International

Peskin takes on BART

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By Tim Redmond

BART’s a system close to meltdown, with a strike possibly looming, a police scandal still lingering and now the San Francisco Airport furious about a surcharge that’s forcing SFO employees to take a shuttle bus into work from Millbrae.

It’s also a political opportunity for somebody to run against James Fang, the last remaining Republican in San Francisco elected office, a BART Board member since 1990, an opponent of effective police oversight and reform — and a big supporter of the BART airport surcharge.

Aaron Peskin, chair of the Democratic County Central Committee, has introduced a resolution blasting BART for the surcharge and blaming it in part on Fang:

Whereas; BART Director James Fang, San Francisco’s only elected Republican, proposed and championed the surcharge as a revenue stream for BART. A BART Director, not subject to term limits, has represented San Francisco since 1990, and is the only San Francisco BART Director not to call for the resignation of General Manager, Dorothy Dugger in wake of the mishandling of the Oscar Grant BART Police shooting on January 1, 2009;

It calls for an end to the surcharge for airport employees — and take a bit of a swipe at a certain local elected board member:

San Francisco Democratic Central Committee supports the Airport in demanding BART reverse the inequitable and punitive surcharge at San Francisco International Airport. The SFDCCC asks San Francisco BART Directors, elected to serve, to lead the way in waiving the punitive fee hurting many minimum wage workers and their families and reexamining the financial relationship with SFO, as BART to the Airport continues to grow in ridership and popularity.

And it suggests that the campaign to elect someone other than Fang in 2010 is well underway. Can you say BART Director Aaron Peskin?

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 more 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. "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). "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

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). "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.


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.

Andy Votel, Gaslamp Killer, Free the Robots

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PREVIEW A small portion of music nurtures body, mind, and soul. A minuscule subsect does so by ripping you magnificently out of your familiar musical safety zones with unpredictable and compellingly fresh organizations of sound. Some have baptized the songs that fall under this rarefied territory of music "face-melters," and for good reason. Assiduously dissolving toughened aural skin, face-melting music inspires knowledge of the outer galactic and inner expansive reaches of the embodied mind. Its dangerous allure has solicited varied responses from thinkers, poets, and musicians throughout history. Plato advises to obliterate such enigmatic revelry in The Republic. William Blake seeks to illustrate its destructive purity in Songs of Innocence and of Experience. More recently, Afrika Bambaataa’s "Searching for the Perfect Beat" embodies the infinite quest for mystical rhythms.

The DJ, producer, and deep crate-digger Andy Votel has made a career out of cultivating and archiving the face-melting phenomenon. Conducting the freaked-out, electronic psych epic Styles of The Unexpected (Twisted Nerve Records, 2000), and helping spearhead Finders Keepers Records to reissue international instances of obscure and intensely monstrous tracks from around the world, Votel is a leading expert on the limit zones of post-World War II music. Notable Finders Keepers reissues and compilations that will rewire your neural networks have emerged from Anatolia (Mustafa Özkent, Selda), France (Jean-Pierre Massiera, Jean-Claude Vannier), and Pakistan (this year’s comp Sound of Wonder).

One contemporary contributor to the Keepers catalog is Los Angeles’ feral beatsmith and DJ the Gaslamp Killer. A mad scientist of the Low End Theory collective, GLK psychedel-ifies hypnotic boom bap cuts and mutates vocals into chilling hums and fuzzed out screams locked toward another kind of prayer. But don’t believe me, peep his avant-garde corpse ringer mix I Spit On Your Grave (Obey, 2008). Once you’ve trained your ears on his radiated sewer funk, flip it fresh on Gaslamp’s collaboration with fellow Theorist, Free The Robots, for the jazzier side of the gutter on The Killer Robots (Obey, 2008).

To mark the third birthday of SF funk wizard DJ Centipede’s Catch the Beat party, Votel, GLK, and Free the Robots have come together for a face-melting good time. Leave your mask at home.

CHANGE THE BEAT 3RD YEAR ANNIVERSARY PARTY With Andy Votel, Gaslamp Killer, Free the Robots, DJ Mahssa, DJ Centipede, Citizen Ten. Fri/10, 10 p.m., $10. Paradise Lounge, 1501 Folsom, SF. (415) 252-5017. www.paradisesf.com

Change the Beat rips off the safety

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By Michael Krimper

419-musbbox.jpg
Votel, freakin’ you

A small portion of music nurtures body, mind, and soul. A miniscule subsect does so by ripping you magnificently out of your familiar musical safety zones with unpredictable and compellingly fresh organizations of sound. Some have baptized the songs that fall under this rarefied territory of music "face-melters," and for good reason. Assiduously dissolving toughened aural skin, face-melting music inspires knowledge of the outer galactic and inner expansive reaches of the embodied mind. Its dangerous allure has solicited varied responses from thinkers, poets, and musicians throughout history. Plato advises to obliterate such enigmatic revelry in The Republic. William Blake seeks to illustrate its destructive purity in Songs of Innocence and of Experience. More recently, Afrika Bambaataa’s "Searching for the Perfect Beat" embodies the infinite quest for mystical rhythms.

The DJ, producer, and deep crate-digger Andy Votel has made a career out of cultivating and archiving the face-melting phenomenon. Conducting the freaked-out, electronic psych epic Styles of The Unexpected (Twisted Nerve Records, 2000), and helping spearhead Finders Keepers Records to reissue international instances of obscure and intensely monstrous tracks from around the world, Votel is a leading expert on the limit zones of post-World War II music. Notable Finders Keepers reissues and compilations that will rewire your neural networks have emerged from Anatolia (Mustafa Özkent, Selda), France (Jean-Pierre Massiera, Jean-Claude Vannier), and Pakistan (this year’s comp Sound of Wonder).

One contemporary contributor to the Keepers catalog is Los Angeles’ feral beatsmith and DJ the Gaslamp Killer. A mad scientist of the Low End Theory collective, GLK psychedel-ifies hypnotic boom bap cuts and mutates vocals into chilling hums and fuzzed out screams locked toward another kind of prayer. But don’t believe me, peep his avant-garde corpse ringer mix I Spit On Your Grave (Obey, 2008). Once you’ve trained your ears on his radiated sewer funk, flip it fresh on Gaslamp’s collaboration with fellow Theorist, Free The Robots, for the jazzier side of the gutter on The Killer Robots (Obey, 2008).

To mark the third birthday of SF funk wizard DJ Centipede’s Catch the Beat party, Votel, GLK, and Free the Robots have come together for a face-melting good time. Leave your mask at home.

CHANGE THE BEAT 3RD YEAR ANNIVERSARY PARTY With Andy Votel, Gaslamp Killer, Free the Robots, DJ Mahssa, DJ Centipede, Citizen Ten. Fri/10, 10 p.m., $10. Paradise Lounge, 1501 Folsom, SF. (415) 252-5017. www.paradisesf.com

The van, it is found

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Since becoming an almost international incident, the stolenization of our beloved Guardian van has finally, breathlessly come to an end. It was found by the SFPD this morning on the 100 block of 25th Ave in the Richmond. It was merely stripped of its ignition.

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Thanks to all who kept an eye out! Now we can go back to delivering fresh brownies to all!

UPDATE: According the Scavenger blog, a teacher from Corta Madera named Kevin Mahoney phoned in the van’s location. Kevin, if you’re reading this, please email marke@sfbg.com and claim your fresh brownie!

Father Miguel’s homily

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P>news@sfbg.com

Editor’s Note: Nick Buxton covered the June 24-26 United Nations Conference on the World Financial and Economic Crisis and Its Impact on Development for the Guardian.

Shuffling into the room, Miguel d’Escoto Brockmann, informally known as Father Miguel, is every bit the avuncular priest — squinting through his glasses, saying we all need to take Jesus’ message of love more seriously.

At 76, the U.S.-born naturualized Nicuarguan citizen doesn’t look like a major threat to the established economic order. But as the elected president of the United Nations General Assembly, d’Escoto has touched a raw nerve among the world’s most powerful nations.

Since late May, European Union and U.S. negotiators have accused him of putting the entire U.N.’s credibility at stake. In the May 24 New York Times article "At U.N., a Sandinista’s Plan for Recovery," reporter Neil MacFarquhar accused Father Miguel of "serious delusions of grandeur." At the end of June, the criticisms reached a loud crescendo as the whole United Nations met for a summit on the global economic crisis.

Last September, d’Escoto was unanimously elected to the one-year presidency. Typically seen as a low-profile convener, d’Escoto, a former foreign minister for Nicaragua under the left-wing Sandinista government, soon showed his colors when he openly condemned U.S. "acts of aggression" in Iraq. When the financial meltdown occurred in October 2008, d’Escoto convened a high-level commission chaired by Nobel Prize winning economist Joseph Stiglitz and started to organize a U.N. conference on the global economic crisis.

He also started to deliver presentations, more like priestly homilies, that challenged the "pandemic selfishness and egotism" that led to the economic crisis and warned of ecological collapse and the need for a renewed veneration for "Mother Earth."

Yet despite the rich nations’ best attempts to isolate him politically, many of d’Escoto’s reform proposals received support from the misnamed Group of 77 nations — which actually represents more than 130 developing nations. D’Escoto made clear his decision to side with the majority against a false unity with a powerful minority: "The U.N. is made up of 192 countries …. I criticize the rich countries, made up of about 25 countries, because they don’t represent the majority but pretend they do…. We must ensure those countries most affected by the crisis have a voice in resolving the crisis."

D’Escoto’s role reflects the emergence of a more confident and powerful southern hemisphere, with nations like India and China presenting an economic challenge to traditional powers in the northern hemisphere and with Latin America posing a vocal political challenge through the likes of presidents Hugo Chavez of Venezuela and Rafael Correa of Ecuador.
Many point out that the United Nations charter (drawn up in San Francisco in 1945) gives the job of global economic coordination to the United Nations Economic and Social Council. Yet this job was usurped by the International Monetary Fund and the World Bank, which are largely controlled by the U.S. Treasury. The Obama administration’s U.N. representative John Sammis’ assertion at the recent U.N. Conference that it believes "any decisions on reform of the international financial institutions or the manner in which they conduct their business are the prerogative of their shareholders and their respective boards of governors" is clearly a blatant rear guard attack on d’Escoto’s efforts to bring democratization to the global economic system.
Beyond the geopolitics, d’Escoto’s probing challenge to the world’s economic powers also gives voice to a breakdown of faith in the credos of free markets, unlimited economic growth, and living to consume. His homilies may occasionally be esoteric, but when d’Escoto proposes the creation of a Global Economic Council or speaks to the importance of values such as solidarity, compassion, and cooperation, they seem much more lucid than the U.S. determination to continue with "business as usual."

Shifting gears

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rebeccab@sfbg.com

Bicyclists throughout the city cheered as the San Francisco Municipal Transportation Agency board unanimously approved 45 new bike-network improvement projects June 26, a move that was hailed as a major step forward for cyclist safety on city streets and a win for the environment.

In a historic decision, SFMTA accepted the findings of an environmental impact review associated with the long-stalled San Francisco Bike Plan and green-lighted almost all of its near-term project proposals, a decision that could trigger the construction of 34 new miles of bike lanes throughout the city starting as early as August.

Plans also call for innovative improvements such as colored bike lanes, converting on-street parking spaces from cars to bikes, thousands of new bike racks, and an effort to ramp up education about safety for bicyclists and motorists. Three years after a court injunction came down on bike-network improvements in the wake of a lawsuit for failing to conduct a full EIR, the board’s vote was widely applauded as a pivotal moment for bicycling in San Francisco. Now that the EIR has been adopted, the process of lifting the injunction has been set in motion.

The vote followed more than three hours of testimony from avid San Francisco cyclists, who asked for more bike lanes and greater accessibility for would-be bicyclists such as children and seniors. Fewer than 20 people turned out in opposition and most people on the thumbs-down side voiced their general support for enhanced bike lanes, but took issue with some flawed aspects of one of the projects.

For a comprehensive design that could ultimately remove more than 2,000 parking spaces from city streets to accommodate bicycle infrastructure, there was remarkably little discussion about the loss of parking.

An old familiar debate about bikes vs. cars continues to grind away — but even Mayor Gavin Newsom called this squabble a thing of the past, touting the Bike Plan as progress for San Francisco and focusing his comments at a press conference on sustainability and livability instead the competition for space on city streets.

IF YOU BUILD IT …


Moments after the MTA Board announced its decision, a crowd of die-hard bike enthusiasts from the San Francisco Bicycle Coalition exchanged hugs and congratulations outside the City Hall hearing room. The vote was hailed as a major, hard-won victory.

"This is a momentous day for better bicycling and a better San Francisco," said Leah Shahum, executive director of the 10,000-member organization. The city "has taken a significant step forward in proving its commitment to smart, sustainable transportation choices, and we expect to see the numbers of people choosing to bicycle to increase dramatically."

Still, there are undoubtedly some who only expect to experience a dramatic increase in frustration when looking for a parking space. There are 880 lane-miles of streets in San Francisco’s roadway network, and according to SFMTA spokesman Judson True, a total of 880 parking spaces throughout the city would’ve been removed if the MTA Board had approved all 46 Bike Plan projects. (The board okayed 45 out of 46 projects; the hotly debated Second Street project, which would have stripped out a handful of parking spaces to accommodate bike lanes, was continued for further study.)

Amid the hundreds of pages of comments submitted during the EIR process was a complaint that the Bike Plan — often touted as a win for sustainability — could adversely impact San Francisco’s air quality by causing more drivers to circle in search of parking.

"More time will be spent by persons in cars as a result of a lack of on-street parking (already at a critical lack of capacity) searching for an available parking spot or stuck in traffic jams due to removal of car traffic lanes," one member of the public complained.

In response, the EIR points to San Francisco’s Transit First policy, which essentially says that the city will provide more of an incentive to take public transit than drive. "The social inconvenience of parking deficits, such as having to hunt for scarce parking spaces, is not an environmental impact," the EIR notes. "There may be secondary physical environmental impacts such as increased traffic congestion at intersections, air quality impacts, safety impacts, or noise impacts caused by congestion. In the experience of San Francisco transportation planners, however, the absence of a ready supply of parking spaces, combined with available alternatives to auto travel … induces many drivers to seek and find alternative parking facilities, shift to other modes of travel, or change their overall travel habits. Any such resulting shifts to transit service in particular, would be in keeping with the city’s Transit First Policy."

The underlying idea is that the Bike Plan can help to clear the air, fight climate change, and boost public health by making it more convenient to go without a vehicle — and more of a headache to drive.

As one commenter pointed out, the Bike Plan could also make life easier for people with disabilities who have to drive by replacing cars with bikes and thus freeing space in traffic lanes.

BRAKING THE HABIT


There are, of course, many sound arguments for nudging people away from driving. At a June 26 press conference, Newsom noted that 54 percent of the city’s greenhouse-gas emissions are related to vehicle traffic on the city’s roadways — and reducing those carbon emissions would go a long way toward making the city more climate-friendly, not to mention healthier for cyclists and non-cyclists alike.

Meanwhile, Bert Hill, chair of the city’s Bicycle Advisory Committee, noted that 40 percent of car trips in the city cover two miles or less, a distance easily traversed by bicycle. If more people opt to go by bike, the result could be calmer traffic, cleaner air, and possibly a boost for business. "No one goes shopping on the highway," one commenter pointed out during the SFMTA Board hearing. For all of these overarching benefits to be realized, of course, many motorists will have to change their behavior by electing to leave the car at home.

The San Francisco Bicycle Coalition points to evidence suggesting that many frequent drivers are in fact ready to transform into frequent bicyclists. "New bike lanes will … attract tens of thousands of new bicyclists," an SFBC press release noted. "More than one-third of San Franciscans say they would ride if streets had more bike lanes and were more inviting for bicycling."

Newsom sounded a similar note, calling the Bike Plan "inevitable" and asserting that the debate that "used to be framed in terms of two wheels vs. four … that is behind us." Instead, he added, it’s time for "a new narrative of collaboration and partnership" between people who share the road.

Still, a battle continues to be waged against the implementation of the Bike Plan. Mary Miles, the attorney responsible for securing the three-year Bike Plan injunction (see "Stationary biking," 5/16/07), momentarily ruined the party at the SFMTA hearing by showing up, casting an icy glare, and warning the SFMTA board to "just stop now. We are appealing these actions." In the overflow room on City Hall’s first floor, Miles’ comments elicited hoots of laughter from a crowd of cyclists.

Miles’ client, Rob Anderson, is known for his cynical view that most people will never be encouraged to ride a bike, and that the Bike Plan unfairly rewards cyclists, a "special interest" group, at the expense of the majority of people, who drive.

Anderson and Miles are expected to appeal the SFMTA’s decision, possibly throwing one last monkey wrench into the process of moving the Bike Plan forward. Construction of new bike lanes can’t begin until the legal issues are resolved and the injunction is lifted.

PARK(ING) IT


A frantic driver who has just found a parking space might be thrilled to seize it, but Matthew Passmore has sparked a different sort of appreciation for parking spaces. One of the founders of Park(ing) Day, Passmore helped draw international interest in 2005 by temporarily transforming a parking space in the Mission District into a public park.

Since then the trend has caught on all over the world: all it takes is some Astroturf, a couch, and a few coins to pay the meter fare — and suddenly the public space usually reserved for cars is transformed into an attractive mini-park for pedestrians and passers-by.

The Park(ing) Day exercise, an event that takes place in September, has since prompted the creation of some 600 parks, free clinics, and other temporary "spaces" as part of the wider commentary about the allocation of public space. In Passmore’s view, "far too much of our city is dedicated to the automobile," and Park(ing) Day is just one way of illustrating this point.

For the soon-to-be 79 miles of bike lanes in the city, after all, there are still 880 lane miles built for cars, and San Francisco streets still accommodate a whopping 320,000 parking spaces. For his part, Passmore characterizes the removal of a few parking spaces as mere "growing pains," but emphasizes that in the long run, the Bike Plan will benefit everyone — not just cyclists.

Art listings

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Art listings are compiled by Johnny Ray Huston.

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 Sun/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). "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 Sat/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 Tues/7. "Otl Aicher: Munchen 1972." Graphic design. Through Tues/7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through Tues/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). "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through Sun/5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through Sun/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. *

Interview: Shohreh Aghdashloo of “The Stoning of Soraya M.”

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By Louis Peitzman

Iranian-American actor Shohreh Aghdashloo first gained international success when she earned an Oscar nomination for her performance in The House of Sand and Fog (2003). Since then, she has continued to win critics over in a variety of eclectic roles. Now she stars as Zahra in The Stoning of Soraya M., based on the true story of an Iranian woman unjustly convicted of adultery and killed. Aghdashloo spoke with me about her background, the film’s political implications, and its ultimate message.

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San Francisco Bay Guardian: Were you familiar with the story of Soraya M. before you did the film?
Shohreh Aghdashloo: No, I’m afraid I wasn’t, although I had seen a real (stoning) on tape. But it was a different one. The one I saw on tape involved two young men who were being stoned for being homosexuals. I had no idea about this story until (the director and co-writer) Cyrus Nowrasteh approached me with the screenplay.

UN conference on global crisis undercut by G20 indifference

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By Nick Buxton
Editor’s Note: Buxton is in New York covering the United Nations Conference on the World Financial and Economic Crisis and its Impact on Development for the Guardian.

Maybe I was being a naïve activist, but I thought I would be covering an important and consequential event. The world is facing a devastating economic crisis, accompanied by a toxic mix of crises of climate chaos, food prices and even flu outbreaks, and here was chance for a smart, effective response to these pressing and interconnected issues.

The international community had agreed back in November 2008 to develop a coordinated international response to an unprecedented global crisis – and to present its plan in summer 2009. Yet, here I am on the second day of that conference, and for the press it is as if the meeting did not exist.

Until Michael Jackson’s death, the latest dull exploits of US celebrity misfits Jon and Kate – famous mainly for their ability to reproduce- were the only stories staring out at me on most newspaper front pages. So I decided to do some investigation.

SCENE: Pacific Sound takes it outside

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Interview by Marke B. Photo by Alex Warnow. From our summer SCENE: The Guardian Guide to Nightlife and Glamour — on stands in the Guardian now.

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For 15 years, the much-loved and lovable warm-weather Sunset parties have shaken various hills, isles, parks, patios, and boats with funky, techy house sounds. Launched by underground hero DJ Galen in 1994 (has it really been that long?), the outdoor Sunset gigs have amassed a huge following of excited party newbies and familiar old-school faces — and now their kids! Early on in the game, Galen was joined by fellow Bay favorite DJs Solar and J-Bird, and the three — collectively known as Pacific Sound (www.pacificsound.net) — have kept the vibe strong ever since. This year saw a remarkable expansion on the Sunset fan base: attendance at the season opener at Stafford Lake reached almost 4,000, and Pacific Sound just launched an annual — and truly moving — party on Treasure Island that had multiple generations putting their hands in the air. "The vision was to take electronic music out of the dirty warehouses, away from the dodgy promoters, and into the sunshine," says J-Bird. Summer’s just begun, and Pacific Sound, with several gangbuster parties lined up, keeps delivering.

SFBG You guys have been a major part of the party scene here for a while. What do you think of it right now?

Pacific Sound There’s a foundation for creativity in San Francisco — that is something that will never change. Also, there definitely is quite a bit more international talent coming here than 10 years ago. It’s this constant exposure to musical stylings from around the world that will facilitate a thriving scene. The recent crackdowns by the SFPD and ABC may be dampening some spirits, but it will never stop our creative heritage.

SFBG You mean all the pressure on venues lately …

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.

Kingston nights

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a&eletters@sfbg.com

Everybody loves bounce. It persists as a state of mind, an epiphany of sexual exhibitionism and physical delirium: Baltimore club and San Francisco’s hyphy movement; Rio de Janeiro’s baile funk to Puerto Rican reggaeton; and London grime and dubstep to Berliners’ dub.

Philadelphia label owner, producer, filmmaker, and occasional journalist Wesley "Diplo" Pentz has probably done more than any other American DJ to popularize the notion of club music as an international phenomenon with common roots and regionally distinct varieties. Last year, Paste magazine claimed he "has updated the template set by 20th century song hunter Alan Lomax." Much like Lomax, Diplo has brought "undiscovered talent" to Western ears, from his early championing of Atlanta crunk as one-half of the pioneering DJ duo Hollertronix to his support of Brazilian rappers Bonde Do Role. However, just because he brings those artists to hipsters’ attention doesn’t mean they aren’t successful within their Third World communities.

Yet even if some myths of cross-cultural exchange persist, they aren’t fraught with as much racial tension as in Lomax’s day. This leads us to Diplo’s latest project, Major Lazer, with U.K. producer Dave "Switch" Loveys. The two traveled to Kingston, Jamaica, last year, recording with dancehall and reggae stars such as Turbulence, Mr. Vegas, Vybz Kartel, and Prince Zimboo at the Marley family’s legendary Tuff Gong Studios. The resulting Guns Don’t Kill People … Lazers Do (Downtown) is a wildly libidinous dance party, a hymn to club nights where pussies pop and guns blaze.

"We both concluded that there’s a lot of talent in Jamaica that isn’t really being exposed at the moment," Switch says from New York City. Many of Major Lazer’s Jamaican collaborators — including T.O.K., author of the infamous gay-bashing anthem "Chi Chi Man" — have had U.S. deals in the past. However, with the music industry’s continuing decline, U.K. label Greensleeves’ meltdown and purchase by equally troubled imprint VP Records, and the cyclical nature of Jamaican music’s popularity, they haven’t received as much attention as in the recent past. "All we’ve tried to do is expose the talent … on a more global scale than just in Jamaica," Switch says.

Switch is the lesser-known of the Major Lazer squad. He first drew recognition in West London for producing garage house tracks. He called his work "fidget house," and the term stuck: the English love their nomenclature. A U.S. trip to work with Spank Rock and Amanda Blank inadvertently led to credits on Santogold’s "Creator," a major hit that, coupled with his widely-acclaimed contributions to M.I.A.’s Arular (Interscope, 2005), helped fuel the Major Lazer project. "Now when we approach things, people are more willing to trust us when we want to make it a little bit more quirky," Switch says.

Both producers have traveled to Jamaica before. Diplo has released material by JA artists like Ms. Thing on his Mad Decent label, while Switch announces his love for the hot Kingston street party Passa Passa. After the two returned to the U.S. to assemble Major Lazer’s debut "in little bits" between other DJ and production gigs, word of the project leaked out to their American friends. "As soon as they heard we were putting it together seriously, they were, like, if you need any help, let us know," Switch says.

Perhaps the best parts of Guns Don’t Kill People … Lazers Do come when their American friends nestle against their Jamaican counterparts: Amanda Blank answers slack rapper Einstein with an equally filthy rhyme on "What U Like"; Brooklyn singer Jah Dan kicks a conscious flow on "Cash Flow"; and criminally underrated harmony sisters Nina Sky sing coquettishly on "Keep It Goin’." Sometimes it’s difficult to appreciate our bouncement artists until you hear them hold their own with their Jamaican counterparts, like when Santogold chants a hook for Mr. Lexx’s gruff war chant on "Hold the Line." It’s then that you realize that club music’s lingua franca — swagger, sex, and having fun — has no borders.

Meanwhile, the cover art for Guns Don’t Kill People … Lazers Do pays homage to the comic art found on the back covers of old Jamaican albums like Scientist Meets the Space Invaders (Greensleeves, 1981) and the Upsetters’ Super Ape (Mob Entertainment, 2006). "Major Lazer is basically a fictional character we dreamt up to give this whole project we did down in Jamaica an identity, rather than it just being me and Wes — two white guys going down to Jamaica and trying to make a record," Switch says. "We tried to make it a little more fun."

MAJOR LAZER

Fri/26, 9 p.m., $26

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.spectrumfest.com

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. *

Frameline33 review: “Cure for Love”

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By Laura Swanbeck

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For years cinematic satires such as Saved! (2004) and But I’m a Cheerleader (1999) have served as send-ups of extreme orthodoxy and have mined ex-gay therapy groups with names like “True Directions” and “Mercy House” for laughs. Francine Pelletier and Christina Willings’ Cure for Love (2008) also tackles these controversial subjects, but in a very earnest and even-handed way. Love opens with the wedding of Brian and Ana, two gay Evangelists who have no delusions when it comes to their sexuality, but who simply refuse to abandon their religious beliefs. The film juxtaposes their union with the relationships of their gay friends, Jonathan and Darren, who finally manage to accept their sexuality while retaining their faith after years spent struggling and journeying to Exodus, a retreat for “same-sex addiction.” From a liberal standpoint, it is extremely difficult to watch Brian and Ana’s wedding footage without thinking that this charade is what’s unnatural, not gay marriage, especially in light of the recent upholding of Prop 8. However,Love never preaches an agenda. Instead, it keeps both sets of couples clearly in focus, presenting an intimate portrait of the myriad kinds of love humanity possesses — love of family, love of God, love of a man or a woman (regardless of your gender) — and how individuals ultimately choose to reconcile them.

Cure for Love plays as part of the San Francisco International LGBT Film Festival
Sat/20, 11 a.m., $8
Roxie Theater, 3117 16th St, SF
www.frameline.org

Hot sex events this week: June 17-23

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Compiled by Molly Freedenberg

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

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>> 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

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>> “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

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>> 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.

Is there hope?

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steve@sfbg.com

GREEN CITY They agree global warming is happening, that it’s caused by the overuse of carbon-based fuels, that its impact on the planet and its myriad life forms will be devastating, and that Congress is failing to properly address the crisis. But the environmentalist and the oil executive disagreed about the most important issue: whether there’s any hope of saving the planet from the worst impacts of climate change.

Chevron CEO David O’Reilly and Sierra Club executive director Carl Pope squared off June 10 at the Hotel Nikko ballroom in San Francisco for a truly historic Commonwealth Club event titled "Drilling for Common Ground." And they did find some, including agreeing publicly to jointly lobby Congress for an energy policy that more quickly phases out coal, the worst of the fossil fuels.

But the more telling exchanges between these two giants highlighted a fundamental disagreement: can we do something about this, or are we simply fucked? And by fucked, I mean doomed to simply accept official predictions of rising seas creating a billion refugees by 2050, the extinction of a million plant and animal species, severe water shortages in California and many other regions, and an unpredictably unstable new world ravaged by severe weather and exotic diseases.

To avoid much of that (but not all — it’s already too late for that), Pope said the scientific community consensus is that we need to stop all coal burning by 2030 (unless emissions can be sequestered, which isn’t technologically possible yet) and reduce our consumption of oil and other carbon-based fuels by 90 percent by the year 2050. "You can’t meet the targets any other way," Pope said.

And he thinks that meeting those targets is not only possible, but it would help the U.S. economy. "The rapid changes in the telecommunications field were good for the economy, and a similar change in the energy field would be good for the economy," Pope said. "We have lots of options if we start moving like it’s a crisis."

But O’Reilly doesn’t think that’s possible. "Even with the best of intentions, we’re only going to get part of the way there," O’Reilly said, quickly adding, "I think we’ll be lucky if we can get 20 to 25 percent by 2050."

At a press conference after the forum, I asked the two men about the implications of only reducing our fossil fuel consumption by 20 percent. Pope cited impacts ranging from "Florida will be a lot smaller" to severe water rationing in San Francisco. "It’s not an acceptable risk to take," he said. O’Reilly didn’t disagree, but he avoided specifics, saying, "I do fear that we have to plan for some adaptations."

It was a remarkable admission, one that most media coverage buried far beneath angles focusing on the common ground they found. But if the oil industry isn’t willing to diligently address the crisis — or worse, if it hinders political efforts to do so, as it has done for decades — does it really matter that it acknowledge the problem?

That core conflict created the sharpest exchange of the forum. "This is the 21st century. We can move much faster than we ever have before," Pope said.

"Well, if you can get the government to move faster, good luck," O’Reilly replied.

"It would help if you would get out of the way," Pope retorted.

Indeed, it is aggressive lobbying by Chevron and its industry trade group, the American Petroleum Institute, that created the energy situation that O’Reilly now finds so intractable. But Pope said he’s happy to work with O’Reilly on policies that support their areas of agreement, which even includes instituting a carbon tax.

Their clash didn’t just focus on global warming; it also focused on the oil industry’s wanton exploitation of people and ecosystems around the world, from propping up despotic regimes and sponsoring human rights abuses in oil-rich countries to leaving toxic messes in Ecuador and elsewhere.

Pope called for the oil industry to set aside 10 percent of its profits to create a global trust fund for dealing with its impacts and for international operating and cleanup standards that would prevent oil companies from exploiting weak or corrupt governments. "Chevron has to come to the table with the global community." Pope said.

O’Reilly never responded directly to the suggestion.

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

This one’s ugly

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news@sfbg.com

The most painful and divisive city budget season in many years was just getting under way as this issue went to press, with dueling City Hall rallies preceding the June 16 Board of Supervisors vote on an interim budget and the board’s Budget and Finance Committee slated to finally delve into the 2009-10 general fund budgets on June 17.

Both sides have adopted the rhetoric of a life-or-death struggle, with firefighters warning at a rally and in an advertising campaign that any cuts to their budget is akin to playing Russian Roulette, while city service providers say the deep public health cuts proposed by Mayor Gavin Newsom will also cost lives and carry dire long-term costs and consequences.

Despite Newsom’s pledges in January and again on June 1 to work closely with the Board of Supervisors on budget issues, that hasn’t happened. Instead, Newsom’s proposed budget would decimate the social services supported by board progressives, who responded by proposing an interim budget that would share that pain with police, fire, and sheriff’s budgets — which Newsom proposed to increase.

Rather than simply adopting the mayor’s proposed budget as the interim spending plan for the month of July, as the board traditionally has done, progressive supporters proposed an interim budget that would make up to $82 million in cuts to the three public safety agencies and use that money to prevent the more draconian cuts to social services.

“It’s the start of a discussion to figure out what that number should be. I don’t know where we’re going to end up,” Sup. David Campos, who sits on the budget committee, told us.

Board President David Chiu said Newsom did finally meet with him and Budget Committee chair John Avalos on June 15 to try to resolve the impasse. But he said, “We didn’t hear anything from the mayor that would change where we were last week.” They planned to meet again on June 19.

“What we proposed represents the magnitude of the challenge we face this year,” Chiu said of the interim budget proposal, seeming to indicate that supervisors are open to negotiation.

The real work begins the morning of June 17 when the Budget and Finance Committee dissects the budgets of 15 city departments, including the Mayor’s Office, of which Avalos told us, “I don’t think the mayor has made the same concessions as he’s had other departments make.”

The next day, another 13 city departments go under the committee’s microscope, including the public safety departments that were spared the mayor’s budget ax and even given small increases, and the budget of the Public Defenders Office, where Newsom proposes cutting 16 positions.

“This creates a severe imbalance in the criminal justice system,” Public Defender Jeff Adachi told us. “Why is he cutting public defender services while fully funding police, fully funding the sheriff’s department, and essentially creating a situation where poor people are going to get second-rate representation?”

That theme of rich vs. poor has pervaded the budget season debate, both overtly and in budget priorities that each side is supporting.

 

BUDGET JUSTICE

Hundreds of people whose lives would be affected by cuts marched on City Hall under the banner Budget Justice on June 10. Some of San Francisco’s most vulnerable citizens, including homeless people, immigrants, seniors, and public housing residents, turned out for the march, chanting and waving signs asking the mayor to “invest in us.”

Sups. John Avalos and Chris Daly delivered resounding speeches mirroring the anger in the crowd, and promised to fix the budget by reallocating money to protect the city’s safety net. Daly charged that even as services to the city’s vulnerable populations are being slashed, “the politically connected and the powerful get huge increases.”

Avalos took the podium just before heading into City Hall to lead the Budget and Finance Committee meeting and implored the hundreds of people gathered out front to make their voices heard. “Mayor Newsom, he told us, he said, ‘We have a near-perfect budget.’ Do we have a near-perfect budget?” Avalos asked, and then paused while the crowd cried out, “Nooo!!!!!”

During an interview discussing Newsom’s budget priorities, Avalos twice made references to The Shock Doctrine, using the Naomi Klein book about how crises are used as opportunities to unilaterally implement corporatist policies. “We have a budget deficit that is real, but it’s being used to do other things,” Avalos said. “I look at it as a way to remake San Francisco. It’s a Shock Doctrine effect.”

He referred to the privatization of government services (an aspect of every Newsom budget), promoting condo conversions and gentrification, defunding nonprofits that provides social services (groups that often side with progressives), and helping corporations raid the public treasury (Newsom proposed beefing up the Mayor’s Office of Economic and Workforce Development by a whopping 32 percent).

“It’s things that the most conservative parts of San Francisco have wanted for years, and now they have the conditions to make it happen,” Avalos said.

Much of that agenda involves slashing services to the homeless and other low-income San Francisco and de-funding the nonprofit network that provides services and jobs. “There’s an effort to say nonprofit jobs aren’t real jobs, but they are an important economic engine of the city,” Avalos told us. Those cuts were decried during the June 10 budget rally.

“What people don’t realize,” Office & Professional Employees International Union Local 3 representative Natalie Naylor said, “is that everything that’s being proposed to be cut from the city is creating no place for homeless people to go during the daytime. I don’t think Newsom’s constituents realize that we’re going to see more homeless people on the street than ever before.”

Pablo Rodriguez of the Coalition on Homelessness told the crowd that he was furious that the mayor would make such deep cuts to social services. “Stop riding on the back of the homeless, and the seniors and the children and all the community-based organizations,” Rodriguez said. “Why make the poor people pay for the rich people’s mistakes? The poor people didn’t make the mistakes.”

 

WHOM TO CUT?

The public safety unions were equally caustic in their arguments. An announcement for the Save Our Firehouses rally — which was heavily promoted by members of the Mayor’s Office and Newsom’s gubernatorial campaign team — claimed that “the Board of Supervisors voted to endanger the progress that we’ve made in public safety by laying off hundreds of police officers, closing up to 12 out of 42 fire stations and closing part of our jail.”

Actually, all sides have said the interim budget probably won’t lead to layoffs, station closures, or prisoner releases, but those could be a part of next year’s budget.

Tensions temporarily cooled a bit in the days that have followed, but the two sides still seemed far apart on their priorities, mayoral spin aside. Asked about the impasse, Newsom spokesperson Nate Ballard told the Guardian, “The mayor has already included over 90 percent of the supervisors’ priorities in the budget. But he’s against the supervisors’ efforts to gut public safety. He’s willing to work with people who have reasonable ideas to balance the budget. Balancing the budget with draconian cuts to police and fire is unreasonable.”

Campos disputed Ballard’s figure and logic. “I don’t know where that number comes from,” Campos said. “A lot of the things we wanted to protect, the mayor cut anyway.”

Campos said Newsom’s slick budget presentation glossed over painful cuts to essential services, cuts that activists and Budget Analyst Harvey Rose have been discovering over the last two weeks. “I felt the mayor has done a real good job of presenting things to make it look like it’s not as bad as it really is,” Campos said.

 

COMMITTEE WORK

Avalos expressed confidence that his committee will produce a document to the full board in July that reflects progressive priorities.

“We’re going to pass to the full board a budget that we have control over,” Avalos said, noting that a committee majority that also includes Sups. Campos and Ross Mirkarimi strongly favors progressive budget priorities.

He also praised the committee’s more conservative members, Sups. Bevan Dufty and Carmen Chu, as engaged participants in improving the mayor’s budget. “I think the tension on the committee is healthy.”

Ultimately, Avalos says, he knows the board members can alter Newsom’s budget priorities. But his goal is to go even further and develop a consensus budget that creatively spreads the pain.

“Ideally, I want a unanimous vote on the Board of Supervisors,” Avalos said.

In the current polarized budget climate, that’s an ambitious goal that may be out of reach. But there are some real benefits to attaining a unanimous board vote, including the ability to place revenue measures on the November ballot that can be passed by a simply majority vote (state law generally requires a two-third vote to increase taxes, but it makes provisions for fiscal emergencies, when a unanimous Board of Supervisors vote can waive the two-thirds rule).

Avalos has proposed placing sales tax and parcel tax measures on the fall ballot. Other proposals that have been discussed by a stakeholder committee assembled by Chiu include a measure to replace the payroll tax with a new gross receipts tax and general obligation bond measures to pay for things like park and road maintenance, which would allow those budget expenses to be applied elsewhere.

But Avalos said Newsom will need to step up and show some leadership if the measures are going to have any hope of being approved. “To get the two-thirds vote we need to win a revenue measure in this bad economy is going to be really hard,” Avalos said.

“The mayor is open to new revenue measures as long as they include significant reforms and are conceived and supported by a wide swath of the community including labor and business,” Ballard said.

Sup. Sean Elsbernd — one of the most conservative supervisors — has repeatedly said he won’t support new revenue measures unless they are accompanied by substantial budget reforms that will rein in ballooning expenditures in areas like city employee pensions.

“Pension reform. Health care reform. Spending reform. One of the above. A combination of the above,” Elsbernd told the Guardian when asked what he wants to see in a budget revenue deal.

Avalos says he’s mindful that not every progressive priority can be fully funded as the city wrestles with a budget deficit of almost $500 million, fully half the city’s discretionary budget. “It’s a crappy situation, and we can make it just a crummy situation.”

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. *

“Otl Aicher: Munchen 1972” and “Veronica De Jesus: Do the Waive”

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REVIEW The 1972 Munich Olympics is mostly associated with terrorism, with Marc Spitz running a distant second. But Otl Aicher’s graphic design for the event exemplifies the better possibilities of the fusion of humanism and capitalism that characterizes each incarnation of the international event. A member of the White Rose movement and friend of Hans and Sophie Scholl, who were arrested and executed by the Nazis, Aicher later made his name through graphic design concepts that possess a rare fusion of experience and imagination. Three years after his successful branding work for Lufthansa Airlines, Aicher created a friendly yet intricate pictorial language — or pictogram — system for the individual programs, posters, and even tickets of the Munich Games. While many exhibitions fail at presenting graphic design as a form with much soul or personality, "Otl Aicher: München 1972" has no shortage of either — or of refreshingly-deployed color, for that matter. A blue and green oasis within the SFMOMA behemoth, its pleasures spiral outward from the Op Art-like symbol Aicher used for the event’s main icon, into a number of engagingly basic and extremely influential renderings of the body in motion. Or in other words, iconic images of human striving.

The latest show by the contemporary Bay Area artist Veronica De Jesus presents an entirely different take on corporate branding and athleticism — one that nonetheless possesses a friendliness quite akin to Aicher’s work. Viewed alongside "München 1972," De Jesus’s "Do the Waive" comes off even more sharply as a satirical, at times hilarious, but also troubling take on the tyranny of symbols and supposed meanings wielded by the contemporary sports entertainment complex. Simply put, the logos for CNN and Shell don’t have the ingenuity of Aicher’s iconography. When De Jesus renders them — or the trademark colors of McDonald’s — via child-like scrawlings, the taken-for-granted commercialism woven into daily life to influence kids’ aspirant dreams seems questionable and dubious and absurd at its very core. Like Jenny Holzer with a far less dry sense of humor, De Jesus also has a talent for twisting received ideas or language, whether via creative misspelling or isolated bits of media chatter. (Three of her titles: Fry Anyone, Closed for the recession, and my favorite, People are going after the french fries.) "Do the Waive" is packed with treats. I enjoyed the life-size portraits and the connection between homo-affection and homo-aggression drawn — literally — by It’s a Battle and All Hugs. But the best works are smaller ones that layer media babble and athletic imagery into visions that are confusing, exhausting, and attractive all at once, like a day’s journey through an empire of signs.

OTL AICHER: MÜNCHEN 1972 Through July 7, free–$15. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000. www.sfmoma.org

VERONICA DE JESUS: DO THE WAIVE Through June 16. Michael Rosenthal, 365 Valencia, SF. (415) 522-1010, www.rosenthalgallery.com

MORE AT SFBG.COM

This week’s museum and gallery listings.

Dystopian enterprise

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Best-selling author Richard North Patterson stays out of the local limelight, but he’s a San Francisco resident — and we caught up with him May 21st to talk about his new book, Eclipse, and the role that U.S. oil companies play in Nigeria.

Before Nigerian environmental activist (and Goldman Environmental Prize winner) Ken Saro-Wiwa was hanged in 1995, PEN, the international writers’ group, wrote letters and organized protests against the execution. "I was very impressed by Saro-Wiwa," says Patterson, who was on the board of PEN at the time. He notes that Saro-Wiwa was a nonviolence advocate who succeeded in building a grassroots movement among the Ogoni in the Nigerian delta — all in the face of a ruthless dictator, and at great risk to his wife.

As Patterson recalls, despite the protests, several Western governments voicing their concerns, and then-President Bill Clinton’s hour-long conversation with Nigeria’s military dictator Gen. Sani Abacha, "They unceremoniously hung Saro-Wiwa. It was a lesson in a number of things, beginning with the degree to which oil makes autocrats feel impervious."

Post- 9/11, oil "security" became a bigger concern. Patterson began to realize that amid the U.S. failures in the Middle East, the disaster in Iraq, and the growing fear of al Qaeda, everyone was looking at Nigeria as an even more important source of oil.

"Meanwhile Nigeria’s environment was that much more ruined, its political leadership hopelessly corrupt, a semi-official militia that claimed to be acting in Saro-Wiwa’s name was killing each other and stealing oil, and everyone had a fee," says Patterson. "It was a classic example of how a natural resource makes its extractors and the rulers rich, but only serves as a source of misery for people standing on the ground. I already felt that Saro-Wiwa was a remarkable man who should be remembered. But now he was becoming even more relevant."

Patterson began researching Saro-Wiwa’s life, a quest that involved one trip to Nigeria and many conversations with lots of related experts. "Nigeria is not a place to go back and forth to — you’d think I was trying to break into Las Vegas," he says, noting that he hired security during his trip. "I’m not unknown, so there was a concern I’d be a high-value target. But I loved the Nigerians I met. They were a bright enterprising bunch in a dystopian setting, and to the extent I couldn’t go places, I did all I could by talking to people, reading articles, and watching films."

The name of Eclipse‘s protagonist is Bobby Okari. Was Patterson making reference to President Barack Obama? "If I was, it was subliminal," he says.

So what can Americans do to improve the plight of everyday Nigerians? "Increasing our independence from oil and increasing our foreign aid to Nigeria would be helpful," Patterson says. "The real problem is the extent to which human rights are trumped by self-interest. When we fill up our tanks, half of us don’t know that there’s oil in Nigeria. So first we need to become aware of the impact of the commodities we need. But I’m not sanguine about how easy this is. Saro-Wiwa was hung and 14 years later, where are we? The same place, and that’s a disgrace."

While Patterson does not excuse what he calls "the callousness of the U.S. oil companies," he believes that first we must address the Nigerian government.

"The history of the oil industry in Nigeria is pretty ignoble, but [without the industry] they can’t maintain the schools, roads, hospitals, and clinics," he says. "If the government doesn’t give a damn, it’s hard to make a quasi-government out of an oil company. When we get angry at the oil companies, it begs the question, What is the government doing? If it isn’t encouraging economic development and environmental protection, how can the oil companies? Shell and Chevron didn’t invent corruption. This is in no way to defend them. [But] there is a disconnect between Nigeria’s miserable government and its citizens. One of my central aspirations is to tell an entertaining story — and also to convey an awareness of a real problem."

Total ‘Eclipse’

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Tredmond@sfbg.com

REVIEW Mass market novels of the mystery and thriller kind are not known for their progressive politics. The most popular authors of the political adventure set are the likes of Tom Clancy, who thinks we’re still at war with Japan and ought to be at war with China. The detective novelists tend to glorify law enforcement and disparage those weak-willed sorts who would rein in the mighty and righteous gun-wielding police. My favorite new character, Jack Reacher, who has made Lee Child a massive international best-selling writer, is a former military cop with a taste for violent vengeance.

But of course I read this stuff. It’s my guilty pleasure, what I do to relax over with my whiskey before bed, while my beloved partner is watching Super Nanny. As Pete Townshend used to say, each to his own sewage.

I’ve read almost everything San Francisco resident Richard North Patterson has written, and he’s a rarity. His stuff tends to go in a more liberal direction. (It also tends to have a subplot involving teenage sex.) He’s written about the death penalty and the criminal justice system and American politics, and his characters have more depth than John Grisham’s. I like him, but I’ve never raved.

But I do want to recommend Patterson’s latest book, Eclipse (Henry Holt and Co., 384 pages, $26). Not because it’s the most brilliant writing he’s ever written, but because it’s a real-life political novel that reveals, in graphic detail, the impact oil companies like Chevron Corp. have on the Niger River delta. Eclipse is a fictionalized account of the life of Ken Saro-Wiwa, an eloquent and charismatic environmentalist who tried desperately to tell the world how oil money had corrupted Nigeria and how the Western oil companies were conspiring with the brutal dictatorship of Gen. Sani Abacha to stifle dissent. He was hanged 15 years ago by Abacha; his legacy drives the protest movement that is still trying to force the petrolords to take responsibility for what they have done to the delta environment, its tribal residents, and the Nigerian people. Eclipse didn’t put me to sleep — it made me mad. It reminded me of what American companies are allowed to do to the rest of the world, with impunity. It’s a story, with Patterson’s typical devices (for example, I don’t have any reason to believe Saro-Wiwa’s wife had an affair with his lawyer). But there’s enough truth in it to make you think. And that makes Patterson’s novel, in a unique and surprising way, an important political book.