Review

“Richard Avedon: Photographs 1946-2004”

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REVIEW I saw my deceased grandfather before I saw Groucho Marx. In Richard Avedon’s 1972 photograph of the aging comedian, Marx’s push-broom mustache, here a baleen of gray bristles, is the only obvious identifying feature in what otherwise looks to be a portrait of an elderly Jewish man. Marx’s eyes — like Marilyn Monroe’s in Avedon’s famous 1957 portrait of the star seeming to want out of her skin — avoid the camera, looking off glassily toward something in the distance. Or perhaps they are trying to look at nothing.

Of all the faces in "Richard Avedon: Photographs 1946-2004," the first large-scale retrospective of the late photographer’s work that makes its only U.S. stopover at the San Francisco Museum of Modern Art, the ones crumpled with age, the ones closest to death, hold my attention most. The ubiquitous white backdrop and large format camera used in many shots allow the viewer an intimate look at the liver spots, wrinkles, fleshy furrows, stray hairs, scars, and other accumulated physical tallies that testify to what Susan Sontag called photography’s ability to depict "time’s relentless melt."

As in my encounter with the Marx portrait, you often notice the physical attributes of Avedon’s subjects before you register who they are. John Ford, replete with eye-patch, resembles a pumpkin caving in. Isak Dinesen (uncannily resembling Little Edie Beale in a brooch-adorned knit cap) is all hollowed cheekbones and cracked lips, and to quote Geoff Dyer’s wonderful catalog essay, "looks like she was once the most beautiful woman in the world — about 2,000 years ago." The exhibit contrasts Avedon’s portrait of Andy Warhol’s scarred torso, gnarled into a Weston-worthy bell pepper by Valerie Solanias’s gunshots, with the Apollonian perfection of the male superstars in the famous panorama of Warhol and his Factory Avedon shot prior to the artist’s near death experience.

Death has been a subject for photographers since photography’s invention, as much as it has developed as trope within writing on photography. Sontag certainly touched on photo-mortality, but it was taken up most melodramatically by Roland Barthes, who declared: "All young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death."

It would be foolish to brand Avedon with such a label, but there is something to be said for his willingness to allow his subjects’ place on this mortal coil to show through so clearly. Avedon was probably the most unsparing of 20th century photography’s great portraitists. But in their calculated presentation of their subject’s imperfections, his photographs manage at the very least to seem uncontrived — perhaps the best compliment a photograph can attract.

RICHARD AVEDON: PHOTOGRAPHS 1946–2004 Through Nov. 29, $9-$15 (free first Tues. and half-off Thurs. evenings). Mon–Tues. and Fri.–Sun., 10 a.m.–5:45 p.m.; Thurs., 10 a.m.–8:45 p.m. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000. www.sfmoma.org

Peek-a-SHIBUE

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So you felt inspired by The Guardian’s 35th annual Nude Beach Guide but you’re not quite ready to show off your party zone. Worry not, never-nude. Style writer Mayka Mei has considered your predicament and may have found your solution in the SHIBUE Couture strapless g-string.

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SHIBUE Couture’s Jenny Buettner, isn’t just the founder and designer, she’s the model!

Once you get past the poor grammar and overall lack of relevance to whatever your interests are, clicking on the web clip advertisements within Gmail can really pay off. If it weren’t for one reporter’s childlike curiosity, well, you wouldn’t be reading the most lifestyle-changing product review that you are now.

It’s a what?
Lingerie designer Jenny Buettner came up with the concept of her SHIBUE Couture strapless g-string when she was in a pinch as a bridesmaid. Even for the fittest of models, a tight dress can equal panty lines. In that regard, bridesmaids really do seem to get the short end of the stick. When the dress you didn’t pick out doesn’t fit you well, what can you do? What can you say? Mixing her husband’s last name with her own, Buettner started her brand and made her solution.

Behold the strapless g-string, a mystery to women and men alike.

Live Review: Wolves in the Throne Room howl at Slim’s

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By Tony Papanikolas

wolvesthrone0709.jpg

The world of rock music is full of “wolf bands”, but few live up to their feral moniker. Steppenwolf’s John Kay, for example, claims that he was born to be wild –a promising start– but writes lyrics about magic carpets. Not very wolf-like. Likewise, Wolf Parade betrays a dangerous ignorance of its namesake (wolves are easily spooked; incorporating them into a parade would be disastrous.) And then there’s Wolves in the Throne Room, the enigmatic Olympia, WA outfit responsible for some of the most cosmic black metal ever produced outside of Scandinavia.

If the crowd at Slim’s was any indication, Wolves’ fan base has extended beyond the immediate metal set. Metal fans made up a good percentage of the audience but there was also a sizeable punk contingent, as well as the requisite handful of hipster-types (also, a headbanging dude in an incongruous business suite, my personal favorite.) The crowd was still relatively thin when opening act Ninth Moon Black began playing, but receptive nonetheless. I’m a sucker for visual aids at shows, and the psychedelic black and white swirls projected behind Ninth Moon Black provided a neat visual counterpoint to the group’s ambient instrumentals.

Citric acid rock

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a&eletters@sfbg.com

MISSION CREEK There he was, all cherubic, eating a "beej" — the nickname I’ve affectionately given the burgers at BJ, a.k.a. Burger Joint. Moments before show time, I spotted Ty Segall in the greasy eatery’s Mission District location. He was about to take to the stage at Amnesia, on the eve of an ambitious second solo tour that ventures through the East Coast and the South, even invading Canadian territory for a night in Toronto.

After my own greasy foray into a Popeye’s a few blocks away, I was ready to see the wunderkind, who is freshly graduated from the University of San Francisco. Once upon a time, Segall was a one man band, but he’s expanded his outfit to a three-piece. Clearly the night’s headliner at Amnesia, he packed the joint. After sets by openers Snakeflower 2 and the Rantouls, he mostly played familiar songs from his 2008 self-titled release on CastleFace Records. However, he also delivered a few examples of his self-described "sludgier" work on the brand new Lemons (Goner Records).

Sludge or no sludge, Segall’s solid work ethic is evident. He’s constantly playing gigs at bars like the Knockout, the Hemlock, and the Eagle Tavern — basically anywhere flannel is the prevailing fashion, alongside those straw fedora hats favored by the fixed-gear crowd. Despite his omnipresence on SF’s dive bar scene, he’s pretty modest about his dedication to his music. "There are a lot of ways that I am a slacker," he explains over the phone a month after the fateful Amnesia show as he and his band drive to New Orleans. "But if I’m not doing music, I feel like I’m wasting my time."

Segall’s music is part of a current collective lo-fi/neo-psych/garage rock movement. (I hate to label, but if you’re gonna do it, you might as well go all-or-nothing). At times it’s hard to decipher which bands from this rubric are legit and which are simply riding the wave of a trend. Segall’s contemporaries include his current tour mates Charlie and the Moonhearts, Strange Boys, Gris Gris, Thee Oh Sees, and Memphis’ Magic Kids. Some of these groups lean more toward pop, while others favor punk. But they all seem to draw on the past (particularly sun-dazed stretches of the 1960s) for inspiration and direction.

One highlight of Lemons is the wisely-handpicked Captain Beefheart cover "Dropout Boogie," a countercultural should-have-been anthem from the group’s 1967 release, Safe As Milk (Buddah). Recorded in a mere 20 minutes, Segall’s version of the freakout favorite — and especially its pounding bass line — has a rallying call effect, taking its cue from Timothy Leary’s infamous phrase, "Turn on, tune in, drop out." When I ask Segall why he chose to cover this particular song, especially since he just earned a degree in media studies, his answer is simple: "Beefheart rules." He can’t give the psych-blues band enough praise, citing them along with the Pretty Things and Piper at the Gates of Dawn-era Pink Floyd as major influences on his current reverb-rich sound.

Compared to Segall’s debut album, Lemons has a looser, more experimental sound. Less reliant on melody and catchy hooks, it delves deeper into psych and garage, slowing down Segall’s riff-happy original style. The distortion is still there, but you can tell how different effects and levels were employed on a track-to-track basis. One new song, "Like You," is brilliantly melancholy in tone and lumbering in pace. Basically, it’s a beautiful downer. The varying volume levels can probably be attributed to the use of vintage reel-to-reel equipment and Tascam quarter-inch tapes. "It gives it that blown-out sound," Segall explains. "But in a clean way."

As if to incite hip-hop beef, Spin‘s enthusiastic review of Lemons warns Jay Reatard to look out, calling Segall’s garage rock "scuzzier." Just for kicks, I jump on the beef-wagon and ask Segall who would win if he and Reatard had a fist fight. "I’m a total wuss. I’d probably just sit there and let him punch me," he says, adding, "I actually met him at a party. He was pretty cool." So much for placing your bets. It appears Segall’s a peaceful soul, and that a single encounter at a keg quelled any potential garage rocker-on-garage rocker crime.

TY SEGALL

with Thee Oh Sees, Meth Teeth, Buzzer, Fresh and Onlys

Thurs/16, 9 p.m., $7

The Eagle Tavern

398 12th St., SF

MISSION CREEK MUSIC FESTIVAL

www.mcmf.org

Graphic Sexual Horror

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REVIEW The prurient pleasure piece Graphic Sexual Horror cannot be accused of failing to live up to its title. In fact, it’s safe to say that discussion or protestations (and anyone who’s not catatonic is bound to have something to say) that follow this solid porn-ocumentary will be related to the rather contentious content. This fair-minded glimpse into the pain-glorious performances and behind-the-scenes procedures of the now defunct hardest of the hardcore bondage Web sites is simultaneously titilutf8g and reflective, admiring and critical.

Insex.com founder Brent Scott, in explaining the academic ostracism at Carnegie Mellon that led to his new career as a high priest of porn, says this: "If they don’t let me teach their kids, I’ll corrupt them," which seems an apt encapsulation of his renegade artistic arrogance. This account is assuredly enriched by his candidness and self-criticism. He praises, sometimes adores, his female models and expresses sincere regret when his neglect leads to a malfunctioning water tank that could have inflicted injury. At the same time, however, he is chauvinistically demanding and insensitive to his model’s vulnerabilities. Essentially, he represents the ambivalence of extreme bondage — the murky convergence of liberated consensual sex and exploitation.

Clips of artistically presented live feed performances featuring such intrigues as blue-purple strangulated breasts and hot pepper being applied to genitalia, are intercut with interviews to give a sense of the models’ experiences. For bondage enthusiasts and the morbidly curious, there are visuals to gawk or gasp at throughout, but the tone becomes more conflicted as the film addresses the dilemmas of Insex models, as illustrated by the young woman who whimpers incredulously as her face is slapped. Face-slapping was her one hard limit (defined as activity forbidden by a model), but she struggles to play along because of the shame and lost fortunes a refusal begets.

GRAPHIC SEXUAL HORROR Thurs/16–Fri/17, Yerba Buena Center for the Arts

We walk with a zombie

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PHENOM In our heads, in our heads: zombies, zombies, zombies.

Don’t blame me for taking a bite out of your brain and inserting an annoying tune in its place — once again, not long after the last onslaught of undead trends, our culture is totally zombie mad.

The phrase "zombie bank" is multiplying at a disturbing rate within economic circles. In music, the group Zombi — hailing from the zombie capitol Pittsburgh — is reviving the analogue electronics of George A. Romero’s Dawn of the Dead while the British act Zomby brings dubstep to postapocalyptic dance floors. A comedy of manners possessed by ultraviolent urges, Seth Grahame-Smith’s "unmentionable" Jane Austen update Pride and Prejudice and Zombies (Quirk Books, 320 pages, $12.95) has set up camp on the trade paperback New York Times best sellers list, with S.G. Browne’s Breathers: A Zombie’s Lament — currently being movie-ized by Diablo Cody — on its trail. On a smaller scale, Yusaka Hanakuma’s manga Tokyo Zombie (Last Gasp, 164 pages, $9.95) has caught a zombie plane over to the United States.

Most of all, posthumous Michael Jackson mania is bringing the corpse choreography of the 1983 video for "Thriller" to life, as the media and masses fluctuate between the worst facets of grave-robbing and best facets of revival and death celebration. A Friday, July 3 party in Seattle that aimed to top the 3,370-participant world record for largest "zombie walk" included a mass dance performance to the song.

When journalist Lev Grossman first noted the shift in bloodlust from vampirism to zombiedom in a Time trend piece this April, he ticked off some of these activities but steered clear of visual art. Zombies are around in galleries and museums, too. In Los Angeles last month, Peres Projects presented Bruce LaBruce’s "Untitled Hardcore Zombie Project" in which stills from a forthcoming movie by the director of last year’s Otto; or, Up with Dead People were blown up, framed, and hung on the space’s blood-spattered white cube walls. Here in San Francisco, Michael Rosenthal Gallery is hosting a variety of zombified works by another Canadian artist, Jillian Mcdonald.

Active revisions of cinema are central to Mcdonald, whose past projects find her staring down, mimicking and making out with male screen icons such as Billy Bob Thornton. "Monstrosities" makes room for vampires, but hunger for flesh is dominant over thirst for blood. The five-minute video Zombie Apocalypse brings the zombie back to the beach, its eerily effective primary haunting ground in Jacques Tourneur’s classic 1943 Val Lewton production I Walked with a Zombie — which, incidentally, is being remade, with Charlotte Bronte’s Jane Eyre now explicitly cited as its source material. In 2006’s Horror Make-up, Mcdonald plays with the image of a woman putting on makeup in public by using her compact to turn herself into a zombie while raiding the New York subway. "Monstrosities" also includes zombie wall portraits that aren’t exactly static. Through lenticular photography, Mcdonald taps into the zombie within an acquaintance, a creature that often appears more animated than its "living" counterpart.

"Monstrosities" and much of Mcdonald’s current work mines horror as a source of catharsis. The tactic is most overt in 2007’s The Scream, where her screams scare off a variety of slasher killers and monstrous adversaries. Art world attempts at tapping into filmic horror can be dreadful in the sterile and blah sense (see Cindy Sherman’s 1997’s Office Killer — or better, don’t see it). But when Mcdonald bites zombies, she gives them love bites, borne out of and energized by genuine appreciation. (Johnny Ray Huston)

JILLIAN MCDONALD: MONSTROSITIES

Through July 22

Michael Rosenthal Gallery

365 Valencia, SF

(415) 552-1010

www.jillianmcdonald.net

www.rostenthalgallery.com

———-

Brain appetit: Fine reading and viewing for the discriminating zombie lover

Twilight (haven’t read it) and True Blood (haven’t seen it) are grabbing all the headlines, including a fawning New York Times story entitled "A Trend with Teeth." But fuck this newfangled passion for vampires. (Apologies to Let the Right One In: you are awesome, despite the massive English subtitle fail on your DVD.) Go back to the graveyard, sexy supernatural critters. There’s a far more terrifying and fiendishly disgusting army of coffin-rockers afoot these days. And though they’ll happily drink your blood, they’ll also help themselves to the rest of your delicious mortal flesh.

Granted, zombie movies are almost as old as cinema itself. Glenn Kay’s recent Zombie Movies: The Ultimate Guide (Chicago Review Press, 352 pages, $25.95), which features a forward by Stuart Gordon, director of 1985’s Re-Animator, is a pretty good jumping-off point for the uninitiated — and a steal for anyone who’s shy about paying $280 on eBay for Beyond Terror: The Films of Lucio Fulci (FAB Press). Generously illustrated chapters — with a full-color photo section in the book’s center — cover the genre’s history, starting with 1932’s White Zombie (fun fact: star Bela Lugosi earned $500-ish dollars for playing the sinister plantation owner improbably named "Murder.") There are spotlights on the turbulent 1960s (the era that spawned 1968’s immortal Night of the Living Dead), the insane 1970s (with an index of "the weirdest/funniest/most disturbing things" seen in zombie films, including my own personal fave: the underwater shark vs. zombie battle in 1979’s Zombie), Italy’s reign of terror in the 1980s (the decade that also brought us, lest we forget, "Thriller"), and the rise of video game zombies in the 1990s. Sprinkled throughout are interviews with horror luminaries like makeup master Tom Savini.

Zombie Movies‘ biggest chapter is devoted to the new millennium, with shout-outs to Asian entries like Versus (2000), cult hits like 2004’s Shaun of the Dead, and mainstream moneymakers — 2004’s Dawn of the Dead remake brought in $59 million. Less successful (in my book, if not apparent George Romero fanatic Kay’s) was 2007’s Diary of the Dead, the least-enjoyable entry in Romero’s esteemed zombie series. Blame it on an annoying cast, and an even more annoying reliance on the hot-for-five-minutes "self-filming" technique. Aside from producing a Crazies remake (nooo!), Romero’s next project is titled simply … of the Dead, release date unknown, zombie subject matter an absolute certainty.

Still, ammo enough for walking-dead fans sick of all this fang-banging comes in two forms: the hilarious trailer for Zombieland (due in October), featuring Woody Harrelson and Jesse Eisenberg as slayers of the undead, and the eagerly-anticipated arrival of Dead Snow. Currently available as an On-Demand selection for Comcast customers (in crappy dubbed form), this Norwegian import — a comedy with plenty of satisfying gore — opens July 17 at the Roxie (in presumably superior, subtitled form). Nazi zombies, y’all. Get some! (Cheryl Eddy)

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Zombie playlist: Music to eat flesh by

For whatever reason, America is possessed by a another wave of fascination with the living dead. Is increased anxiety about a devastated economy manifesting as comic book fantasy? Or do we just think zombies are kinda neat? Either way, like so many (or few) survivors barricaded inside an abandoned country home, we’re captivated by the brainless hordes. In the mood for some mood music? Here’s a brief celebration of zombiedom in the world of rock. It ain’t authoritative — no self-respecting zombie respects authority.

MISFITS

"Braineaters"

(from Walk Among Us, Slash, 1982)

Yes, Walk Among Us also features "Night of the Living Dead" and "Astro Zombies," but neither of those tracks captures the profound ennui of existence as a walking corpse. Democratically sung from a zombie’s perspective, "Braineaters" laments a repetitive diet of brains. (Why can’t a zombie have some tasty guts instead?) The Misfits actually made a primitive music video for "Braineaters" that shows the band engaged in what has to be the most disgusting food fight ever filmed. If you’ve ever wanted to see a young Glenn Danzig covered in what appear to be cow brains, have I got a YouTube link for you!

ANNIHILATION TIME

"Fast Forward to the Gore"

(from II, Six Weeks, 2005)

One of the standout tracks from II, "Fast Forward to the Gore" makes excellent use of singer Jimmy Rose’s frantic vocal delivery. Rose’s raw lyrics, belted out over the hardcore guitar assault of Graham Clise and Jamie Sanitate, celebrate the subtle artistry at play when zombie meets chainsaw. In the event of an actual zombie apocalypse, this song should serve as nostalgic reminder of simpler times, when zombies were merely a source of entertainment that didn’t leave the TV screen.

THE ZOMBIES

Entire discography

Self-explanatory.

DEATH

"Zombie Ritual"

(from Scream Bloody Gore, Combat, 1987)

The second track on the seminal Scream Bloody Gore, "Zombie Ritual" helped establish the nascent death metal scene’s predictable love affair with the titular braindead hellspawn. Chuck Schuldiner’s lyrics — as awesomely repulsive as anything the genre has to offer — deal with some sort of zombie creation ceremony, though the only discernable part is the Dylanesque chorus ("Zombie ritual!" screamed four times in succession). While Death’s later albums saw Schuldiner grow by leaps and bounds as a songwriter, "Zombie Ritual" remained a live staple up until the band’s final days. (Tony Papanikolas)

Capitalmania

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a&eletters@sfg.com

REVIEW UC Santa Barbara sociology professor William I. Robinson was recently in the news for having the temerity to criticize the Israeli military’s assault on Palestinian civilians in Gaza. Right-wing groups including the ADL orchestrated a campaign attacking Robinson with the implication that any criticism of Israel’s military abuses in the occupied territories somehow equates to anti-Semitism.

It would be nice if Robinson also received some press for the incredibly rich body of work he has produced in his career. His current volume Latin America and Global Capitalism (Johns Hopkins University Press, 440 pages, $55) is an important book for anyone interested in where our imperiled planet is headed. Robinson, author of the brilliant 1996 study of U.S. foreign aid Promoting Polyarchy, is admirably thorough in his overview of the direction capitalism has taken in Latin America since the 1970s. Robinson uses research from years of on-the-ground work, and sifts through rafts of data to map out how neoliberal trade agreements and other mechanisms for greasing the machine of global commerce have increased profits for global elites while deeply disrupting traditional patterns of life and balance with the natural world.

One glaring example Robinson focuses on is the shift toward intensive farming of soy, which has massively displaced small farmers and production of dairy, fruit trees, horticulture, and other grains. Soy production is now much more profitable than food production for local consumption — hence malnutrition is on the rise in soy producing areas.

Plans for expansion of biofuel production, Robinson writes, "could well obliterate small and medium producers and consolidate a new empire of corporate agribusiness, biotechnology, chemical and pharmaceutical TNCs [transnational corporations] in South America. The ecological devastation would undermine any gains in terms of a reduction in carbon-based fuels, and we would face a situation — absolutely absurd from any social logic yet consistent with the logic of capital — in which cars would replace human beings as the main consumers of world cereal output."

In addition to these new agro-exports, Latin America and Global Capitalism analyzes the spread of maquiladoras, the transnational tourist industry, exported labor, and remittances from abroad sent home. Robinson makes no bones about being a politically engaged academic, or of shaping his thorough, rigorous work with the intent of it being useful for popular progressive struggles. His sentiments are clearly with the indigenous resistance movements he chronicles in Latin America, as well as the immigrants’ rights movement in the United States and the continuing Bolivarian revolution in Venezuela. The ruling elites have their well-funded, right-marching think tanks churning out public intellectuals cultivated to defend the status quo. Grassroots radicals need more like William Robinson.

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.

The nativists are restless

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news@sfbg.com

The comments sections of the Guardian‘s Politics blog and the San Francisco Chronicle‘s SFGate Web site have been lit up over the past week with angry (and sometimes overtly racist) denunciations of Latino immigrants, triggered by the latest Chronicle stories challenging San Francisco’s Sanctuary City policies and by Guardian revelations that Chronicle writer Jaxon Van Derkeken accepted an award and substantial cash payment from a controversial nativist group.

While Van Derbeken, two Chronicle editors interviewed by the Guardian, and other critics of San Francisco’s longstanding policy of not notifying federal authorities about the arrests of undocumented immigrants have denied trying to stir up nativist furor, the tone and content of many of these comments seems to indicate they’ve done exactly that.

The saga began June 19 when we published “Chronicle accepts award and cash from anti-immigrant group” on our Politics blog. The story began: “San Francisco Chronicle reporter Jaxon Van Derbeken recently accepted an award and cash prize (he refuses to say how much) from the Center for Immigration Studies — which a Southern Poverty Law Center report in February 2009 criticized for its overtly racist roots and extreme anti-immigrant agenda — for his controversial articles on San Francisco’s Sanctuary City policies.

“CIS paid for Van Derbeken to accept the award at the National Press Club and conservative Chronicle columnist Debra Saunders to introduce him earlier this month, an appearance they used to make derogatory comments about San Francisco, its values, and local immigrant rights activists, while saying little to rebuke the group for stirring up hateful nativist furor around what has become perhaps the country’s most divisive issue.”

Van Derbeken would only address the issue by e-mail, sending us two terse replies to our inquiry and refusing to answer most of our questions, including much how cash he received for a prize that we discovered paid $1,000 in 2001 (the complete e-mail exchange is include in our post).

“No one should mistake their decision to endorse my work for my endorsement of theirs,” was Van Derbeken’s most substantive comment, although he refused to offer an opinion on CIS or the SPLC report, which he didn’t read until after accepting the award. “I haven’t drawn any conclusions about it.”

CIS executive director Mark Krikorian, author of The New Case Against Immigration, Both Legal and Illegal (2008, Sentinel), responded to our inquires with an e-mail blaming the “jihad against dissent from the elite consensus for open borders” and referring to a column he wrote for National Review Online criticizing SPLC’s fundraising.

But in the past, Krikorian has called for the federal government to cut off funding to San Francisco and even prosecute local elected officials, writing in his CIS blog, “Local neutrality on immigration is no longer possible. Every jurisdiction in the country has a choice to make: Either buttress federal efforts at immigration control or subvert them. San Francisco has chosen the second option. It should now learn the consequences.”

We did phone interviews with Van Derbeken’s editors, Managing Editor Steve Proctor and Assistant Managing Editor Ken Conner, who both defended the stories and the decision to accept the award. Neither would reveal how much cash was involved, and neither would admit that it represented validating a group that recently has been vying for mainstream legitimacy.

“All issues have proponents and opponents,” Proctor told us, equating the award to those given for education and legal affairs reporting and denying that the immigration issue is more divisive and controversial. “At the end of the day, it isn’t about this group but about Jaxon’s stories,” Conner told us.

Those stories continued in high-profile fashion a few days later as Van Derbeken essentially rewrote a June 21 Los Angeles Times scoop about how San Francisco District Attorney Kamala Harris allowed a half-dozen undocumented immigrants to enroll in a rehabilitation program rather than turning them over to the feds. The details became front-page lead news stories in the Chronicle on June 22 and 23.

Local immigrant rights activists criticized the Chronicle stories and the paper’s decision to accept the CIS award and money.

“When I read these kind of stories that lead us down a dark path and play on people’s fears and paint immigrants with a broad brush — as a threat, as criminals, as dangerous to the community — I do think that there are anti-immigrant nativist centers egging on reporters like Jaxon down this dark path by giving him cash awards,” Phil Hwang, a staff attorney for the Lawyers Committee for Civil Rights, told us. “It’s part of the strategy these anti-immigrant groups are employing. It’s why they created this award. And if you look at who founded CIS and their vision, it’s clear that they believe America is under threat from non-white immigrants,”

Angela Chan of the Asian Law Caucus, whom Van Derbeken mentioned by name in his CIS award speech, said she is worried this latest round would weaken Harris’ support for Sanctuary City policies. That’s what happened to Mayor Gavin Newsom last fall, when Van Derbeken wrote the stories CIS honored.

“I’d hate to see another series of anti-immigrant scapegoating being used to make hasty policy decisions that violate the rights of immigrants, tear apart families, and increase the state of terror in immigrant communities,” Chan told us.

Harris, who is running for state attorney general, defended her decision to let undocumented immigrants complete the Back on Track program after their presence was brought to her attention, but has since changed the policy to bar them from enrolling. “No innovative initiative will ever be created without some unanticipated flaws to be fixed along the way, but this must not stop us from tackling tough problems with smart solutions,” she said in a prepared statement.

“These are tough economic times,” Hwang added. “People are very nervous about their jobs. And that is often when the [anti-immigrant] rhetoric ramps up.”

The Chronicle writer and editors and Krikorian stopped responding to Guardian inquiries. But the blogs were lit up with comments — hundreds of them from around the country at the bottom of Van Derbeken’s latest stories — that had some disturbing themes, accusations, and suggestions. They indicate that the radical nativists are using this issue — and the Chron‘s spin on it — to promote a dangerous agenda.

Here’s a small sampling:

<\!s> “Illegal aliens are like a plague.”

<\!s> “Kick out all Illegals, return the city to its rightful owners”

<\!s> “For God’s sake, STOP pandering to the ILLEGAL ALIENS and get rid of them!”

<\!s> “Anyone caught crossing the border illegally should be shot as a spy.”

<\!s> “The border ought to be land mined.”

<\!s> “What is this sham that diversity is great? It is tearing this country apart.”

Such sentiments — which we usually counter on the Guardian Politics blog — were met with silence by Van Derbeken.

The mobility of space

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sarah@sfbg.com

Jason Henderson is standing on Patricia’s Green in Hayes Valley, shielding his eyes from the midsummer sun, as he explains how this area, which once lay in the shadowy underbelly of the Central Freeway, was reclaimed as a pedestrian-friendly park.

"In 1989 the freeway went all the way to Turk Street," said Henderson, an assistant professor of geography at San Francisco State University, describing how the raised concrete roadbed, built in the 1950s, cut across this neighborhood and blocked the sky — until the Loma Prieta earthquake hit and damaged the final section so badly it had to be torn down.

That natural disaster triggered a public discussion about the use of the surrounding space, and a 15-year fight that culminated in 2005 in the dedication of the Green, which is part of the Octavia Boulevard Project. Neighbors and business owners pushed the city to convert a damaged freeway into a landscaped park.

That sort of change fascinates Henderson. "I am interested in how people move around cities, and how urban space is configured for movement," he said.

The young professor was raised in New Orleans and wrote his dissertation on transportation and land use debates in Atlanta — which, as Henderson notes, is "the poster child for sprawl but became a hotbed in the ’90s of a national discourse about how we should grow, which became this very interesting debate about reurbanizing."

Henderson’s research focuses on the politics of mobility. He decided to move to San Francisco in 2003 because he saw it as an opportunity to live in a city where a car is not necessary and to study the history of the city’s freeway revolt, which began in the 1960s.

And while he is proud of this park, which was dedicated as Hayes Green then renamed for the late Patricia Walkup, a Hayes Valley resident who tirelessly advocated for the park until her death in 2006, Henderson thinks the local politics of parking have reached "a spatial stalemate."

"During the freeway revolt of the 1960s, San Francisco rejected the freeway but not the automobile," Henderson explained. "But even as San Francisco residents decided that they did not want big gashes of freeway through their waterfront, the Marina, and Golden Gate Park, the city continued to have laws that said every housing unit was to have one parking space.

"So the city adopted a transit-first policy on paper, but didn’t take space away from cars. And if you don’t do anything, you’re not solving the problem."

The problem in San Francisco is what he called the "essentializing of cars."

"A core idea within the parking debate is that there is a universal love affair with the automobile," Henderson explained. "But Obama is downsizing GM and Chrysler, and for the first time since 1960, vehicle miles traveled have started to go down. Until last year, the mantra was that Americans are going to drive. But then we found out that at $4 a gallon, this country freaks out and changes."

Earlier this year, Henderson published a paper that analyzes the city’s politics of parking through the lens of two ballot initiatives from the November 2007 San Francisco election.

"San Francisco’s parking debate is not just about parking. It is a contest over how the city should be configured and organized, and for whom," Henderson wrote in his paper, titled "The Spaces of Parking: Mapping the Politics of Mobility in San Francisco."

His research led him to conclude that progressives, who want to make the city more bike- and public-transportion friendly, are pitted against the more conservative elements (he calls them neoconservatives), who want to increase space for parking and cars at all costs, with the moderate (or in his words, "neoliberal") factions tangled in between.

Part of Henderson’s critique involves estimating the hidden costs of parking — and as it turns out, that can be done using Google and Craiglist. According to a San Francisco Municipal Transportation Agency 2008 fact sheet, there are an estimated 320,000 on-street parking spaces in San Francisco, including metered spaces, each consuming, on average, about 160 square feet.

According to a 2002 presentation by Jeffery Tumlin, a national transportation consultant, if the city rented these spaces for the lowball rate of $1,000 a year, San Francisco would rake in $320 million annually.

There would be no shortage of demand — market prices are way higher. Henderson’s review of Craiglist unearthed folks who looking to rent parking spaces in San Francisco and willing to pay from $100 to $500 a month.

But SFMTA — which issues more than 89,000 residential parking permits annually and recently opted to cut Muni service and routes and increase fares on public transit rather than extend parking meter hours to balance its budget shortfall — decided to increase the cost of these parking permits, starting July 1, by only $2, from $72 to $74 — per year. That’s less than 10 percent of market value.

The resulting revenue will be dedicated to the cost of administrating the program — not to offset the hidden costs of parking, which include carbon dioxide emissions, air pollution, congestion, and occupying valuable space.

Henderson is intrigued by the relationship between parking policy and a complex set of factors that include public health, obesity, and the cost of affordable housing. He notes that if a city’s housing policy requires developers to provide a parking space for each housing unit, too often developers don’t build that housing, or build it smaller, or build it as part of a luxury complex.

"The progressive response to this dilemma is to try to get government to eliminate the one parking-space-per-unit goal and cap the total amount of parking built. Meanwhile, the neocons, who believe government should be active in creating more parking, rail against more bus lanes," Henderson said.

As he notes, common to both groups is the desire for government to help them achieve their vision.

"Much as we see San Francisco as a progressive place, it’s also peopled by neoliberals and very conservative folks — and progressive and neoliberals coalesce on the issue of ‘smart growth.’ And there are lot of progressives who have a car and say, ‘I don’t want to be car dependent; I’d like to do city share, but I’d feel stranded.’ And those who say ‘I always want to have my own car, but I only drive it once a month.’"

Conceding that "tweaking the system" will cost money, Henderson cites congestion pricing as an area where the various factions can find agreement.

"The important question is, what will the revenue be used for?" Henderson said, noting that some will argue that if you charge motorists to use roads, then the money should be used to improve the roads, which is what has happened with toll roads in Texas.

But in San Francisco, activist are pushing the opposite approach. "Whereas the sustainable transportation movement in San Francisco wants to use the revenue from congestion pricing to fix Muni and discourage driving," he continued.

In his paper on parking policy, Henderson details exactly how parking allocations push up the price of housing — and change the face of ongoing developments.

A typical off-road parking space takes up 350 square feet when room to move in and out is factored in — and that’s comparable to many offices and living spaces in San Francisco. The parking alone costs $50,000 to $100,000 to develop — a cost that’s passed on to the homebuyer.

But in most neighborhoods, developers can’t avoid parking, because of planning laws. "This means that neighborhoods like the iconic North Beach simply could not be built today," Henderson wrote, noting how mandatory parking provisions mean that the lower floors of new buildings are likely to contain parking garages, not storefronts and cafes, and garage entrances take away street parking and limit where street trees can be planted.

"But at least contesting car space is on the table in San Francisco" Henderson said. "That makes it an intriguing bellwether for other places."

“Sex Positive”

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REVIEW Richard Berkowitz ought to be lionized as an early crusader in the fight against AIDS. Instead he is not only largely forgotten now, his efforts earned him hostility and a kind of blacklisting within the gay community during the U.S. epidemic’s destructive apex in the 1980s. Blessed with a still-living, charismatic subject, Daryl Wein’s documentary puzzles out that injustice. A campus radical turned S&M daddy-for-hire, he found a new outlet for highly vocal activism when the disease first began taking a significant toll in the hitherto carefree, wide-open New York City gay scene. He and the late Michael Callen cowrote a first-ever "safer sex" guide. But with HIV transmission routes/risks still a matter of conjecture, Berkowitz’s own community excoriated that concept — not to mention his pleas to rein in multiple-partner promiscuity until more medical facts were known — as reactionary. He was decried as a lowly hustler perversely bent on shaming gays back into the chastity closet, a bizarre charge reflecting the besieged community’s off-chart levels of terror and denial at the time. Most of his ideas later proved wise, but by then Berkowitz had retreated into obscurity and substance abuse, his budding journalism career nipped by still-skittish gay media outlets. Still young-ish, devoid of self-pity, he’s an interviewee with considerable flinty charm, while the movie efficiently assembles archival materials to illustrate his rocky backstory. Hopefully his pioneering crusade will be better appreciated as a result of Sex Positive — though don’t expect any such belated kudos from fellow first-wave AIDS activist survivor Larry Kramer, who in predictable fashion here sour-grapes the contributions of anyone who is not dead or Larry Kramer.

SEX POSITIVE opens Fri/3 at the Roxie.

“Bernd & Hilla Becher: A Survey – 1972-2006”

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REVIEW The problem, or perhaps the benefit, of a survey of photographs by Bernd and Hilla Becher in an environment like the Fraenkel Gallery is the institutional quality the space projects onto the work. Although a sense of sterility is key to the Bechers’ photography, and while it can be contended that the 49 Geary Street site only accentuates the Bechers’ attempt at objectivity, such a setting also brings the success of the work in the marketplace to the fore, rather than providing a hermetic environment in which to operate.

This conundrum is interesting in light of the deadpan documentation of the water towers, grain elevators and blast furnaces that are the subject of the Bechers’ black-and-white photographs and, seemingly, the Fraenkel show. Arranged in grids for side-by-side comparison, each industrial structure is consistently the same size within its frame. As a result, there is a sense of impartiality, which prompts a discourse between the documented structures and, more broadly, between each photograph. The Bechers’ appear to be simultaneously operating within a system and outside a system. They implement something akin to a turn-of-the-century scientific classificatory technique in which the camera is used to document a subject’s unique features, but they also aestheticize the subject.

Bit the neutral stance of the Bechers’ photographs eschews Blossfeldt-like modeling. Instead, it appears to take cues from the Bauhausian model — one in which the built environment was celebrated, along with the camera, as archetypically modern. Yet while both styles of photography might be influences (perhaps especially so because of the couple’s respective academic training), the Bechers’ photography consistently removes clear reference points. Because of this, the stance of the gallery in which the work is exhibited becomes more apparent. Despite its prime examples from — and comprehensive look at — the German couple’s work, this survey situates their photography within a historical context rather than accentuating its conceptual relevance.

BERND & HILLA BECHER: A SURVEY — 1972-2006 Through Fri/3. Tues–Fri, 10:30–5:30 a.m.; Sat., 11 a.m.–5 p.m. Fraenkel Gallery, 49 Geary, SF. (415) 981-2661. www.fraenkelgallery.com

Bike projects approved in SF

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By Steven T. Jones

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

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

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

Shake, shimmy, subvert

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molly@sfbg.com

The tradition of burlesque has always been about subverting the norm and challenging the privileged class. So it should be no surprise that queer performers make up a significant percentage of the new burlesque movement. Or, as Amelia Mae Paradise, cofounder of the queer femme burlesque troupe Diamond Daggers, puts it: "The burlesque world has always had room for freaks and queers and fat ladies."

A quick look at the current Bay Area burlesque scene confirms Paradise’s theory. The cabaret outfit Hubba Hubba Revue regularly features queer and straight performers. Though burlesque dancer Dottie Lux identifies as queer, both her Red Hots Burlesque showcase (www.myspace.com/redhotsburlesque) and the classes she teaches are geared for mixed audiences. And queer performers — from soloists like Kentucky Fried Woman and Alotta Boutte to groups like Twilight Vixens and sfBoylesque — find themselves performing for straight audiences nearly as often as queer ones. In the burlesque world, queer and straight performers bump up against each other so often (pun intended), it might seem arbitrary to distinguish them at all.

But most queer performers agree that there is a difference — however subtle. Queer performers tend to mix their burlesque with spoken word, lip syncing, or drag, and also tend to be more subversive and political than their straight counterparts. Some attribute this to the fact that many queer performers are already schooled in other kinds of politically-based performance art.

"There’s a strong component of the queer performance community who are extremely politically conscious and recognize the power they have when they’re on stage," said Kentucky Fried Woman, a.k.a. KFW (www.myspace.com/kentuckyfriedwoman), who founded the Queen Bees in Seattle before becoming a major force in the SF burlesque community. "You have this whole room of people looking at you, so you can make them focus on any issue you want."

Queer burlesque performers also seem more comfortable with comedy, farce, and a diversity of body types, ages, and races on stage. "I think queers are better at burlesque than non-queers," said Maximus Barnaby, founder of sfBoylesque (www.sfboylesque.com). "They’re not afraid to be outsiders."

And all agreed that it’s different performing for a queer audience than a straight one — even if it only comes down to how many people get your jokes. "Queer audiences already arrive loose and ready to have a good time," says KFW, a phenomenon she hasn’t always witnessed with straight audiences.

KFW also pointed out that there are places where the distinction between queer and straight audiences is even more pronounced — and where having queer-friendly events like Debauchery (www.myspace.com/debaucherydivine), a strip club night for queers of all genders, is even more important.

While some performers might be considered queer exclusively because of their sexual preferences, others — like Twilight Vixens (www.twilightvixen.com) and Diamond Daggers (www.diamonddaggers.com) — employ the title as a part of their subversion of the norm.

Indeed, when Paradise cofounded the Daggers with Cherry Lix (who later went on to found Twilight Vixens) and Fannie Fuller in 2003, the idea was to create empowering, queer performance as femme dykes. "We’re so invisible so much of the time, people assume that we’re straight," Paradise said.

Melding elements of musical theater, Hollywood glamour, and showgirl choreography, the Daggers created a campy cabaret troupe whose purpose was femme visibility.

In 2005, the Daggers birthed the Twilight Vixens. While the Daggers headed toward comedy, gender-pushing, and narrative performances — featuring the bearded Paradise and her six-foot-tall bearded butch wife Sir Loin Strip — Cherry Lix took the Vixens even further towards vintage Vegas showgirl glam. "In San Francisco, you have a lot of men imitating women being showgirls," said Lix. "This was: let’s be women being women who like women being showgirls."

Interestingly, Paradise says the lesbian audience hasn’t always been the easiest for femme troupes like the Daggers and Vixens. "It’s confusing," she said. "They ask, ‘Is it feminist? Not feminist? It’s hot, titilutf8g, and I’m not sure how I feel about that.’"

On the other hand, gay men have always loved them, especially in the beginning, because those groups and gay men tend to speak the same language of camp.

Gay men are also the primary audience for sfBoylesque, the all-male dance revue founded nearly three years ago. But they weren’t an automatically easy audience either. "People have different expectations of men in burlesque," said Barnaby. "The point of reference is Chippendale’s … this perfect, chiseled body. We are absolutely not Chippendale’s."

Whereas burlesque has traditionally been a place that empowers women of all body types, Barnaby said his troupe has had to create an audience to expect and accept the same from men. As for the troupe identifying as queer? Barnaby says that’s mostly because he likes the inclusiveness of the term.

When it really comes down to it, though, performers like Simone de la Getto, cofounder of all-black burlesque review Harlem Shake and the queer event Cabaret de Nude, thinks the titles are stupid — but necessary. "I guess I’m a queer black burlesque performer who’s a single mom," she said. "Once we get past all the labels, life will be easier."

Plus, the lines between queer and straight burlesque are becoming ever more blurred, as Getto — who joined the burlesque scene as a straight woman and then came out — should know.

"People like to see people taking their clothes off. It doesn’t matter who you’re sleeping with," she said. "That pretty much seals the deal for everyone."

“Intricacies of Phantom Content” and Trickle-down: Yours for the Mining

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REVIEW Diamonds are certainly Hilary Pecis’ and Elyse Mallouk’s best friends. But even though the sparklers in their complimentary exhibits at Triple Base Gallery let off a familiar, enticing shine, do they reveal new facets?

Like antlers, rainbows, and feathers, gemstones and crystal-inspired geometric forms have bobbed to the surface as a motif of the zeitgeist, as seen both on gallery walls and the loud prints and new rave colors that adorn the merchandise at Urban Outfitters (not to mention Lady Gaga’s day-to-day wardrobe). I don’t fault Pecis’ art for its timing. Her untitled ink, collage, and acrylic laden panels, which intertwine black and white geometric patterns, gems galore, and cutout twists of metal and hair into eye-shredding nebulas, are indeed beautifully executed and easy to get lost in. But I wonder if their very au courant palette doesn’t time-stamp them to their disadvantage. Her acrylic paintings — all kaleidoscopic close-ups of Krypton-like surfaces, mostly in shades of gray — make a stronger case with their restraint. The continued influence of the original class Mission Schoolers (Alicia McCarthy, please raise your hand) have on younger local artists is striking.

One has to descend into the bowels of the Earth, as it were, to see Mallouk’s punnily-titled video installation Trickle-down: Yours for the Mining. A bare bulb scarcely illuminates a stack of diamond drawings (which viewers are invited to take). With the flick of a switch, the drawings come to life as the blackened space suddenly, literally, drips in a video projection of sparkling animated stones. Like the rhinestone cascade in the opening credit sequence of Douglas Sirk’s Imitation of Life — itself already redone by filmmaker Matt Wolf in the sweet short Imitation of Imitation — Mallouk’s diamante mirrorball cannily reflects the emotional and material investments we make in artifice; art itself notwithstanding. Space may be the place upstairs, but I’m gonna side with Etta James on this one: in the basement, that’s where it’s at.

INTRICACIES OF PHANTOM CONTENT AND TRICKLE-DOWN: YOURS FOR THE MINING Through July 26. Triple Base, 3041 24th St., SF. (415) 643-3943. www.basebasebase.com

The Stoning of Soraya M.

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REVIEW Given the recent events in Iran, the timing of The Stoning of Soraya M.‘s release seems, well, perfect. The film may be set in 1986, but the message of resistance to political oppression couldn’t be more relevant. This is a story about the importance of refusing to comply with unjust edicts, of the power one woman can have to make her voice heard. Sound familiar? But the movie is more than just its message: The Stoning of Soraya M. is effective because it’s a well-made film. Director Cyrus Nowrasteh takes his source material (the book, itself based on a true story) and infuses it with a staggering cinematic reality. The audience feels dangerously close to the on-screen action, struggling to help, or at least look away, as the plot careens toward its inevitable conclusion. Credit is also due to the two women whose performances transform the film from sad to tragic. Mozhan Marnò is the titular Soraya, capturing the innocence and resilience of a woman doomed by circumstance. And veteran Iranian actor Shohreh Aghdashloo plays her aunt: stubborn, independent, and altogether human. The story — even the title alone — speaks for itself. But with these leads it becomes a powerful call to arms, leaving the kind of lasting impression few other movies can hope for.

THE STONING OF SORAYA M. opens Fri/26 in San Francisco.

The Chronicle and the angry nativists

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By Steven T. Jones

San Francisco Chronicle editors continue to defend their decision to let reporter Jaxon Van Derbeken accept an award and large cash payout from the Center for Immigration Studies, which pushes an extreme position cracking down on immigrants, even though the Guardian has learned that the payout was $1,000 in 2001, which is extremely high for a journalism contest, most of which have no cash award and are judged by journalists based on professional standards.

Van Derbeken (who still hasn’t responded to my follow-up questions) and the editors (Managing Editor Stephen Proctor and Assistant Managing Editor Ken Conner) continue to refuse to answer detailed questions about whether the size of the award compromises accepted journalistic standards and whether the acceptance of it legitimizes CIS’s effort to make its extreme position more acceptable to mainstream audiences and politicians.

“All issues have proponents and opponents,” Proctor told us, equating the award to those given for education and legal affairs reporting and denying that the immigration issue is more divisive and controversial.

Meanwhile, CIS’s Mark Krikorian responded to our request for comment by criticizing his critics as a “jihad against dissent from the elite consensus for open borders” and sending us this link to a National Review article that he wrote addressing the Southern Poverty Law Center report labeling CIS an extremist organization.

Neither Krikorian nor anyone from the Chronicle has responded to our direct questions about how much cash Van Derbeken received from the CIS, although we found an application for the 2001 award that listed the amount as $1,000.

Frameline33 review: “Cure for Love”

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By Laura Swanbeck

cureforlove0609.jpg

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

SF vs. the Catholics, Round One

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By Rachel Buhner

The highly anticipated showdown between the Roman Catholic Archdiocese and the San Francisco Assessor-Recorders Office came to head June 16th in the Atrium conference room located at One South Van Ness. At stake is millions of dollars in revenue to the city, and perhaps the question of whether the Catholic Church will be able to hide hundreds of millions in assets from sexual abuse victims and other litigants.

Arguing in front of the Transfer Tax Review Board, the legal counsel for both the RCA and the Assessor-Recorder’s Office presented their respective cases with minimal theatrics. However, with the city estimating the total property values of the transferred parcels ranging anywhere from $210 million to $1.25 billion, and the potential transfer tax payout to be somewhere between $3 and $15 million – on top of increased property taxes as the properties are reassessed — there was clearly at a lot at stake for both parties.

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

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By Laura Swanbeck

amerart.jpg

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

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

PUC nomination delayed

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By Tim Redmond

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

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

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

Kucharmania!

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johnny@sfbg.com

PREVIEW I was going to review It Came from Kuchar, Jennifer Kroot’s documentary about George and Mike Kuchar, but a combination of exhaustion, absent-mindedness, and deep innate logic got the best of me. Instead of writing a straightforward appraisal of a movie about two filmmakers who are anything but straight, I’ve decided to pay tribute to a pair of brothers whose filmography and videography is longer and larger and (sorry!) more freely imaginative than all of the pictures in this year’s Frameline festival put together.

For sure, there is an irony at the heart of Kroot’s dedicated endeavor, just as there was one at the core of Mary Jordan’s equally appreciative Jack Smith and the Destruction of Atlantis (2006). Underground filmmaking as preached and practiced by Smith and the Kuchars is too wild to be summarized by a stadium of talking heads, let alone condensed into one of 21st century cinema’s most common manias, the feature-length documentary portrait. In 1997, when George and Mike published the midlife autobiography Reflections From a Cinematic Cesspool (Zanja Press, 182 pages, $19.95), they’d already created at least 300 films and videos. Just as Smith’s unfinished projects tease and outright mock any neat categorization or traditional definition of art work, how could a single film or commentator do justice to the myriad lovely warts and hidden undersides of such a gargantuan filmography? Most likely, Kroot has fashioned an introduction, so I will try to as well, using words instead of a camera.

If you’re a movie-lover in San Francisco, you have some Kuchar memories, and maybe even some bonds forged partly through an admiration of George and Mike Kuchar. I remember planning to wear an ape suit to a Roxie Cinema screening of Curt McDowell’s Thundercrack!, which is scripted by George. I remember how one friend’s private screening of George’s Color Me Shameless (1967) helped jostle me out of a deep depression rooted in embarrassment about past shameless behavior. However silly they might seem on the surface, many Kuchar movies tap into truths about life, and for that I’m thankful.

Another vital aspect of cinema Kuchar is its continued influence on contemporary San Francisco creativity. Kroot’s movie spotlights the Kuchars’ influence on cult icons and iconographers such as John Waters, Bill Griffith, and Guy Maddin. But name a local moviemaker you like, and that person is probably a Kuchar devotee, or even — like Kroot — a former student from one of George’s San Francisco Art Institute classes. When I enjoy a movie by Sam Green, David Enos, Martha Colburn, or the late, great (and currently resurgent) McDowell, I sense the spirit and essence of Kuchar. When I take note of Sarah Enid’s behind-the-camera direction and before-the-camera emotion, I see a Kuchar heroine beginning to tell her own story. Meanwhile, George keeps making whirwlind star-wipe video diaries and cooking up scripted genre goulashes that possess a singularly strange flavor. A couple of months ago, someone near and dear enthusiastically showed me a recent paradisical movie by Mike, and I was blown away by the potent high it derived from the beauty of its male lead actor. Secondhand smoke? Yes please.

It Came From Kuchar is an apt title not just because George and Mike Kuchar take their inspiration from B-movies, but because something about the Kuchar brothers as a phenomenon is not of this world — so of the world as to be almost too good for it. It came from outer space, and it came from beneath the sea, but not until it came — goopily — from the creative intestines and pleasure centers of George and Mike Kuchar did cinema truly phone home.

IT CAME FROM KUCHAR

Sun/21, 6:30 p.m., Castro

Eliminating dissent

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sarah@sfbg.com

For years, the Hunters Point Shipyard Restoration Advisory Board has served as the Bayview-Hunters Point community’s main voice in the U.S. Navy’s environmental cleanup plans for the toxic former naval station. But the committee is suddenly being disbanded just as the cleanup enters a crucial phase.

Used for shipbuilding and submarine maintenance and repair, and the decontamination, storage, and disposal of radioactive and atomic weapons testing materials, the shipyard was added to the Superfund national toxic site cleanup list in 1989. But it is also at the heart of where Mayor Gavin Newsom has partnered with Lennar Corp. on the city’s biggest development proposal, involving 10,500 homes and a new stadium for the 49ers.

As the Navy prepares to release a series of important studies and reports concerning the cleanup of the dirtiest parcels on the former shipyard, community members were outraged by the Navy’s announcement in late May that it is preparing to dissolve the RAB in the next 30 days.

In July the Navy will release draft feasibility studies for the cleanup of Parcel E, along with a final remedial investigation/feasibility study for Parcel E2, the dirtiest parcel on the base, and a radiological data-gathering investigation in the sediment surrounding Parcel F, which is the underwater portion of the base.

Some insiders say the announcement was not unexpected, given an escautf8g series of confrontational RAB meetings with the Navy over the last two years. But they fear the community will lose its ability to give the Navy direct, timely, and meaningful feedback, even if many believe the Navy wasn’t listening.

"The Navy fully supports the need for open, meaningful dialogue with the diverse Bayview-Hunters Point community regarding our environmental cleanup actions and decisions. However, the RAB is not fulfilling this objective," the Navy’s Laura Duchnak wrote in a May 22 letter to the RAB.

In her letter, Duchnak said the RAB meetings no longer provide community input on the Navy’s environmental cleanup program, that their atmosphere is not productive to effective public discourse, and that Navy attempts to improve the process have failed. "The revised community involvement program may include community environmental forums, including using Internet-based technologies to more easily reach a diverse audience, expanded monthly progress reports and fact sheets, and hosting technical discussions and tours of cleanup sites for interested community members," Duchnak wrote.

Duchnak’s announcement followed a tense January meeting in which RAB members reacted with horror when the Navy announced it was moving forward with controversial plans to cap radiologically-affected areas on the shipyard’s Parcel B instead of digging and hauling them, which the community preferred (see "Nuclear Fallout," 07/16/08).

Led by RAB co-chair Leon Muhammad, who teaches at the Nation of Islam’s Center for Self Improvement, which has been repeatedly dusted by unmonitored asbestos (see "The corporation that ate San Francisco," 03/17/07), and joined by newly sworn-in members Archbishop King, Marie Harrison, and Daniel Landry, the board voted to seek a civil grand jury investigation into whether local truckers are getting their fair share of the Navy’s shipyard contracts.

Members then voted to remove the city’s public health representative Amy Brownell from the RAB, and to call for the stoppage of all work on the yard until the Department of Defense, the Navy, and the city can prove, as Muhammad said, "where the ongoing dust exceedences are coming from."

The final straw, insiders say, occurred in February when members voted to remove the Navy’s RAB co-chair Keith Forman from the advisory board. Eric Smith, who was sworn onto the RAB in January but did not vote to remove Brownell and Forman, said the Navy’s dissolution response wasn’t surprising.

"The dissolution of RAB is not a good thing in terms of what it is supposed to do. But it was also doing things that were dysfunctional," Smith said. "The bitter irony is that the folks who caused the trouble were trying to get the Navy to sit up and take notice."

Smith said there is frustration with the Navy’s communication style, which the community feels is patronizing. "But the RAB was naïve to think the Navy would allow a forum over which it has unilateral authority to become a platform for attacks," Smith said.

RAB member Kristine Enea, who missed the RAB’s last two meetings, confirmed that the atmosphere got increasingly confrontational but added that the Navy ignored suggestions her calls for wider community involvement.

"It’s ironic that the Navy had decided to respond to criticisms, which include the charge that it is a poor communicator, by cutting off communications with the community," said Enea, who works at the India Basin Neighborhood Association. "Dissolving the RAB is a drastic step. There is so much going on, and so much that we need to know."

But Enea hopes IBNA can help fill that void, noting that the association has applied for a US Environmental Protection Agency technical assistant grant to review shipyard clean-up documents, provide fact sheets, and host community meetings.

The Sierra Club’s Arthur Feinstein said that his group’s main concern around the dissolution is that Parcel E2, which contains an industrial and radiologically-impacted dump that burned for six months in 2000, and Parcel F are both coming up for analysis.

"These are some of the most significantly contaminated areas on the shipyard, so the timing is terrible," Feinstein told the Guardian, observing that some RAB members did not appear to be looking for solutions and were so aggressive they destroyed meetings.

"Unfortunately there weren’t enough forceful people to say ‘shut up and sit down,’" Feinstein said. "But without a RAB, there will be no public forum where folks are able to get and read materials ahead of the meeting, and then ask and submit questions."

Harrison, a member of the environmental justice group Green Action, believes the Navy’s intent is that there be no meaningful interaction with the community. "When you don’t toe the line and play like good little children, the Navy shuts you down," said Harrison, whose group, along with the Nation of Islam and the Caravan for Justice, are planning a June 30 demonstration at the shipyard to protest the move.

In another point of controversy, Sen. Mark Leno has legislation that seeks to trade 25 percent of Candlestick Point State Recreation Area, the only major piece of open space in the Bayview, for small strips on the shipyard so Lennar can build condos on the parkland.

Noting that Sen. Leland Yee and Assembly Members Tom Ammiano and Fiona Ma oppose the parks-for-condos plan (see "Going Nuclear," April 29), Harrison said, "What possessed anyone to believe that we’d say, okay, take the only open space in the Bayview, and in exchange we’ll accept contaminated land scattered around on the shipyard?"

Environmental advocates believe the Sierra Club intends to fight Leno’s legislation with a challenge under the California Environmental Quality Act, but Leno told the Guardian that he is "continuing to work and meet with the lobbyists for the Sierra Club here in Sacramento to see if there are any additional amendments we can take that would get them to a neutral position on the bill.

"I think there is a good possibility we can get there," Leno said.

In February, Arc Ecology released a 133-report titled "Alternatives for study" that recommended the removal of the Parcel E2 landfill and explored changes in land use arrangements in the current redevelopment proposal to avoid environmental impacts (see "Concrete Plans," Feb. 4). Unfortunately, they were largely ignored by the Mayor’s Office of Economic and Workforce Development, which is working with Lennar on the public-private development deal.

Arc Ecology executive director Saul Bloom remains undaunted, recalling how 87 percent of voters citywide supported Proposition P, an advisory measure he wrote and that then-Sups. Ammiano, Leno, Michael Yaki, and the late Sue Bierman placed on the ballot in 1989 to establish community acceptance criteria for the shipyard, under federal toxic cleanup guidelines.

"The Navy had offered their opinion that voters in San Francisco, and especially in the Bayview, would accept a nonresidential industrial level cleanup for the shipyard because they were primarily interested in jobs," Bloom recalled. "We said that this was a mischaracterization and we’d go ahead and prove them wrong."

He believes the current struggle with the Navy over the RAB, and with the city and Lennar over Arc’s alternatives, are "emblematic of the problem facing the Bayview with regard to accessing good information and being told the straight story on health and development issues."

Milton Glaser: To Inform and Delight

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REVIEW Stroll through New York City and you can’t help but stumble onto one of Milton Glaser’s iconic designs, be it a Brooklyn Brewery label, New York magazine cover, or even the big white nose perched above Trattoria dell’Arte across from Carnegie Hall. Of course, Glaser, one of the world’s most talented, postmodern graphic designers, has also left his stamp, quite literally, with the ubiquitous I Heart NY insignia. Wendy Keys’ new documentary Milton Glaser: To Inform and Delight pays homage to this humble, erudite, and mirthful man who transcends traditional lines between high art and commercial design to make art accessible to the public. Keys incorporates anecdotes from students, clients, colleagues, and Glaser himself and highlights not only Glaser’s powerful aesthetic, but also his art’s implicit call for political and social responsibility. Whether encapsuutf8g the psychotropic ’60s in a Bob Dylan profile, rendering the plight of gay men in America in an print ad for Tony Kushner’s Angels in America, or embodying his pacifist beliefs in a poster condemning genocide in Darfur, Glaser informs and delights with his constant reinvention and incredible ability to capture the current zeitgeist.

MILTON GLASER: TO INFORM AND DELIGHT opens Fri/19 at the Roxie.