camp
Movie maker Gary Gregerson likes guys with chaka hair
By Johnny Ray Huston

>>The man from camp
Little Joe reveals the real Joe Dallesandro — plus: a special appreciation
By Louis Peitzman and Johnny Ray Huston

>>When we grow up
’70s relic Free to Be … You and Me still resonates
By Dennis Harvey

>>Quickies
Our short, opinionated takes on several featured Frameline flicks

Art listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For complete art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through July 5. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Signs: Wordplay in Photography." Thematic survey. Through Sun/14. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Retrospective of the German Symbolist artist. Through July 4.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through July 7. "Otl Aicher: Munchen 1972." Graphic design. Through July 7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through July 7. "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Under a Full Moon: 30 Years of Perpetual Indulgence." Show devoted to the Sisters of Perpetual Indulgence. Through June 28. "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through July 5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through July 5.

BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

San Jose Institute of Contemporary Art 560 S First St, San Jose; (408) 283-8155, www.sjica.org. Tues-Wed, Fri, 10am-5pm; Thurs, 10am-8pm; Sat, noon-5pm. Free. "It’s Not Us, It’s You." Rejection-themed art. Through Sat/20.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27.

GALLERIES

ONGOING

Brian Gross Fine Art 49 Geary, fifth floor; 788-1050; Tues-Fri, 10:30am-5:30pm; Sat, 11am-5pm. "More Than Meets the Eye," metal collages by Tony Berlant. Through June 27.

Dolby Chadwick Gallery 210 Post, suite 5; 956-3560. "Suburban Birthday Party," new paintings by Douglas Schneider. Through June 27.

*Electric Works 130 8th St; 626-5496. Mon-Fri, 11am-6pm; Sat, 11am-5pm. "2012," slot machine by Enrique Chagoya. Through July 3.

Fraenkel Gallery 49 Geary, fourth floor; 981-2661. Call for hours. "A Survey: 1972-2006," photography by Bernd and Hilla Becher. Through July 3.

Gregory Lind Gallery 49 Geary; 296-9661. Call for hours. "Garden Ruin," new work by Bob Matthews. Through June 27.

Hosfelt Gallery 430 Clementina; 495-5454. Tues-Sat, 11am-5:30pm. "Cubic Drops," drawings and installation by Marco Maggi. Through June 27.

Italian Cultural Institute 425 Washington; 788-7142. Mon-Fri, 9am-5pm. "Giorgio Morandi: Works from the Estorick Collection," etchings and drawings. Through June 30.

Luggage Store 1007 Market; 255-5971. Call for hours. "Cultural Geometry," public art project by Rigo 23 and Fernando Cardoso. Ongoing.

Mark Wolfe Contemporary Art 49 Geary, second floor; 369-9404. Call for hours. Site-specific installation by James Sansing and paintings by Jared Walker. Through June 27.

Micaëla 49 Geary; 551-8118. Tues-Sat, 10:30am-5pm. "In Camera," photography by Douglass freed, Joshua Hershman, and Taliaferro Jones. Through June 27.

Modernism 685 Market; 541-0641. Tues-Sat, 10am-5:30pm. "The Murmur of the Innocents," work by Gottfried Helnwein. Through June 27.

*Oxenrose 448 Grove; 816-9530. Call for hours. "Nature’s Ladders," work by Tahiti Pehrson, sponsored by Arthur magazine. Through June 30.

Robert Koch Gallery 49 Geary, fifth floor; 421-0122. Tues-Sat, 10:30am-5:30pm. Photographs by Kenneth Josephson. Through June 27.

*Steven Wolf Fine Arts 49 Geary, suite 411; 263-3677. Tues-Sat, 11:30am-5:30pm. "You Feel Me?," work by Tim Sullivan. Through June 20.

*SFAC Gallery 401 Van Ness; 554-6080. Call for hours. "Trace Elements," group show curated by Meg Shiffler. Through July 3. *

The Catholics and the Nazis

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By Tim Redmond

The radical right wing of the Catholic Church really has no business using the image of Nazi Germany to discredit critics. The history books (and the doctrine of glass houses) suggest a few problems with that game.

But the Thomas More Law Center, which represents the Catholic League (that group of wingos who don’t like the Folsom Street Fair) is up in arms over the fact that the 9th Circuit Court of Appeals has concluded that the San Francisco Board of Supervisors “>had the right to criticize Church positions.

And the openly anti-gay bigots dared to say this:

Richard Thompson, President and Chief Counsel of the Law Center remarked, “It is not a stretch to compare the San Francisco Board’s actions to that of the Nazi Germany policy of Gleichschaltung: vilifying Jews as an auxiliary to and laying the groundwork for more repressive policies, including the final solution of extermination. The policy of San Francisco is one of totalitarian intolerance of Christians of all denominations who oppose homosexual conduct. My concern is that if this ruling is allowed to stand, it will further embolden anti-Christian attacks.

The whole episode is kind of silly — the supervisors simply called on William (“Darth”) Levada to back off on his position that guy familes shouldn’t be allowed to adopt kids. (Which is, by the way, about the most anti-Christian position imaginable.)

The Catholics (who are happy to get tax exemptions, put biblical messages in public places, allow prayer in public schools, cheat the city out of transfer taxes and park in the middle of the Goddamn street) say the resolution was a violation of the separation of church and state.

As they say in New York, yagattabekiddin.

Arm race

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Bionic Commando

(GRIN/Capcom; PC, XBOX 360, PS3)

GAMER Reading faithfully from Hollywood’s remake-happy script, the game industry has learned to cannibalize its history. Bionic Commando is the first in an ever-expanding series of big-budget 8-bit retreads; Splatterhouse (Namco Bandai) is due out later this year, and more are sure to follow.

Bionic Commando slots you into the futuristic combat boots of Nathan Spencer, voiced ably if bombastically by Faith No More’s Mike Patton. Spencer is equipped with a bionic arm, a telescoping grappling hook of a limb that enables him to cling to his surroundings and swing, Tarzan-style, through the game’s various levels. The arm is the game’s defining feature, imbuing an otherwise unremarkable third-person action title with a giddy, kinetic thrill.

Physics-based acrobatics are a passable reason to resurrect a moldering NES franchise, and it’s too bad Swedish developers GRIN couldn’t revamp the production values as well. The game is rated "M," for mature, which means the characters curse like it’s going out of style, but the story is insulting to anyone with intelligence even approaching maturity, when it makes sense at all. Stop me if you’ve heard this one before: a scientifically-augmented super-soldier is released from prison in exigent circumstances, made hostage by withheld knowledge of his missing wife-slash-daughter-slash-favorite toy, and charged with saving the world by sinister higher-ups who are totally not going to stab him in the back at a crucial moment.

Despite its free-swinging promise, the game’s lushly designed levels are disappointingly linear. Wide-open areas are liberally slathered with "radiation," an ugly blue texture that acts as a wagging finger of disapproval every time you try to go somewhere the level designers didn’t want you to. Swing too high? Death by radiation. Too low? Radiation. Too far to the left? You get the idea.

Also frustrating is a profusion of tepid, gun-based combat, and when you’re not using your arm to throw cars at things, you’re frantically trying to put bullet-shaped holes in the helmeted henchmen of Gottfried Groeder, a cartoon fascist with a German accent that would make Major Toht blush all the way down to the Headpiece of Ra-shaped scar on his palm.

Given these drawbacks, multiplayer proved to be a refreshing pleasure. Radiation-free and adrenaline-heavy, the game’s death matches make you feel like Master Chief crossed with Spider-Man, and the bionic arm provides all sorts of invigorating possibilities. There are possibilities of a sequel too, judging from the post-credits teaser. If someone makes the rounds at GRIN headquarters installing bionic brains, I might be interested.