San Francisco

PE credit for JROTC up tonight

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Editors note: The San Francisco School Board will vote tonight on a convoluted plan to allow physical education credit for JROTC. Since the military-recruitment program doesn’t meet state standards for PE, the board is trying a runaround — students would get “independent study” gym credit if they sign up for JROTC.

Marc Norton, who has been in the forefront of the opposition to JROTC, sent us this commentary:

by Marc Norton

Right-wing Chronicle columnist Debra Saunders jumped into the JROTC end-game with an opinion piece on Sunday. In April, Saunders, who endorsed John McCain for President, opined that “In Obamaland… the left chants, ‘torture doesn’t work…’ But common sense tells you that techniques like sleep deprivation [and] waterboarding… work, at least some times.”

In her latest rant, Saunders recounts the pro-JROTC mythology at length, but her real play is to torture the truth with the claim that the California Board of Education has “said local school districts have the authority to offer PE [physical education] credits for JROTC.”

What the California Board of Education actually did was revise its Physical Education Framework to say that JROTC classes “may not” meet PE standards, instead of “do not” meet PE standards. But, “if a district desires to award physical education credit for courses such as JROTC, marching band, cheerleading, and drill, it is the responsibility of the district to determine how each particular course, as conducted in its district, supports a course of study for grades nine through twelve… and substantially meets the objectives and criteria” for state PE curriculum and credentialing requirements.

Those who have followed the JROTC story know that bipartisan efforts in the state Legislature have tightened up PE standards in recent years because of the crisis of physical fitness among our youth, particularly low-income youth and youth of color. That is why PE credit has been withdrawn from JROTC programs all over the state, including San Francisco.

In fact, a recent report from San Diego compared physical fitness records of students who took PE and those who did not. Fitnessgram results for JROTC students actually declined during the same period that results for students in PE increased. The Fitnessgram is the test students generally take in the 9th or 10th grade to show their progress in physical education.

If Manheimer is SF’s next top cop, will Newsom push Villa-Lobos in D6?

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Is this the face of San Francisco’s next top cop?

Text by Sarah Phelan

Back in February, I asked mayoral spokesperson Nathan Ballard if San Mateo police chief Susan Manheimer was Newsom’s top pick to replace SFPD Chief Heather Fong.

I asked because the Community Leadership Alliance was promoting Manheimer hard and seems to have the insider edge within Camp Newsom.
(CLA lists the Chamber of Commerce’s Rob Black—Newsom’s unsuccessful pick to replace D6 Sup. Chris Daly in 2006—as honorary Chair, Scott Caroen as Chair, Troy Hammer, David Muhammad, Christopher Rosas and Joseph Alioto Veronese and Angela Alioto as advisers, and David James Villa-Lobos as director.)

Ballard’s reply, which I included in the Guardian’s story about San Francisco’s dysfunctional public safety system, was that, “It would be wildly premature to comment on the Mayor’s preference for police chief at this time. “

This was of course before Fong demoted veteran police office Greg Suhr to captain, before the domestic violence victim whose case was used to demote Suhr claimed that Suhr’s actions saved her life, various other candidates had their names leaked to the press, and before the Examiner’s Ken Garcia accused Fong of trying to burn down the whole department.

But now the Chronicle is claiming that Manheimer could very well be SF’s next top cop, because she spent 16 years in the SFPD before heading to San Mateo, the powerful SF Police Officers Association feels it can work with her, and the choice will allow Newsom to appear to be choosing a department outsider.

Suhr, Deputy Chief Kevin Cashman, and Pasadena Police Chief Bernard Melekian, are reportedly still in the running.

Meanwhile, I’m left wondering if Newsom is going to back CLA director Villa-Lobos for D6 in 2010, becausethe two are photographed posing together on CLA’s website and the group seems to have its finger on Newsom’s pulse.
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David James Villa-Lobos poses with MGN

Handjobs: Are we having them?

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By Juliette Tang

Hand jobs. Are people still giving, getting, or even thinking about them? I’m not talking about a few jerks during foreplay either. I’m asking if anyone out there habitually engages in hot and heavy hand love… and goes all the way. Because it seems, in many peoples’ sex lives, that the hand job is to a CD Walkman what the blow job is to an iPod. It was great when you were in junior high, but then something new came around and you sort of forgot about it. I occasionally see used latex gloves discarded on the sidewalk, and we regularly hear about San Francisco law enforcement cracking down on local massage parlors (so obviously someone out there is paying for it) but – like secret societies, group sex, and crack – hand jobs are something you know is out there, though you’re hard pressed to know anyone who regularly participates. I awkwardly asked some of my male friends, both straight and gay, “When was the last time you got a hand job?” and then quickly added, “And not from yourself.” The most common response was, “And… um, came?”

What once seemed so sexy and thrilling in 9th grade has now, in adulthood, become prosaic. But why? Have we really graduated from the hand job? Is it that because those who can simply jerk themselves off would rather engage in other activities when with a partner? Do hand jobs seem dispassionate and sterile? Or is it simply that, for most, no one else really gives a hand job quite as good as one can give oneself?

Best Sunday Streets ever

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By Steven T. Jones
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The streets of the Mission District came alive for a few hours yesterday, transformed into vibrant public spaces filled with bicyclists, children, skaters, dancers, walkers, yoginis, and neighborhood residents and merchants – pretty much everything except the motorists that usually dominate the roadways.

The occasion was Sunday Streets, the car-free events created by a partnership of progressive groups and the Mayor’s Office. And this was by far the best of the five Sunday Streets events that San Francisco has staged, mostly because it was in a dense, lively neighborhood rather than along the sterile Embarcadero where previous events have been.

Mission dwellers used the occasion to haul out barbecues or sound systems, to set up garage sales or lemonade stands, or simply to sit on their porches or driveways and enjoy the street life. “Aren’t you my neighbor? Hello, good to see you again,” a friendly young hipster on a bike said to an older Latina at one point, a warm exchange that seemed emblematic of the event’s community-building potential.

Gold Club: Anniversary party shiny but not new

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By Molly Freedenberg

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Gold Club’s Website cover girl knows what you want (what you really, really want).

It all started with this:

Are you into booze???

What about food??

How do you feel about boobies, then??

Gold Club’s giving ’em all away next Thursday evening…

That was the email from a friend whose expertise – besides playing Magic, drawing octopi, and arguing with me about why Macs aren’t better than PCs – is finding free shit to do. This time? It was free nudity. And there was no way I was missing out.

Thing is, after several years of going to Burning Man – hell, even just of living in San Francisco – seeing naked people isn’t really a big deal. And after spending six years in sexually-progressive Portland, where going to the strip club was as normal as going to the local pub, the idea of seeing nudity in a bar isn’t a big deal either.

But I’ve never been to a strip club in San Francisco. Would it be weird, seedy, and full of mainstream guys ogling surgically-enhanced women, a la Southern California? Would San Francisco culture have seeped inside its walls, meaning tattooed dancers with plug piercings and pink hair? I had no clue what to expect.

Apparently, I wasn’t alone in my curiosity. When we got to the 5th Anniversary party at Gold Club, the line to get in snaked around the block. As per the invite’s instructions, most people had “dressed to impress,” most men in some version of business casual and most women in dresses and heels. There were more men than women, by far, but the ratio was considerably closer for this event than I suspected it normally would be.

Inside, the club felt like Vegas. Carpeted floors, special areas separated by artificial glass walls, their insides rippling with neon bubbles. An ice sculpture of a naked pole dancer slowly melted in front of a glassed-off smoking room (which, itself, was much like a slightly swanky airport smoking area). The one stage was surrounded by heavy-duted scaffolding, which held arena-worthy lights. And on the stage, from the event’s start at 7pm until its finish at 9pm, was a steady rotation of topless dancers.

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Though heavier on neon and glass than I’d prefer, the decor of Gold Club is still classy enough for me to consider it a “gentleman’s club,” rather than a mere strip joint.

Hot sex events this week

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Compiled by Molly Freedenberg

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Explore the origins of the magazine made for sexworkers during Saturday’s film festival at the Roxie.

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>> In Our Own Image
Representatives from the Sex Workers Empowerment Project (SWEP) $pread Magazine will be on hand (ha ha) at the screening of this documentary on sex worker-made media and $pread itself — all as part of the final days of the 6th Annual Sex Worker Film, Art, and Music Festival. (Other films also run all day, from noon past midnight.)

Sat/6. 2pm. $8 per show, $30 day pass.
Roxie
3117 16th St., SF
www.sexworkerfest.com

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>> “Identity”
In honor of the National Queer Arts Festival, Femina Potens presents an exhibit dedicated to exploring constructions of gender identity. Celebrate opening night with artists Jess T. Dugan, Melvyn Herrick, Julie Sutherland, and Fakir Musafar, along with more queer comrades.

Sat/6. 7-10pm.
Femina Potens
2199 Market, SF
(415) 864-1558
www.feminapotens.org

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>> San Francisco is Burning
Cheer on Michelle Tea’s House of RADAR in this competitive fashion show featuring writers and performers from the RADAR series, where all proceeds benefit Queer Cultural Center.

Sat/7. 7pm. $20-$50.
SOMArts
934 Brannan, SF
www.queerculturalcenter.org

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>> Different Strokes
Think hand jobs are simple? Think again. Learn the secrets of making basic handwork into a gourmet treat, from warm-up to happy ending and bringing prostate and anal play into the mix.

Mon/8. 8pm, $25-$30.
Good Vibrations
2504 San Pablo Ave, Berk
(510) 841-8987
www.goodvibes.com

Covet adorns the Richmond

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By Mayka Mei

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Freshly lettered windows welcome Covet to the Richmond.

It was just another day in late April when Adrienne Lee Wiley was wandering through the Richmond. En route to picking up her husband from the airport, she saw a “For Lease” sign in a storefront on Arguello. It stuck in her mind. By her husband’s urgings, she contacted the owner. All it took was one more phone call to colleague Liza Anongchanya, and the two became co-founders of the new jewelry store, Covet.

If ever there were a reality show challenging its competitors to flip a store in two months, Wiley and Anongchanya would surely come out on top. It was never even a dream of Anongchanya’s, she says, to run a boutique, but now her Ofina line of jewelry is displayed prominently alongside Wiley’s Frolick label inside the pair’s very own shop.

It was all “very, very fast,” says Wiley.

“I hadn’t even showered yet!” Anongchanya, says of the moment when Wiley first phoned her. It seems Wiley convinced her partner just enough with the promise that the new store would also include studio space.

The two jewelry designers met about two years ago at the San Francisco event formerly known as Capsule (which re-emerged as Union Design Festival last weekend). Months later, they unexpectedly ran into each other at America’s Mart in Atlanta. Eventually, the two made their individual ways to San Francisco – Wiley via Atlanta, Anongchanya via Los Angeles – where they were both drawn to the area’s appreciation for the arts.

“The people and the vibe is so much better here,” Anongchanya says, comparing San Francisco to the Los Angeles jewelry-making scene. “They don’t try to haggle you down.”

Newsom’s winning the budget spin

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By Tim Redmond

The mayor is winning the spin battle over the city budget. The Chron’s first-day story tells the tale:

San Francisco Mayor Gavin Newsom unveiled a $6.6 billion budget Monday for the 2009-10 fiscal year that he said “does a lot of extraordinary things” including bridging a half-billion-dollar deficit without raising taxes or laying off police officers, firefighters or teachers.

“It’s not perfect, but it’s as close to perfect, under the circumstances, as we could make it,” he said. “We did this without the devastation some had predicted.”

The Chron editorial the next day parrots the Newsom line:

San Francisco mayor Gavin Newsom acknowledges the obvious about next year’s budget: “It’s not perfect.” But his spending plan bridges a nearly half-billion dollar gap that existed three months ago and leaves basic services and schools in good shape.

Actually, that’s completely untrue — the devastation is going to be pretty serious. And basic services won’t be in good shape, they’ll be shredded.

But the progressives on the Board of Supervisors haven’t made that case yet — and it’s time to get started.

If we wait until the budget hearings, in a couple of weeks, the board will be on the defensive. It’s taken everyone a couple of days to figure out what’s in and out of the budget, but we know enough to understand the impacts — and we know enought to be able to argue that without some serious new revenue, the city’s going to be in horrible shape.

The mayor has, of course, dumped the budget off and fled for a fundraiser in New York . The leaders of the progressive wing on the board ought to be planning a press conference — soon — to tell the other side of the story, and they ought to be presenting an alternative fact sheet showing what Newsom really has in mind for the city.

The supervisors typically change just a tiny fraction of the budget, but this year’s going to be different. It will be — it almost has to be — a major battle over public priorities. And if the mayor sets the agenda and controls the public debate, the outcome won’t be pretty.

Finally, some justice for John “J.J.” Tennison

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Text by Sarah Phelan
As the Chronicle reports today, the city has agreed to pay $4.5 million to John “J.J.” Tennison, who spent almost 14 years in prison for a crime he didn’t commit.

What the Chronicle doesn’t mention is the work of former Bay Guardian investigative reporter A.C. Thompson, whose award-winning series on the case went a long way in helping to reverse the conviction of Tennison and his alleged accomplice Antoine Goff, who were sentenced to life for the execution of Roderick “Cooley” Shannon in a lonely Vis Valley parking lot in August 1989.

“After my journalistic probe, I felt fairly certain that a terrible injustice had been done, that Tennison and Goff had not killed Shannon, that police and prosecutors had engaged in dubious behavior-and that the real executioner was walking the streets,” wrote Thompson in September 2003, shortly after Tennison’s life sentence was overturned.

And while it’s a triumph of sorts that the city has agreed to compensate Tennison, whoever executed the 18-year-old Shannon almost 20 years ago, “with shotgun blasts to the shoulder and head,” as Thompson’ reported in 2001 in his kick-off piece “The Hardest Time,“is still at large.

When Thompson started digging into the case in 2001, he found that “police linked Shannon’s murder to a raging war between hoodsters from Vis Valley and Hunter’s Point. Young people-mostly African American-in the two housing project-heavy districts were waging a bloody battle for control of the drug trade, a battle that had escalated into a string of life-for-life revenge killings.”

Both Tennison and Goff had alibis, but even as Thompson dug deep and masterfully laid out at the weaknesses, flaws and inconsistencies in the so-called evidence against them, he wasn’t holding his breath that justice would be served.

“Still, I never expected the two men to go free,” Thompson admitted in 2003. “The criminal justice system is stacked against convicts who assert their innocence.”

But after another judge freed Tennison’s codefendant, Antoine Goff, who was serving 27 years to life, and a Superior Court judge declared both men innocent, Tennison and Goff sued in federal court, saying the city had violated their civil rights.

Last month, the city attorney’s office reached a proposed settlement with Tennison. Goff’s case will go on trial later this year.

But to date, former Chief of Police of San Francisco, Earl Sanders, Detective Napoleon Hendrix, and other police officers associated with the CRUSH violent crimes unit, which was involved in investigating the case, and prosecutor George Butterworth, have walked away unscathed, even though Thompson dug up all kinds of evidence that suggested that the police had engaged in misconduct in helping to put Tennison and Goff behind bars.

As Thompson’s articles revealed, witnesses were coached to lie that Tennison and Goff committed the murder. The existence of witnesses who said that the men were innocent and that another had done the killing were hidden from the defense. And when someone confessed to the crime, they didn’t tell the defense.

This malpractice of the law and malfesance lead to Tennison and Goff rotting behind bars for thirteen years. But after Thompson’s initial cover story on Tennison, The Hardest Time, came out in 2001, Tennison’s brother, who worked in a parking lot near the offices of noted defense lawyer John Keker, put copies of the article on the windshield of every car, hoping some lawyer would read it and offer to help. And that’s what happened.

Two of Keker’s associates Ethan Balogh and Elliot Peters picked up on the case and helped Public Defender Jeff Adachi and a team of lawyers win Tennison’s freedom, work ing their asses off for three years pro bono.

Thompson has previously stated that he’d like to write a book when the whole saga plays itself out, called A Black on Black Crime, “because the two homicide detectives were famous African-American detectives, and the two dudes who were framed were innocent average black dudes from the hood.”
He couldn’t be reached for comment today, but here’s hoping he’s polishing the final chapters, right about now.

Dick Meister: Slavery and Segregation

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It was racism that in 1935 kept farm workers and domestics from being granted protection of U.S. labor law

By Dick Meister

(Dick Meister, a San Francisco-based journalist, has covered labor and political issues for a half-century as a print, broadcast and online reporter, editor and commentator.)

It’s been three-quarters of a century since enactment of the National Labor Relations Act that grants U.S. workers the basic legal right of unionization
– the right to bargain with employers on setting their wages, hours and working conditions.

But for all that time, two groups of our most highly exploited workers have been denied the law’s protections – farm workers, and housekeepers, nannies, and other domestic workers.

Pure fucking armageddon?

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Man, Norwegian black metal bands sure do grow up fast. Has it really been 25 years since Mayhem first unleashed their sinister rumblings upon unsuspecting eardrums, via the ominously-titled demo Pure Fucking Armageddon?

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Spoiler: Mayhem don’t look like this anymore.

Yep, indeed it has been — and for Mayhem, who are probably the most famous and certainly the most notorious band to emerge from Scandinavia’s black metal scene, there’s no time like 25 years later to hit San Francisco’s DNA Lounge. Seems like the DNA has been hosting more metal than usual lately, after the recent PaganFest (featuring tunic-wearing Finnish folk metallers Korpiklaani, a band with a frontman so energetic he nearly cancelled out possibly the most bored-looking heavy metal violin player ever to roam the earth), and with the Pentagram show (yes!) coming up July 2. For Mayhem, supported by Cephalic Carnage, Cattle Decapitation, and Withered, but not the previously-announced Swedes Marduk, who cancelled due to visa problems), the joint was fairly packed but not sold out. It was a Wednesday night, but the show started early (7pm), a bonus for working stiffs who love to throw the goat but turn into zombies around midnight. Perhaps because it was midweek, the crowd seemed less fashion-y than the types who’d turned up for PaganFest. Or maybe I was too busy ogling the (faux) severed-head set decorations to notice any overt clubwear in our midst.

Goorin Brothers — SF soul on top, all over

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By Mayka Mei

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Real throwback style at the new Goorin Brothers store on Haight.

Passing on from nuts to hats. Such was the transition as the historic Morrow’s Nut House gave way to a new Goorin Brothers store. Last weekend the worldwide hat manufacturer opened two new shops in San Francisco, forming a three-store family within the city.

Friday kicked off with the grand opening at 111 Geary. San Francisco natives may know it as the Nut House, but the previous owner of the 70-year old institution has finally handed the keys over to Goorin Brothers CEO Ben Goorin. In finding the next tenant, (all nuthead puns aside) working with Goorin Brothers was absolutely intentional. “They definitely wanted somebody that was like us,” Goorin said. “[A] San Francisco-based company that’s been around with family roots here.”

Suck some heads at the SF Crawfish Boil & Ho-down

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By Victoria Nguyen

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Flickr photo by Janice Myint

In a little more than 72 hours, San Francisco’s Crissy Field will be the site of a mass massacre when 45,000 live crawfish meet their death in heavily spiced pots of boiling water.

It’s going to be chaotic. It’s going to be messy. It’s going to be absolutely friggin’ delicious.

This Saturday, a little bit of the Bayou Country comes to the Bay Area at the 6th Annual San Francisco Crawfish Boil & Ho-Down. According to event coordinators, this year’s turnout promises to be their largest to date, with expected attendance doubling from last year’s. The Crawfish Boil, which runs from 11am-7 p.m. at the western end of Crissy Field, will feature a live jazz band with approximately 3,000 pounds of spicy Louisiana crawfish and all you can drink beer.

The event began modestly in 2003, when two guys from Mobile, Alabama hosted a crawfish boil for a group of 25 in Golden Gate Park. Five years later, that group became 500. This year, they’re capping off the event at 1,000 folks.

“The great thing is we never started this with the intention of what it has turned into,” said Jonathan Wiggins, one of the co-founders of the event. “I think this crawfish boil event has the potential to be another big festival here in San Francisco.”

Is this really our only choice?

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By Tim Redmond

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Now that Antonio Villaraigosa appears not to be running for governor, the most populous state in the nation, the world’s eighth-largest economy, is headed for a very ugly choice. The Democratic Party has exactly two prominent candidates to run California — Jerry Brown, who has become a conservative with his no-new-taxes pledge and his tough-on-crime stuff, and Gavin Newsom, who has been a pretty awful mayor of San Francisco.

Is this the best that the state can do?

It might be — and here’s the problem. In a state this big, with more than 36 million people, a race for governor is all about image. It’s about television ads and media hype — and most people don’t pay attention to the details. Brown is ahead in the polls almost entirely because of name recognition; he’s the attorney general, has been govenor before, his dad was governor, he’s run for president — people have heard of him. Liberal Democrats who are older and remember when he was the dynamic young, progressive leader think back fondly to those days. Democrats who are more moderate look at his hard-ass love-developers-and-cops tenure as mayor of Oakland. Nobody has any idea how he would fix the state’s economy; I don’t think he knows himself.

Newsom is catching up, and will make this a close race, because he’s the new young face — and because he’s got a team of consultants and producers who are experts at creating false images. He’ll run as the “green mayor,” although he’s opposed the most important environmental measures in the city. He’ll run as a sensible leader who balanced a budget with no borrowing or taxes (although he’s doing it by destroying the local safety net). What most voters won’t see is the arrogant, petulant guy who has surrounded himself with fawning accolytes and nasty hit men. They won’t see a person who is way over his head in his current job, and has no business moving on to a much bigger one.

And that’s what we’ve got.

I wasn’t kidding last week when we talked about splitting up the state. It sounds like a radical idea, but think about it: If we were electing a governor of the coastal counties between Sonoma and Los Angeles, Jerry Brown wouldn’t even be a factor — and a lot of smart, experienced progressives would have a shot at the job. We wouldn’t be facing this ugly choice of finding someone either bland or conservative enough to appeal to the Central Valley. The voting population would be much smaller, and thus the vast sums of money that candidates have to raise would be significantly reduced.

We might even get a good governor.

In the meantime, we have to do better than this. Is there nobody else out there, no real change candidate who might actually be able to take on the serious problems facing California?

Sushi sex: Japanese art porn comes to the Roxie

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By Juliette Tang

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No one does weird art porn like the Japanese, and this week, San Francisco gets to ride the bizarre train all the way to Tokyo. Inexplicably sexy and intentionally funny, Silence of the Sushi Rolls is coming to the Roxie Theater (3117 16th Street) on Friday. Hurray for porn being shown in real theaters! And as a part of the San Francisco Independent Film Festival’s Another Hole in the Head Fest, no less.

Why is it that when porn requires active subtitles, it magically becomes more high-brow? Because there’s nothing high-brow about this movie. It’s a guilty pleasure you won’t want to write home about. And, that said, you should totally go to see it anyway. Silence of the Sushi Rolls is the fourth film in an amazingly ludicrous series of “action comedy” softcore films known as the “Female Detective Molester Buster” series. The hilarity of porn titles, it appears, transcends culture. My favorite title is the Female Detective Molester Buster 2: Catch You With My Breasts. Who knew boobs made for such great law enforcement equipment?

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In true Japanese softcore fashion, Silence of the Sushi Rolls kicks off with a woman getting molested. Those sensitive to scenes depicting sexual assault should take note not to attend (and to avoid all Japanese pornography henceforth). But to be fair, the assault scenes are so obviously fake and the attacks are so staged, it reminds me way more of that scene in Lost in Translation when an escort barges into Bill Murray’s hotel room and starts rolling around on the floor screaming “Lip my stocking! Lip my stocking!” than anything else.

First things Faust

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a&eletters@sfbg.com

Bay Area writer-director Mark Jackson has been rightly hailed for his original scripts, especially since the rollicking ingenuity of 2003’s The Death of Meyerhold. But his dialogue with established or classic plays has been just as intriguing to follow. Here, strict fidelity to the text has not always proved a recipe for success. Indeed, it was by tossing out the text completely that Yes, Yes to Moscow — created with Tilla Kratochwil, Sommer Ulrickson, and Beth Wilmurt and one of the best things to happen on any Bay Area stage in 2008 — managed to capture the essence of Chekhov’s Three Sisters to a degree most big-budget, straight-ahead productions could only envy. Then again, without changing a word, Jackson brilliantly exploited the kinetic value of Sophie Treadwell’s expressionist drama, Machinal, for last year’s memorable production with alma mater San Francisco State University. But more recently, cleaving restlessly to August Strindberg’s text of Miss Julie in an otherwise skillful production for Berkeley’s Aurora Theatre, Jackson teetered near heavy-handedness, the injection of directorial personality often butting heads with Strindberg’s tightly wound material rather than entering a productive discourse with it.

That is happily not the case in Jackson’s current effort: a sure, compact, and invigorating free-adaptation of Johann Wolfgang Goethe’s Faust, Part I produced, like Meyerhold, by Berkeley’s Shotgun Players. The "freely adapted" part is no doubt key to the success here, but that implies no reduction of the original. Although the text has been trimmed and jiggered greatly, Jackson’s version — alive and lively in rhyming verse — strikes a confident, highly effective balance between his own visually striking exegesis and a deep-seated fidelity to the poetical and dramatic spirit of Goethe’s glorious closet play.

Essaying the title role himself with considerable wit and panache, Jackson leads a winning cast in the kind of dynamic, precisely choreographed neoexpressionist production he has made a hallmark of his work. "In the beginning was the act!" is Faust’s eureka cry. But the director starts the action in a tense but humorous fit of inaction at the lip of the stage. There Faust, the arch but frustrated rationalist bent on bending nature to his will, vacillates in calling forth the spirit world, standing before a wall of thin metal-framed windows blacked out except for one square patch of moonlight, and bare but for a single glass of magic potion.

Frenetic, verbose, arrogant, and (nearly) fearless, Jackson’s Faust dances a tightrope line between jaded hero and willing fool with conjured devil and enabler Mephistopheles (played with a slippery sobriety and quiet menace by the solid Peter Ruocco) standing erect and a full head shorter by his side, all courteousness amid flashes of animal teeth.

The play centers on Faust’s tragic wooing (and ruining) of the beautiful maiden Gretchen (an exceptionally deft, completely mesmerizing Blythe Foster), whom Faust meets in that fair field after downing his magic potion. But Gretchen’s mother (in a suitably jagged but subtle portrait by Zehra Berkman) guards her daughter’s chastity with hawk-like concentration despite being wheelchair-bound, her sharpness accentuated by repeated appearance in profile.

Goethe’s Faust — so applicable to our historical moment-of-truth that in lesser hands any treatment is doomed to cliché — has the unparalleled Renaissance man embodying rational, post-Enlightenment humanity in a sobering confrontation with questions of good and evil. A forceful aspect of Jackson’s shrewd staging lies in never losing sight of this "embodied" tale. Certainly Faust is enchanted by his own words. After all, it’s through language — here, in particular, the paradigm of a masculine rationality subduing a feminized nature — that we not only define but bring into being the world we inhabit (notwithstanding Faust’s claim for "the act" as instigator). But amid the heightened speech, Jackson maintains a delightfully chilling carnality in the details. It echoes more remotely in the play’s eerie final lines as well, when Mephistopheles, calling creation one big wash, must concede that for all its nothingness, "something seems to circle around." It’s messy, and it bothers him. "I should prefer eternal emptiness," he says.

FAUST, PART 1

Through June 28

Thurs.–Sat., 8 p.m.; Sun., 5 p.m., $22–$30

Ashby Stage, 1901 Ashby, Berk.

(510) 841-6500

www.shotgunplayers.org

Return of the creatures

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Zombies, werewolves, slashers, ghosts, and just plain fucked-up individuals: yep, the usual suspects are on hand for the Another Hole in the Head film festival, an offshoot of the San Francisco Independent Film Festival that’s back for a sixth unleashing of cinematic ghastliness.

David Gargani’s Monsters from the Id, named for the invisible menace in 1956’s Forbidden Planet, takes an earnest, somewhat unfocused look at how scientists were depicted in 1950s sci-fi films. Movie clips and talking heads delve into the ways in which the era’s "futuristic" flicks (Spaceships! Giant ants! Pod people!) were informed by both the era’s sense of wonder and paranoia. Monsters also notes how much less money is spent on space in these post-Cold War days; one scientist wistfully notes that the only way physicists would become heroes again would be in some kind of preventing-an-asteroid-from-hitting-the-earth type of scenario (but, duh, Doc: according to 1998’s Armageddon, oil drillers would actually save the day in that case).

Entries with local ties include James Isaac’s Pig Hunt (which screened a few weeks back as part of the Clay Theater’s midnight series). After kicking off their road trip with a meal at the Pork Store Café, a group of SF friends set out on an ill-advised hunting jaunt (their quarry: a 3,000-lb "Hogzilla," a creature that turns out to be just one of many backwoods adversaries). Even more bloody and bizarre is Oakland filmmaker Jonathan Lewis’s Black Devil Doll, an awesomely campy, proudly low-budget, X-rated cross between Child’s Play (1988) and Dolemite (1975) — the entire cast is basically comprised of strippers and a raunchy puppet that says things like "Holy shit! These white bitches is crazy!"

Also of interest for all you discerning sickos: HoleHead unleashes two films by prolific Japanese cult auteur Takashi Miike, including opening night film Crows: Episode Zero (a manga adaptation) and Detective Story, about a detective and his neighbor on the trail of an organ-stealing murderer.

ANOTHER HOLE IN THE HEAD

June 5–19, see film listings for schedule, $10

Roxie, 3117 16th St, S.F.

(415) 820-3907, www.sfindie.com

Round one

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sarah@sfbg.com

The Board of Supervisors’ narrowly thwarted attempt to reject the Municipal Transportation Agency’s 2009-10 budget was the first in a wave of anticipated showdowns between Mayor Gavin Newsom and the progressives this summer as budget season gets underway.

The mayor appeared to win this particular showdown when the board voted 6-5 not to reject the MTA deal May 27, although the skirmish helped progressives voice their concerns over Newsom’s budget priorities. It also gave board President David Chiu the opportunity to conduct a masterful interrogation of MTA executive director Nat Ford that set the stage for Sup. John Avalos to try to place a charter amendment on the November ballot that would make MTA more accountable and accessible.

That said, the final MTA deal — which closes a $129 million deficit on the backs of Muni riders (through service cuts and fare hikes) rather than motorists (MTA governs all parking revenue) by a ratio of about 4-1 — seems to be inconsistent with San Francisco’s official "transit-first" policy.

Chiu was the first to suggest rejecting the deal when it became clear that the Mayor’s Office has been using the MTA as a backdoor ATM, authorizing $66 million in work orders for things like salaries for Newsom’s environmental aides and compensating the police department for vaguely defined security services.

The practice made a mockery of Prop. A., which voters approved in 2007 to increase funding to Muni by $26 million annually. But since then, work orders from unrelated city departments, including the police and Newsom’s 311 call center, had increased by $32 million.

"If people have to pay more for less, they will stop taking Muni," Chiu said at the May 6 Budget Committee hearing on the MTA budget.

Sup. David Campos also took issue with the work orders and service cuts. "Whatever money riders of Muni pay into the system should be used for public transportation," Campos said.

In the end, Chiu got the agency to trim $10 million from its budget, restore $8.6 million in proposed Muni service cuts, and delay the increases that seniors, youth, and the disabled will pay for fast passes. In exchange the board voted 6-5 May 12 to drop its MTA’s budget challenge, allowing fares to increase to $2 and for services to be reduced. Sups. Campos, Avalos, Ross Mirkarimi, Chris Daly, and Eric Mar dissented.

"We needed to work this out so we can move forward on the myriad issues before us," Chiu said.

But led by Avalos, who chairs the board’s powerful Budget and Finance Committee, the progressives revived the issue the next day. "Given our grave economic crisis, we owe it to seniors, youth, and other low-income Muni riders to come up with a better budget, one that ensures Muni accessibility and accountability," Avalos said.

Instead of increasing fares and cutting services, Avalos suggested that the MTA extend meter hours to evenings and Sundays. For a moment, it looked as if the progressives would be able to muster the seven votes needed to reject the deal. Ultimately Chiu, Sophie Maxwell, and the other MTA budget opponents stuck to the deal, which was reapproved May 27.

But the episode underscores why Avalos wants to reform the composition of the MTA board. Currently the mayor appoints all seven members. The only thing the supervisors can do is confirm or reject his nominations.

The mayor also appoints MTA’s executive director. Under Newsom, Ford was hired to the post for $316,000 annually, making him the city’s highest paid employee and someone who feels accountable to the mayor. "In all the cities, the mayor takes the heat for the transit system," Ford told the Guardian when challenged on his agency’s seeming lack of independence.

But under Avalos’ amendment, the mayor and the Board of Supervisors would each nominate three board commissioners while voters would elect the seventh. "The new MTA board composition will create greater checks and balances and also ensure that the MTA director is not solely accountable to one person, but to a board that is more representative of the city and county of San Francisco," Avalos said.

MTA now faces an additional $10 to $16 million deficit, thanks to union negotiations and fears that the state will raid city property tax and gas tax coffers. But as part of his budget deal with Chiu, Ford promised that the agency would study extending parking meter enforcement hours to close the gap.

Confirming that the agency dropped a $9 million a year proposal to extend meter hours citywide after receiving input from merchants, Ford said that "we’ll clearly have to revisit parking. We’ll be looking at how to administer extended meter hours, and how that impacts churches if we do it Sundays. But we are sitting here with a structural deficit that’s been going on for decades. We need to figure out the revenue streams we need to enhance the system."

Campos thought that a progressive Board of Supervisors should have gotten a better MTA budget. "As Sup. John Avalos and I pointed out, there’s almost nothing different between this budget and what was presented last week," Campos said. "I think it’s an illustration of how it is not enough to have power. You have to be willing to use it."

But Chiu defended his deal as a necessary way out of the board conflict with Newsom’s office. "Nat Ford has committed publicly and privately that he will propose meter hour change. And MTA Board President Tom Nolan has committed that he will ensure that car owners pick up more of the burden, and that if the budget gets worse, the additional problems won’t be balanced on the backs of Muni riders, which was not something we heard last week," Chiu said.

Avalos was less sanguine: "It was a clear moment for the Board of Supervisors to support transit-first and the city’s most vulnerable residents."

But he felt that concerns about the deal, and the realization that Newsom is an increasingly absent mayor, will help voters see the need for MTA reform.

"There wasn’t a single MTA commissioner or director accessible or accountable to the greater part of San Francisco. But they were responsive to Room 200, the Mayor’s Office," Avalos said. "Clearly, we need greater checks and balances."

Mirkarimi observed how, when faced with a crisis, people make practical decisions. "What gets lost when we are in crisis mode is our larger objective," he said. "We are a transit-first city that has strong climate change legislation, and Mayor Gavin Newsom is constantly campaigning on green issues. So it’s counterintuitive for us to broker an MTA budget on the backs of Muni riders and not understand that this deal could diminish that ridership."

But MTA spokesperson Judson True believes that what got lost in the discussion is that, as a result of Proposition A, the agency adopted a two-year budget that slapped drivers with increased rates and fees in 2008 while Muni riders and services were mostly spared.

Things changed, True said, when the economy tanked in 2008 and the MTA was left facing an unprecedented deficit. "At that point we reopened the budget and put everything on the table," True said.

Either way, Chiu has been urging supervisors to move on and focus on the next big thing: the mayor’s budget. "There’s a half-billion dollar hole in this budget," Chiu said last week. "It’ll make this debate look like child’s play."

Steven T. Jones contributed to this report.

The struggle continues

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>rebeccab@sfbg.com


Video of May 26’s anti-Prop 8 rally. Video by Rebecca Bowe. For more videos from that day, click here.

An estimated 10,000 people turned out in San Francisco May 26 for a day of rallies and marches staged in reaction to the California Supreme Court’s decision to uphold Proposition 8, the voter-approved measure passed in November 2008 that outlawed same-sex marriage in California. Expressing anger and frustration with the news, same-sex couples and advocates for marriage equality nonetheless vowed to push ahead with a new fight to overturn Prop. 8 at the ballot.

"Today’s court decision means we have to go back to the ballot," Abdi Soltani, executive director of the Northern California chapter of the American Civil Liberties Union, told a crowd gathered outside San Francisco City Hall. "The issue is not whether we go back to the ballot. The key question for us to tackle now is what we have to do in order to win at the ballot. That’s the difficult work that is ahead for all of us."

It was an emotional day for same-sex couples. Protesters took to the streets in permitted and spontaneous marches, and 200 arrests were made after a sit-in was staged at Van Ness and Grove streets around midday.

"It’s a sad day to be a Californian, as far as I’m concerned. I’m embarrassed," Castro District resident Hank Doonan, standing arm in arm with his partner Michael Talty, told the Guardian. Talty displayed his engagement ring. "We’re still getting married, and it doesn’t matter," he asserted with a note of defiance. "But we’re really sad today."

Molly McKay, media director for nationwide same-sex marriage advocacy group Marriage Equality USA, appeared at the San Francisco rally in a wedding dress. "I’m sorry we have to keep fighting the same battle," she told the Guardian later. "But I’m proud of all the people who turned out."

Shrinking government

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steve@sfbg.com

Mayor Gavin Newsom released his proposed 2009-10 city budget June 1, proclaiming it far better than doomsayers predicted and emphasizing how he minimized cuts to health and human services that he once said could be as deep as 25 percent in order to bridge a $438 million budget deficit.

"It doesn’t come close to balancing on the backs of our health and human services agencies, as some had feared," Newsom told the department heads, elected supervisors, and journalists who were tightly packed into his office for the announcement event.

But there’s still plenty of pain in a city budget where the General Fund — the portion of the budget local officials can control — would be reduced by more than 11 percent, its only reduction in recent memory. And at a time when every reasonable Democrat in Sacramento has been nearly begging for tax hikes to prevent budget blood, San Francisco’s Democratic mayor proudly proclaimed that there are no new taxes in the budget.

"We didn’t raise taxes, and we didn’t borrow," he said. You can almost hear that line being repeated in the ads he’ll be running as he campaigns for governor.

Newsom proposes slashing the city’s public health budget by $128.4 million, or 8 percent (a total of 400 employees), while the human services budget would take a $15.9 million hit, or 2 percent. "That’s a lot, but by no means is it devastating," Newsom said, noting that he restored some of the deepest cuts that were the subject of alarming public hearings. "I listened to the public comments at the Board of Supervisors… Things got a lot better than the headlines and the hearings."

The proposed budget includes 1,603 full-time-equivalent layoffs, or a 5.8 reduction in the city’s workforce, trimming more than $75.5 million from the general fund budget. In addition, the Department of Health and Human Services is cutting back its workweek to 37.5 hours to further trim costs.

"The smoke hasn’t cleared yet and there’s a lot of devastation in this budget that isn’t being talked about," Sup. John Avalos, who chairs the Board of Supervisors Budget Committee, said at the event. Newsom’s budget will be analyzed and then face its first committee hearing June 17, with approval by the full board required by July 31.

"The mayor told us a lot about what’s in the budget, but not a lot about what’s not in the budget, so we’ll spend a few days figuring that out," board President David Chiu told the Guardian.

The budget was aided greatly by more than $80 million in federal stimulus funds and other one-time revenue sources (such as $10 million from the sale of city-owned energy turbines) that were used to plug this year’s gap and offset cuts by the state and depressed tax revenue.

Although Newsom doesn’t want to raise taxes, licenses and fees would go up 41 percent, increasing revenue by $64 million to $220 million. Some of those proposed fee hikes range from the cost of parking in city-owned garages to admission fees for city-owned facilities such as the Strybing Arboretum. Muni riders will also see fares hiked to $2.

There will also be deep cuts to some key city functions. The Department of Emergency Management would take a 24 percent cut under the mayor’s plan, while the Department of Building Inspection faces a 20 percent cut to expenditures and a 29 percent reduction in staff.

The Planning Department would also take a hit of about 7 percent, with most of that focused on the department’s long-range planning functions, which were slashed by 19 percent to $4.7 million.

But it’s not an entirely austere budget. The police and fire departments have status quo budgets with no layoffs. Travel expenses would increase 13.5 percent to $2.9 million and the cost of food purchased by the city would rise 127 percent to $7 million.

The Mayor’s Office of Economic and Workforce Development — which often uses public funds to subsidize private sector projects — would get a 32 percent increase, to $24.7 million.

It’s unclear how much the Mayor’s Office has shared the budget pain. During the presentation, Newsom said his office’s budget has been cut by 28 percent, but he later clarified that was spread over the five years he has been mayor. Yet even that is tough to account for given that some functions have been shuffled to other departments.

The document shows a proposed 60 percent increase in the Mayor’s Office budget, although the lion’s share of that comes from the Mayor’s Office of Housing’s one-time financial support for some long-awaited projects, including rebuilding the Hunters View housing and support services project for low-income people connected to the Central YMCA, and an apartment project on 29th Avenue for people with disabilities.

Avalos has said he will look to find money by cutting some of the highly paid policy czars and communications specialists added to the Mayor’s Office in recent years, as well as Newsom’s cherished 311 call center and the Community Justice Court he created. Supervisors are also expected to resist Newsom’s penchant for privatization. Newsom proposed to privatize seven city functions, from jail health services and security guards and city-owned facilities, and to consolidate another 14 functions between various city departments.

Newsom pledged to work with supervisors who want to change the budget, continuing the rhetoric of cooperation that he opened the budget season with in January, which supervisors say hasn’t been matched by his actions or the secretive nature of this budget. "This budget is by no means done," Newsom said. "It’s an ongoing process."

In fact, Newsom warned that the budget news could be even worse than his budget outlines. Gov. Arnold Schwarzenegger is talking about new cuts that could total $175 million or more for San Francisco only, although Newsom only included $25 million of that in his budget because it went to the printer on May 22 and the total hit is still unclear. "So," Newsom said, "we’re by no means out of the woods."

That crazy feeling

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>johnny@sfbg.com

369-frank3a.jpg
Robert Frank, “San Francisco, 1956”

The world writes a story far beyond — or deeper and more twist-riddled than — any author’s imagination. How else to explain the fact that Robert Frank’s peerless photographic book The Americans turned 50 the same year that Barack H. Obama was elected president of the United States? Looking in — again, and again — at The Americans, thanks to a handsome new edition (Steidl, 180 pages, $39.95), or at "The Americans," thanks to a traveling exhibition connected to Frank’s landmark work, one finds a vision of this country that is anything but dated.

Jack Kerouac raved about the way Frank captured "that crazy feeling in America," and to be sure, even if his prosaic descriptions of Frank’s photos come off a bit redundant now, there’s still some insightful gold to be gleaned from his observation that Frank was always taking pictures of jukeboxes and coffins. There’s been no shortage of writing about The Americans since Kerouac’s at-times stifled response. Is there anything left to say about The Americans? If there’s anything left to say about America, the answer is yes.

There are infinite views. One is Frank’s very particular sense of place. For a San Franciscan, that means an untitled image of a couple on Alamo Square, perhaps the most iconic of at least three Bay Area pictures. Frank has cited this photo as his favorite in The Americans, because the facial expressions of the couple he’s caught unaware bring across loud and clear what an intrusive presence the photographer is by nature. But this shot also is a document of the Western Addition when it was a thriving African-American neighborhood. It’s existence confronts the face of San Francisco today.

In a Charleston, S.C., image from The Americans, a pampered, already entitled-looking snow white baby looks out from the cradling arms of a black maid whose face — seen in profile — is more fascinating and harder to read. The picture is a blunt image of race in the South, and of race in America on the eve of civil rights uprisings. It also raises an interesting side question: why did it take European exiles to photographically render that subject with candor? This keepsake of Charleston by the Swiss Frank is the black-and-white counterpart to the Technicolor ironies that German expatriate Douglas Sirk brought to the 1959 version of Imitation of Life. (Racism was flagrantly institutionalized during the making of The Americans, and Frank has long had an critical eye for U.S. institutions — a Frank film series at SFMOMA doesn’t just showcase the Beat work Pull My Daisy, it also includes Me and My Brother (1969) a look at this country’s concepts of mental illness that’s more personal than, and just as direct as, Frederick Wiseman’s Titicut Follies (1967).)

369-frank4a.jpg
Robert Frank, “US 90, En Route to Del Rio, Texas”

For any person who has lived with The Americans — spent time over the years looking through its pages, locking eyes on a particular picture and contemputf8g it — there’s a peculiar card-shuffle déjà vu-gone-slightly-askew-or-anew feeling to encountering the same photos in succession along the walls. This is the experience of looking at "Looking In: Robert Frank’s ‘The Americans,’" the Frank exhibition currently on view at San Francisco Museum of Modern Art. Alongside rather than on top of one another, an alphabet of American hats point in different directions, each one reflecting a viewpoint. An array of flags mask people’s faces, or point sorrowfully toward the ground.

One facet or extension of "Looking At" explores Frank’s influences, and in turn, his influences on, American photography. To be sure, Diane Arbus’s trannies and butches and Lee Friedlander’s broadcast TVs owe a debt to Frank’s visions of censored-or-taken-for-granted everyday 20th century life. The through line from the Depression-era photography of Dorothea Lange and Walker Evans to Frank’s look at a family crammed into a car in Butte, Mont., is obvious. Absent, though, are some definite predecessors and peers. Weegee’s hard-boiled naked city is nowhere to be seen — except in Frank (and frank) images such as one of people in Miami Beach. William Klein’s pictorial rephrasing of urban adspeak is absent save for a look at a department store in Nebraska, an arrow on the wall of a building in Los Angeles, or a newsstand in New York City or a sidewalk in New Orleans.

With one photo in The Americans, Robert Frank maDE gas pumps look like a series of tombstones, all gathered by a sign that declares SAVE. There are legions of artists today making images less contemporary or relevant. Take a look at The Americans, and you’ll find cowboys, starlets, funeral parties, boys in arcades, queens on stoops, leather rebels, bored or contemplative waitresses, street preachers, a parade of pedestrians, wheelers and dealers — and workers. Take another look at The Americans today, 50-plus years after it made its first impression, and you’ll probably find yourself.


LOOKING IN: ROBERT FRANK’S "THE AMERICANS"

Through Aug. 23, free–$15

San Francisco Museum of Modern Art

151 Third St, SF

(415) 357-4000

www.sfmoma.org

ROBERT FRANK RETROSPECTIVE

Through June 27

Phyllis Wattis Theater

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Garrett Pierce

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PREVIEW There’s a bald-faced beauty lurking at the dark heart of San Francisco singer-songwriter Garrett Pierce’s All Masks (Crossbill). The album, Pierce’s second, glimmers quietly, gorgeously from a luminous remove: the performer wrote many of its numbers after traveling for months in Italy and Greece, visiting the power centers and ritual spaces devoted to the gods that pull the strings in Pierce’s beloved myths. After passing through the hands of Pierce and his collaborators — Jake Mann, Jen Grady and Carey Lamprecht (Emily Jane White Band), and Tim Wright (Wilderness) — the tracks on All Masks ended up revolving around the what Pierce calls a "self-exploration" of his dark side. "Some are brutally honest about shortcomings," the 28-year-old explains by phone from Davis, where he’s visiting his girlfriend and partaking in kombucha and wine. "As a songwriter, I err on the therapeutic side. I love all kinds of music, and I’ve played music that has had nothing personal involved. But for me, songwriting kind of gets me through without having to pay for therapy. If there’s a thread between these songs, it’s the exploration of the more upsetting images in my head."

Of course, mythic creatures slither to the fore, as they do on "Adam" in the form of the Garden of Eden’s snake. "I had this idea that Adam and him were friends and kicking it for a while, then the snake got axed and had this spiritual awakening on his death bed," Pierce says. "Every song has its own little life that way — I give them happier endings or a spiritual conclusion of sorts." Why? "That’s what I’m hoping for in my own life and hoping for in my songs."

GARRETT PIERCE With Conspiracy of Venus and Devotionals. Wed/3, 8 p.m., $10. Rickshaw Stop, 155 Fell, SF. (415) 861-2011, www.rickshawstop.com

“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.

Editor’s Notes

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› Tredmond@sfbg.com

The absolute most stunning statement of how messed up the state of California is emerged last week from the state director of finance, explaining why the proposed budget cuts fall so heavily on services for the poor. Let me quote directly from The New York Times:

"Government doesn’t provide services to rich people," Mike Genest, the state’s finance director, said on a conference call with reporters on Friday. "It doesn’t even really provide services to the middle class.

"You have to cut where the money is," he added.

Um … government doesn’t provide services to rich people? What about, say, the roads they drive on, and the airports they fly in and out of? What about the vast sums the state spends putting out fires that threaten wealthy enclaves in Southern California? What about the public education system, which trains workers for businesses? What about the entire criminal justice system, which exists to a significant extent to prevent poor people from taking rich people’s money?

Do you think Sergey Brin and Larry Page would have become Google billionaires if the Internet — developed and paid for by the government — didn’t exist?

No. Federal, state, and local governments all spend money on services for the rich. And by and large, those services don’t get cut when budgets are busted, and by and large, the rich don’t pay their fair share for the services they get — and by and large, nobody in politics talks about that when these nasty decisions get made.

It doesn’t have to be this way. Let’s just remember that as 900,000 kids lose their health insurance and California becomes, in the words of Mayor Gavin Newsom, the first state in the industrialized world to have no welfare system at all. It doesn’t have to be this way.

Cutting services for the poor, as opposed to cutting things rich people want and need, or making them pay a tiny bit more to keep society stable, is a political choice.

The American Federation of State, County, and Municipal Employees just put out a fascinating document looking at alternatives to the governor’s cuts — including a bunch of things that can be done without the two-thirds vote required to raise taxes. There are, for example, about $2.5 billion worth of useless and wasteful tax loopholes identified by AFSCME that could be closed (hurting the rich, helping the rest of us). That would save a lot of health and welfare programs.

San Francisco has choices, too. Downtown parking fees hit wealthier people; Muni fare hikes are a tax on the poor. A congestion management fee on downtown would overwhelmingly hit wealthier commuters; cuts in public health overwhelmingly hit the poor. The Tenderloin’s Community Justice Center hurts low-income people (and helps rich tourists and the hotels scare away the homeless).

The thing that kills me is that some of us have been saying over and over — for years and years — that the city needs to develop a better tax system (which will require a public vote) to minimize these cyclical crises. And some of us have been pointing out that a public power system would generate several hundred million a year (and that private power is sucking $600 million a year out of the local economy).

Do we have to keep blundering from disaster to disaster? For how long?

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