Stage

Art listings

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Art listings are compiled by Johnny Ray Huston.

MUSEUMS

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

Madison Young: our favorite art slut

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By Juliette Tang. Check out Madison in this our Hot Pink List 2009!

Madison Young: renaissance porn star. She is most famous for being an adult entertainment performer and director, but she’s also a writer, blogger, sex educator, artist, and the founder of San Francisco’s Femina Potens Gallery, an art space dedicated to bringing visibility to the artwork of female, queer, and trans artists in our community. For Madison’s work as an advocate of queer empowerment in our community – and for personally making sure (via her www.madisonbound.com Web site) that we have plenty of access to hot queer BDSM – we’re showcasing Madison in our upcoming Queer Issue (this Wednesday!) in honor of Pride Week.

Madison recently sat down with the San Francisco Bay Guardian to discuss her work in pornography, the philosophy of Femina Potens, and the importance of art and advocacy in our community.

SFBG: You founded Femina Potens in 2001. How did you come up with the concept of the gallery, one that advances the art of women, queer, trans, and kink communities in SF? Why do you personally feel it is important for these artists to have a space to express themselves and showcase their work?

MY: I always knew that I wanted to create a physical space for artistic growth, collaboration and community connection. When I moved to San Francisco in 2001, I realized the focus that I wanted that space to have due to a lack of existing physical spaces for women and trans community dialogue around art and sex. Femina Potens fills that void. We have created an accessible and visible physical space in the heart of the Castro where the voices of visual, literary, and cinematic artist are being heard. We are breaking down barriers between the artist and audience, creating interactive art works, blurring the lines of gender and alternative sexual cultures, and creating a space for artistic growth of emerging artists who are exhibiting or reading side by side with queer literary and artistic legends like Michelle Tea, Annie Sprinkle, Carol Queen, Inga Muscio, Daphne Gottlieb and more. Its important for us not only to have transitory festivals and events at other organizations spaces but for our community to have a physical space where their work is celebrated. Creating spaces like Femina Potens allows women and trans community an honest reflection of their experiences and their lives. It also encourages more people in the community to exhibit their work. Our audiences range in gender and sexuality, attracting a crowd that is drawn to cutting edge art, alternative sexuality, avant-garde performances, and flocks of tourists who are interested in the “San Francisco Experience”.

SFBG: What sparked your interest in art? How would you describe your level of involvement with the general artistic community?

MY:I grew up in a very small conservative farm town and then the suburbs of Ohio. I always felt like an outsider. I was constantly trying to stretch my wings for something more. I was instantly drawn to theater and art from my first elements of exposure to this world. In a life where I felt unable to to express myself emotionally, I found art in its many forms to be the purest most honest expulsion of what was going on inside of me. Art was a way to connect to others and to communicate. Art was a way to get out of my head and into my body. I convinced my mother to let me attend a performance art school in downtown Cincinnati for my junior and senior year. That is where I truly found myself and knew that art would always be a part of my life. I often tell people that the first sexual experiences that I had were those that happened on a stage in a black box theater. That is where I first was able to let myself go and to energetically connect in an intimate way with another person.

SFBG: Do you think there are noted artistic, political, or ideological differences between the work exhibited at Femina Potens and that of more mainstream galleries?

Our Hot Pink List 2009!

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By Marke B.

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Each year, we at the Guardian highlight some of our favorite delicious queers who really represent the community — and also have a lot of stuff going on. Check ’em out here, and look for their events in our Big Queer Week listings.

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MADISON YOUNG

Queer kink and BDSM educator, film star, and director (www.madisonbound.com). Owner of the amazing Femina Potens Gallery in the Castro (www.feminapotens.org), dedicated to fostering dialogue about queer women’s and transgender people’s art (see Femina Potens new show “Identity” "Ongoing" in our listings).

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JUAN GARCIA

Party producer for Beat Box Events (www.beatboxevents.com), entertainment guru for the Castro Street Fair (www.castrostreetfair.org), and fashion activist with Nice Collective (www.nicecollective.com). Wear your bushiest mustache to his notorious MR. Party (Fri/26).

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AMELIA MAE PARADISE

Fabulous bearded lady and burlesque pioneer with world-renowned vaudevillian troupe Diamond Daggers (www.diamondaggers.com). Catch her at the Bearded Lady’s Trans March Freak Show (Fri/26), the Dyke March After Affair (Sat/27), and on the main stage and at the Women’s Pavilion at Sunday’s Pride Celebration.

Grade A

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a&eletters@sfbg.com

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

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

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

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

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

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

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."

No surrender, no retreat

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rebeccab@sfbg.com

The dueling budget rallies that preceded the June 16 Board of Supervisors hearing on the city’s spending priorities officially ended the conciliatory approach offered by Mayor Gavin Newsom — a rhetorical political gambit that the Mayor’s Office never really put into practice.

The emotionally charged police and fire workers’ rally — where Police Officers Association President Gary Delagnes riled up the crowd by ridiculing supervisors as "idiots" and "carpetbaggers" — featured Newsom as the guest of honor at an event overseen by Eric Jaye, the political consultant running both the firefighters’ union budget offensive and Newsom’s gubernatorial campaign.

On a stage lined with American flags and burly public safety workers, Newsom condemned the progressive supervisor’s proposal to amend his budget over a blaring sound system. "They’re asking us to retreat," Newsom said, in full battle cry mode, "and we’re not going to do that."

Across the street, city employees from the Department of Public Health held a competing rally, flying a banner that read "No Cuts to Vital Services!" It was painfully obvious that in a squabble between city employees, the mayor was positioning himself on the side of well-paid, powerful union members who got raises instead of layoffs, rather than the public health workers and advocates for the poor whom Newsom’s budget cut the deepest.

But before progressive supervisors challenged Newsom’s proposed budget — which ignored the supervisors’ stated priorities, despite Newsom’s December pledge to work closely with the board on it — the rhetoric was quite different. "We work through our differences and ultimately try to look at the budget as apolitically as possible," Newsom said during a June 1 event unveiling his budget. "It’ll only happen by working together."

Six months earlier, when the mayor made a rare appearance at a Board of Supervisors meeting to announce the unprecedented budget shortfall of more than $500 million, he adopted a similar tone. "We have the capacity, the ingenuity and the spirit to solve this," Newsom told the board in December. "It’s going to take all of us working together. It’s in that spirit that I am here."

The mayor’s proposed budget has spurred outrage from poor people and progressive supervisors, who charge that his decision to cut critical services while simultaneously bolstering funding to the police and fire departments is morally repugnant.

Sups. John Avalos, David Campos, and David Chiu responded by passing an amendment in committee to slash $82 million from the public-safety budget in order to restore some of the cuts to public health and social services. After that move, the spirit of "working together" quickly eroded, and seemed to be replaced by the bare knuckles politics of fear and division.

After the rallies, which even spilled indoors and devolved into shouting matches between the two camps, supervisors finally got to work on the budget. And they didn’t ask Newsom to retreat, they just asked him to listen and work with them.

The $82 million dent in the public-safety budget was described as a symbolic gesture to get the mayor to take progressive concerns seriously. "For many of us, it was the only way we felt we could have a seat at the table — a seat that was real, where the discussion was going to be meaningful," Campos said.

"I do not think that this budget is bilateral. It is a unilateral budget," Chiu noted at a Budget and Finance Committee meeting.

This year’s budget battle is especially intense because of the unprecedented size of the deficit, as well as the dire economic conditions facing many San Franciscans. California’s unemployment rate climbed to 11.5 percent in May, and stood at an only slightly less miserable 9.1 percent in San Francisco, according to the state’s Employment Development Department.

Meanwhile, anecdotal evidence suggests that the number of San Franciscans in need of emergency food assistance, homeless services, and help with other basic necessities has spiked. Everyone seems to be feeling the pinch, but for the least fortunate, falling on hard times can mean relying on city-funded services for survival.

Against this dismal backdrop, big questions are emerging about the role of government. "The city’s budget," City Attorney Dennis Herrera noted at a recent hearing, "is correctly called the city’s most meaningful policy document. More than any other piece of legislation, it sets out the priorities that tangibly express the values of the City and County of San Francisco."

Sup. Ross Mirkarimi took this idea even farther at the budget hearing. "Aside from the politicking and any of the hyperbole, we [have to] do the best we possibly can for all the people of San Francisco," he said. "But in particular, the vulnerable classes, because what is also at stake is … the key question: Who’s this city for? And who gets to live here over the next 10 to 20 years, considering how cost-prohibitive it is to be in San Francisco?"

The budget battle is shaping up around some fundamental questions: is this budget going to protect the politically powerful while ignoring the thousands who are in danger of slipping through the cracks? Or will everyone be asked to make sacrifices to preserve the city’s safety net? And as these difficult decisions are hashed out, is the mayor going to sit down with the board to seek common ground?

A board hearing on the cuts to health services — which state law requires cities to hold when those cuts are deep — illustrated the divide with hours of testimony from the city’s most disadvantaged residents: those with mental health problems, seniors, SRO tenants, AIDS patients, and others.

"If we make the wrong decisions, it will mean that our homeless folks will be in ever-increasing numbers on the street. It means that folks with HIV will not receive the care they need. It will mean that kids will not have the after-school programs they need during their critical years. It will mean that our tenants will continue to live in substandard housing," Chiu summarized the testimony.

Avalos, the Budget Committee chair who has led the fight to alter Newsom’s budget priorities, has said repeatedly that cutting critical services does not work in San Francisco. And even as he proposed the amendment, he expressed a desire to reach a solution that everyone, not just progressives, would find palatable.

"We want to talk directly to the mayor, to have him meet us half-way, about how we can share the pain in this budget to ensure that we have a balance in equity on how we run the city government," Avalos noted as his committee began its detailed, tedious work on the budget. "We can do that across the hall here at City Hall, and we can do it across every district in San Francisco."

The Board approved the interim budget that more evenly shared the budget pain on a 7-3 vote, with Sups. Bevan Dufty, Carmen Chu, and Michela Alioto-Pier dissenting (Sup. Sean Elsbernd was absent because his wife was giving birth to their first child, but was also likely to dissent).

If Newsom chooses to veto the interim budget or the permanent one next month — which the board would need eight votes to override — San Francisco could be in for a protracted budget standoff, the least "apolitical" of all options. But for now, the political theater is yielding to the detailed, difficult work of the Budget and Finance Committee.

Progressive members of the committee have already signaled their intention to scrutinize city jobs with salaries of $100,000 or positions in each department that deal with public relations.

Among those highlighted in a budget analysts’ report is Newsom’s public relations team, a fleet of five helmed by a Director of Communications Nate Ballard, who pulls down $141,700 a year. Yet when the Guardian and others seek information from the office — for this story and many others — we are often stonewalled, ignored, or insulted.

During the budget hearings, the disproportionately high number of positions with six-figure salaries in the city’s police and fire departments also came under scrutiny. "What has worked in a lot of other agencies is you have employees who care deeply enough about the City and County of San Francisco that they are willing to give back in terms of salaries," Campos commented to Fire Chief Joanne Hayes-White during a budget hearing, referring to firefighters’ refusal to forgo raises.

Another looming question is whether new revenue measures will be included as part of the solution. While progressive supervisors continue to call for tax measures as a way to stave off the worst cuts to critical services, Newsom proudly proclaimed his budget’s lack of new taxes.

A press release posted on Newsom’s gubernatorial campaign Web site suggests that since raising revenues doesn’t fit with his bid for governor, it’s not likely to be entertained as a possibility. "Mayor Newsom crafted a balanced budget on time," a press release notes, "without any new general tax increases, without reducing public safety services."

It’s a stand that’s certain to yield more political clashes down the line.

"I don’t see how we can get out of this budget without bringing additional revenue into the system," Campos noted at the committee hearing. "Once people learn about the situation we are facing, they will understand the need for the city and county as a whole to contribute."

Black Skies

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PREVIEW I grew up in Chapel Hill, N.C., and I have to tell you, there’s not much allowance for rebellious rage on its well-manicured, dogwood-lined, basketball-crazed streets. James Taylor, not a noted sonic ruffler of feathers, also grew up there. That’s not to say the whole town is powered by sweet (baby James) tea — other acts that have emerged from Chapel Hill’s collegial womb and into the national spotlight include piano rockers Ben Folds Five; much-celebrated indie stars like Superchunk and Archers of Loaf; and throwback novelty acts like Southern Culture on the Skids and Squirrel Nut Zippers. Statewide, Cackalacky boasts of birthing some darker, heavier sounds, along the lines of Raleigh’s Corrosion of Conformity and Cape Fear’s Sourvein. New to my ears, and hopefully hinting at a burgeoning metal movement lurking beneath Chapel Hill’s tidy McMansion scene, is Black Skies, a trio who took their name from the South’s capacity for awesome, jaw-rattling weather (and indeed, the kickoff track from their self-released 2008 EP, Hexagon, is "The Quiet Before the Storm.") Like many bands, they cite Sabbath, Melvins, and High on Fire as influences; on recordings, guitarist-singer Kevin Clark at times sounds like he’s singing from the bottom of an angry, murky well. When he claws his way out, and hits the stage at Annie’s with bassist Michelle Temple and drummer Cameron Weeks, I suspect there’ll be eardrum punishment for all in attendance. Yes, yes, y’all!

WITH TOTIMOSHI, DUSTED ANGEL, AND HASHISHIANS

Sat/27, 9 p.m., $8

Annie’s Social Club

917 Folsom, SF

(415) 974-1585, www.anniessocialclub.com

Art listings

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

MUSEUMS

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

Dave Cummings: the oldest American in porn

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By Juliette Tang

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69-year-old Dave Cummings, the oldest active porn star in America, has filmed over 500 movies and performed over 1,200 sex scenes in his 15-year career in the adult entertainment industry. He swears he doesn’t use Viagra, and when he’s not filming hardcore sex scenes in movies like Screw My Wife Please 32: And Make Her Sweat Like A Pig, Dave works as an educator and speaker, offering online classes on getting into the porn industry. Dave will be giving a seminar at the Cybernet Expo (1500 Van Ness) on June 27 called “Producing and Directing Adult Videos with Dave Cummings,” and spoke with the SFBG about sex, life, and his career in ‘old man porn’.

San Francisco Bay Guardian: First of all, congratulations on being 69! You are at arguably the most apropos numerical age for doing pornography and not many porn stars stay in the game long enough to get there.

DC: Thanks! I love my present life and age, and wouldn’t alter my past or present life at all!

SFBG: Nice name by the way! It can’t be your real name, right?

DC: No, it’s a stage name. Almost everyone in the porn industry uses a stage name.

SFBG: When did the idea of doing porn first occur to you?

DC: It happened as part of my swinging experience, specifically while Playboy Television was including me in a segment they were filming about swinging; that led me to a husband-wife team that filmed amateur porn, and my very first day as a crew member I was forced into doing a “stunt” money shot for the actor who was unable to do it that day. Subsequently, I performed in a few amateur movies, and then decided to try becoming a porn actor. I liked the fun of having sex with hot girls, AND getting paid for it. It was Heaven!

SFBG: What’s the market like for the kind of pornography you make?

DC: Aside from the present financial challenges foisted upon us by rampart piracy and copyright infringement, the market for my porn is unlimited. Although I’m a “niche”, people of both genders and of all ages seem to patronize my movies. The fantasy is that if an old, wrinkled, overweight, bald guy like Dave Cummings can have sex with such beautiful young actresses, then viewers can more easily envision that they themselves could indeed also have sex with the woman if they ever had an opportunity to meet her.

SFBG: Describe the sort of fan base you have.

DC: Mostly men looking for women to masturbate to while fantasizing that they are actually the one in the sex scene (not Dave Cummings!); couples looking for movies that show respect and caring for women; gays who appreciate older males (although I am heterosexual, I fully support their right to enjoy whatever sexual preference they want with other consenting adults); women who want to assert their right to get turned on sexually; and, women into the “daddy thing”.

SFBG: A lot of your titles have words like “Daddy” in them. “It’s a Daddy Thing,” “Sugar Daddy,” and “Dirty Dave’s Sugar Daddy”. You also have sex with much younger women in some of your movies, like “Barely Legal”. Your website talks about “teens getting drilled by Dave Cummings”. Yet the people you have sex with are, obviously, of legal age, and basically you’re just playing out a fantasy for viewers of an older man sleeping with younger women.

Dueling rallies pit “public safety” against “safety net”

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By Rebecca Bowe

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Mayor Gavin Newsom joined the city’s police, fire and sheriff departments yesterday afternoon in protesting the Board of Supervisors’ move to slash funding to those departments in order to restore cuts to critical services that the mayor had included in his interim budget.

In essence, the mayor was sending a very divisive message, pitting one set of city employees against another. Because just a few yards away from Newsom’s rally, health and human service employees were holding an event of their own.

Standing upon a stage equipped with a very loud sound system and decorated with American flags, Newsom praised police and firefighters for being willing to step up and be part of the solution to the budget crisis. He was greeted warmly by cheering and drumming, and before they introduced him they blasted a song with the lyrics “A family affair.”

Across the street, public-health workers were joined by Sup. John Avalos in their own rally against the deep cuts to the department of public health. “All we’re asking is to give a little so that we can share the pain of this deficit,” Avalos said.

Bicycle Music Festival

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GATHERING Is it any surprise that the city responsible for Critical Mass would also have birthed the country’s largest 100 percent pedal-powered musical festival? We didn’t think so. Since 2007, a group of volunteers have been hosting this multi-location celebration of bikes, music, and sustainable culture — and we expect this year’s to be bigger than ever, with musical participants like Cello Joe, Manicato, Sean Hayes, and many more. The day starts early at 935 York St. for a Critical Mass-style bike parade (complete with a 2,000-watt pedal-powered PA system, of course) to Golden Gate Park’s Marx Meadow, where bands will play on the bike-powered, bike-hauled stage. Another cruise takes revelers to Dolores Park for a series of live shows starting at 3 p.m. The event officially concludes with another set of concerts — including the fantastically entertaining Tornado Rider (think cello metal) — at 8:45 p.m. But we’re pretty sure that after all the riding and playing, the city’s bike aficionados aren’t going to call it a night — so drivers, beware! And bikers, game on!

BICYCLE MUSIC FESTIVAL Sat/20, 8 a.m. Free. 935 York, SF. (415) 572-9625. bicyclemusicfestival.com

Art listings

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

MUSEUMS

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

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

GALLERIES

ONGOING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Won’t You Stay?’: A peek behind the curtain

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By Rebecca Bowe

One of the first-ever showings of Adam Chanzit’s Won’t You Stay?, a work in progress, was held at the Ashby Stage on June 8 before a full audience.

The play poses questions about the consequences of extreme idealism by chronicling the lives of three college students as they transition to adulthood in New York City. Jacob, the protagonist, initially comes off as a workaholic entrepreneur who likens his ambition to a Jaguar speeding through the fast lane. He undergoes a transformation after having a profound experience in Siberia that is never fully articulated, but evoked bit by bit through monologues and original music. As time goes on, Jacob becomes increasingly obsessed with aiding people in need — but his frantic quest to end suffering is accompanied by his own descent into mental illness. His precarious path on the edge is contrasted with that of his girlfriend, Alice, and his best friend, Noel, whose own lives follow a more familiar progression from free-spirited college kids to conventional urban professionals.

Chanzit, whose plays have been produced in New York, Los Angeles, New Haven and Denver in addition to the Bay Area, says he felt it was important to solicit feedback not just from people involved with theater, but college and graduate students, people working in the mental-health sector and others. While many staged readings are closed to all but a few select colleagues, invitations to this event were targeted to reflect a much wider community.

After the 90-minute performance, Chanzit, director Mina Morita and producer Shane Boris opened up a dialogue with audience members, and an in-depth conversation ensued that touched on everything from interventions for people suffering from mental illness, to nostalgia for the idealism that was exhibited in the 1960s, to reflections on transformational experiences while traveling. “Having a larger and more diverse audience gives you more input into how the performance is working,” Chanzit says. And for the audience, events such as this offer a rare peek behind the curtain: “There’s something exciting about watching a play in development.”

India Jones

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Small may be beautiful, but so is big — especially if it is spelled "Bolshoi," Russian for big. The Moscow company’s current production, La Bayadère, a tale of love and revenge, is set in an India whose Orientalism will make politically correct viewers shudder but that called up paroxysms of delight from the balletomanes who packed the Bolshoi Ballet’s recent performances at Zellerbach Hall.

As a huge unwieldy spectacle, this Bayadère is a hoot and a wonder. Some of it — the flailing fakirs; the high-leaping "Indians" — could have come straight out of a Cecil B. DeMille movie. Everything is huge, from the extensions and leaps to the speed and elevations. The excess is impressive and fun to watch, although the show does drag.

In the wedding scene, divertissements spilled over each other: a fan dance, a children’s dance, a parrot dance, the water jug "Manu" (a sprightly Chinara Alizade), and a "Golden Idol" (Ivan Vasiliev) who sits in the air like Buddha. The packed stage left little room for the royal couple’s pas de deux except to dance in parallel — which they do. For the finale, the bride (Maria Alexandrva) topped off a pyramid of adoring bodies.

This Bayadère is probably the only ballet in which two ballerinas try to kill each other by launching themselves as missiles in grand jeté. The duel between the strong-willed Gamzatti (Alexandrova) and Nikiya (Svetlana Zakharova) injected a much-welcome sense of drama. The man they fight over is Solor (Nikolay Tsiskaridze), an Indian noble. Tsiskaridze is a little self-involved but a spectacular dancer in terms of speed, elevation, and ballon.

With beautiful comportment, Alexandrova’s nuanced Gamzatti evolves from young girl to a revengeful wife. With her arms interwined and her liquid torso, Zakharova’s Nikiya looked like a fragile flame. But there is steel in that spine and those feet. But Bayadère‘s heart beats in the 32 women in tutus who make their way down a ramp in long arabesques. Zellerbach’s stage was too shallow to carry it off, and the overlapping lines didn’t coalesce. But when, as if by magic, they melted into a block of shimmering white, it was heart-stopping.

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.

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

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.

Bull feathers

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superego@sfbg.com

SUPEREGO I recently found myself in Navajo Nation, munching on frybread at Kate’s diner in Tuba City with Hunky Beau after rocking out to, I shit you not, tech-navajo on the local FM station in the rental. I looked fantastic. We’d just witnessed a fierce two-spirit working the sandwich counter at the Bashas’ supermarket down the street. She/he looked fantastic. Back here in the city, on the nightlife scene, things weren’t so fantastic — another big underground party got busted, Pink Saturday ran into permit snafus, and neighborhood complaints mooted even more regular shindigs. And has anyone else noticed the skyrocketing price of a drink in this town? I’m not saying you need a buzz to bust out (alcohol sales are banned on the rez, so I’m grateful for the option), but dropping a Hamilton for a weak well screwdriver certainly has me rethinking my hollow leg. Still, as immortal shamans ABBA sang, "I can fly like an eagle, I can learn to spread my wings". Spread ’em, children, toss your hair, and let’s keep flying high.

ROLLER DISCO!

The only party in the city where I’m never alone falling on my luscious ass returns — skate rental provided, balance and expertise optional. I can’t lie, I have a total blast at this gig, even if the tunes are fun-yet-familiar and there’s always that one amazingly cute girl whose backspins and pirouettes make me bite my knuckles and wish I were a lot gayer. Like, Brian Boitano gayer.

Thu/4, 9 p.m., $5. Mighty, 119 Utah, SF. www.mighty119.com

"25 YEARS OF HOUSE MUSIC"

Dates and times, dates and times — why quibble? Most approaches to the evolution of house are more organic than any "x" on a calendar. But if a quarter-century celebration, complete with art exhibition, of the underground global movement that foretold the Internet’s interconnectivity is a big enough excuse to get Chicago genius Jesse Saunders behind the decks at Club Six, I’m way down.

Fri/5, 9 p.m.–3 a.m., $15. Club Six, 60 Sixth St., SF. www.clubsix1.com

ZOMBIE BEACH PARTY

"Guaranteed to put the laughter in slaughter" is a tagline that’ll get me every time. And so will any appearance by the Living Dead Girlz, those jaw-dropping undead dancer with a taste for semi-clothed flesh. They’ll be waving, not drowning, from the stage at this tongueless-in-cheek beach blanket bingo bacchanal, along with Sparkly Devil, Honey Lawless, and a mass grave of others. Plus: an undead beachwear costume contest. Paging Annette Funicello …

Fri/5, 9 p.m.– late, $10 street clothes/$7 surfer zombies. DNA Lounge, 375 11th St., SF. www.dnalounge.com

BIG IDEA: RITUAL AND REDEMPTION

Oh, crap. Is it really Pride month again? Time to haul that sequined rainbow thong from out the mothballs and try to get married or whatever. Yerba Buena Center for the Arts is going homo-humongous for its latest, starlet-studded Big Idea party — rounding up the city’s fiercest alternaqueers with its golden lasso, including fab drag disasters Anna Conda and Monistat, DJ Dirty Knees, Pansy Division, Honey Soundsystem, Ex-Boyfriends, and the ever-present, never-sleeping Sisters of Perpetual Indulgence. The Fellini-inspired spectacle also promises free tattoos, after-hours dancing, a taco truck, and "Project Nunway," heh. Best of all, the whole shebang is free — and not sponsored by Miller Lite, Altoids, 2Xist, Olivia Cruises, or Tylenol PM.

Sat/6, 9 p.m.–3 a.m., free. YBCA, 701 Mission, SF. www.ybca.org

WIGHNOMY BROTHERS

Monthly throwdown Kontrol at EndUp breeds absolutely bonkers dancefloor results that are far less fussy than its minimal techno focus, meticulous taste in talent, and somewhat daunting prevalence of miniscule eyewear would suggest. For the party’s fourth anniversary, it’s bringing in Germany’s superstar Wighnomy Brothers, two proudly unkempt vodka-swillers whose Seth Rogen-like public image belies a sizzling bromance with the more lovable, devil-may-care side of dance. The tipsy pair of teddy bears with a penchant for unpronounceable titles (recent release: Metawuffmischfelge) refused to visit the U.S. during that whole Bush thing. Laudable, but we could have used their balls-to-the-wall wig-outs to help us through such foulest ick. Good thing we’ve still got problems!

Sat/6, 10 p.m.–6 a.m., $20. EndUp, 401 Sixth St., SF. www.kontrolsf.com

Musical, political, alchemical

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a&eletters@sfbg.com

Quick, name a magus of the female persuasion, a black sorceress who wields sound like a talisman. The first image we have of Erykah Badu is her calmly walking on stage during the summer of 1997, lighting a series of candles to begin the ceremony. She would summon ghosts: Billie Holliday, the Nation of the Gods and the Earths, scruffy B-boys on a street corner. Her band — on her debut Baduizm (Kedar/Universal Motown, 1997), it is often neo-soul locus the Roots — played balletic grooves at a languid pace. She was a strangely beautiful apparition, a high priestess of soul.

Ever since, Badu has embraced and chafed at her mystical reputation. In 1998 she appeared in the mediocre coming-of-age flick The Cider House Rules as — guess what? — a voodun priestess. Meanwhile her romances with Andre 3000, Common, and, lately, Texas rap prospect Jay Electronica (with whom she recently had a child) have occasionally made her a target of the hip-hop paparazzi. She’s bragged in interviews of her prowess as a mackstress; other times, she’s refused to comment on her private life.

On last year’s Universal/Motown release New Amerykah Part One (4th World War), Badu finally seems at peace with her eccentricities. Past albums exhausted her former glories for fresh inspiration: 2003’s Worldwide Underground (Motown) included "Danger," which opens with a refrain from Baduizm‘s second single, "Otherside of the Game." Its intro track "World Keeps Turnin’" returns to the "on and on" lullaby of "On & On," Baduizm‘s Five Percenter-quoting breakout single ("And on and on and on, my cipher keeps moving like a rolling stone"). New Amerykah doesn’t look backward. Its starkly illustrated theme — a woman standing strong amid a world roiling in war and chaos — uneasily imagines the future present.

"This year I turn 36," Badu sings on the elegiac "Me." "Damn it seems it came so quick, my ass and legs have gotten thick. It’s all me." Thankfully Badu hasn’t settled into an adult contemporary middle-age, singing baby-making ballads for grown-ups. Few of her 1990s peers kept pace: last year, Spin magazine noted that D’Angelo, Maxwell, Lauryn Hill, and others from the neo-soul generation have mostly disappeared from view. But while Maxwell is drawing SRO audiences as he tours the country in preparation for BLACKsummers’night‘s July 7 release, and D’Angelo plans a similar comeback in the fall, it’s doubtful either will match Badu’s fiercely creative restlessness.

For New Amerykah, she turns to her artistic sons and daughters, musicians who used her blazing example to reinvigorate underground soul. The L.A. music collective Sa-Ra Creative Partners helm several tracks and 9th Wonder produces "Honey," a luscious love song that closes New Amerykah on an optimistic note. Wiggy soul-jazz aesthete Georgia Anne Muldrow appears on "Master Teacher," a heartbreaking yearning for positive influences in the black community. "A beautiful world is hard to find," sings Muldrow. "What if there was no niggas, only master teachers? I’d stay woke."

"Master Teacher" has been viewed as a tribute to Dr. Malachi Z. York, an esoteric philosopher whose mix of Egyptology, Islam and other pan-African ideas influenced Badu and other hip hop and R&B artists in the 1990s. (He was arrested and convicted for child molestation in 2004, and is currently serving a life sentence.) But without blunting the song’s original intent — many of "Master Teacher" York’s supporters believe he’s the target of a government conspiracy — it seems clear that Badu is the master teacher. Throughout her career, Badu has demonstrated a knack for communicating hardcore black ideologies in universal terms, educating and subverting her mainstream audience. She has always worked in alchemical ways. But with the arrival of New Amerykah, she finally turned the focus away from herself.

"Humdililah, Allah, Jehovah, Yaweh, Dios, Maat, Jah, Ras Tafari, fire, dance sex music, hip hop," Badu sings on "The Healer." "It’s bigger than religion, hip hop. This one is for Dilla."

ERYKAH BADU

Sat/6 9 p.m., $60

Warfield Theatre

982 Market, SF

(800) 745-3000

www.ticketmaster.com

‘Nero’ sandwich

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Danny Scheie, from left, and Kasey Mahaffy appear in the world premiere of You, Nero. Photo by Henry DiRocco.

By Kimberly Chun

After its extended production of The Lieutenant of Inishmore and now You, Nero, Berkeley Rep is starting to feel like your one-stop spot for chuckle-inducing high jinks. The latest offering aims a little lower, and loftier, than Martin McDonagh’s allegorical gore fest centered on Northern Ireland’s Troubles: Pulitzer-nominated local playwright and Stanford artist-in-residence (and San Francisco Chronicle movie critic Mick LaSalle’s spouse) Amy Freed trains her focus on one of the more notorious rulers of all time, Nero, a pint-sized sociopath who occasionally threatens to overrun Berkeley Rep’s intimate Thrust Stage with his whimsical mayhem and murder.

Danny Schiele brings a crazy-eyed, strutting, tummy-first egotism to his role as Nero as theatrical patron – a perspective that brings to mind that other dictator who fancied himself an artist, Adolf Hitler. We approach the meglomaniac through the prismatic gaze of hack playwright Scribonious (Jeff McCarthy), hired by the emperor to stage a spectacle in tribute to his decadent, violent rule. The catch: politics in imperial court are hell. First Nero’s smothering mistress Poppaea (Susannah Schulman) then his lover-like mother Agrippina (Lori Larsen) must have their say, before the compromised courtiers weigh in with an agenda of their own. Gladiatorial acts of empty but deadly combat morph into an all-too-familiar form of idol worship – **American Idol** style.

Freed’s lampoon of contemporary entertainment tends toward the Borscht Belt, often coming off as broad and brassy as centurion armor, yet she succeeds in drawing cringe-edged laughs with the jokes ala Nero’s ebullient “Another ottoman from the Ottoman Empire!” It helps to have a cast as adept and likeable as this one, with players like Kasey Mahaffy standing out as the cross-dressing castrati Fabiolo.

YOU, NERO
Through June 28.
Tues., 8 p.m.; Wed., 7 p.m.; Thurs. and Sat., 2 and 8 p.m.; Sun., 2 and 7 p.m.; $13.50-$71
Berkeley Repertory Theatre
Thrust Stage, 2025 Addison, Berkeley
(510) 647-2949

Hot sex events this week: May 27-June 2

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Compiled by Molly Freedenberg

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Take home some of your very own after attending Miss Indigo Blue’s class. (I mean pasties, you pervert.)

>> Book Signing and Discussion with Deborah Sundahl
The international sex educator specializing in the G-spot and female ejaculation meets and greets readers and discusses her favorite topics.

Wed/27, 6-7pm. Free.
Good Vibrations
603 Valencia, SF
(415) 522-5460
events.goodvibes.com

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>> Bellydance Moves for the Burlesque Stage
Join Fuchsia FoXXX for this sexy 1.5-hour dance class for all levels, where you’ll learn core movements, basic posture, articulation, and isolations perfect for use in a sultry strip-tease.

Sat/30, 1-2:30pm. $15 with pre-registration.
Click for info and registration

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>> Headdresses, Fascinators, and YOU
It’s more burlesque-themed fun in this class with Shanghai Pearl. You’ll learn to work with feathers, sequins, buckram, flowers, clips, and more. Bring your accoutrements and a glue gun.

Sat/30, 2:30-4pm. $20 with pre-registration.
Optional $20 materials fee to be paid in class.
Click for info and registration

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>> How to Make Pasties!
Miss Indigo Blue of TwirlyGirl Pasties teaches the basics of pastie construction and tassel twirling. You’ll leave class with a completed pair of your very own.

Sat/30, 4-5:30pm. $20 with pre-registration.
$20 materials fee to be paid in class.
Click for info and registration

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>> Opening the Deep Heart Through Tantra
Tantra: It’s not just for New Agers and hippies anymore. Let Evalena Rose guide you through learning to release your mind and enjoy being cherished, to experience the power and presence that this ancient art makes possible. Or, in short, to have even better sex.

Tues/2, 6-7pm. Free.
Good Vibrations
603 Valencia, SF
events.goodvibes.com

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>> Poly Living West Conference
In a polyamorous situation and wanting some support? Check out this three-day conference with seminars on topics such as creating intimacy, rebuilding broken trust, legal issues, jealousy, and creative flirting.

Fri/29-Sun/31. $220 (excluding hotel stay)
Double Tree Hotel SFO
835 Airport Blvd., Burlingame
www.polyliving.org

Revenge of the nerds

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a&eletters@sfbg.com

"Fukú Americanus" does not actually translate as "fucked-up American," but it might as well. Fukú refers to a curse, a bad piece of destiny that clings to your behind like a genetically transmitted boot up the ass, passing on through generations until it runs its course, which is who-knows-how-long. And if you want to get really specific about it, as does the narrator in Junot Díaz’s The Brief Wondrous Life of Oscar Wao, fukú is an imprecation brought to the Americas in the mouths of kidnapped Africans, amounting to nothing less than "the Curse and Doom of the New World." Which means we all get a turn.

So maybe it’s appropriate that Díaz’s titular hero is a chubby nonentity, an hombre of no importance, and a fully fledged geek whom his mom (Maria Candelaria) can barely stand and no girl seems destined to come within a quarter mile of. Despite a passion for women unusual even among his fellow Dominicans — according to confessed player and reluctant sidekick Yunior (Carlos Aguirre) — Oscar (Brian Rivera) stands to be the first Dominican man to die a virgin. Ultimately, however, he’s more than a subtraction sign. As incarnated with zest and goofy likeability by Rivera, he’s an indefatigable survivor, maybe even the fifth member of the Fantastic Four, if only in his own mind. He’s also a mad scribbler, ever composing his magnum opus in an endless series of marbled notebooks. (The "Wao" comes from someone’s misapprehension of an Oscar Wilde reference that sticks to our Oscar ever after. A fervent sci-fi, anime, Dungeons-and-Dragons dweeb, he’s actually trying to look like Doctor Who at the time, so the confusion turning a "who" from the D.R. to a "wao" in the U.S. becomes all the more poetical, and culturally laden.)

Oscar’s terrible virginity is only one of several burdens propelling the action in the world premiere of Fukú Americanus, Campo Santo’s boisterous post–hip-hop stage adaptation of Díaz’s 2007 Pulitzer Prize–winning novel, now up and pulsing — with lots of high-end but not enough in the bass — at Intersection for the Arts. The play cuts its largest swath through the New Jersey–based chapters of Diaz’s immigrant tale (which loosely aligns with the author’s own childhood passage from the D.R. to the U.S.), and features the travails of Oscar’s razor-sharp but wounded sister, Lola (Vanessa Cota), a goth-clad teen rebel against their cancer-ridden but nevertheless indomitably feisty mother. Meanwhile, Lola’s macho onetime-boyfriend Yunior gets cast in the role of Rutgers roomie and caretaker to Oscar.

Back of these plot points, and the transnational culture they limn, stands the inscrutable but ever-present designs of Fukú, in the lanky human form of our narrator (Biko Eisen-Martin), shirtless and shoeless in a black suit and silver bling. When not listening in on the action, he jumps in, usually literally, with a choice bit of information or opinion culled from the novel’s hefty footnotes and digressions. Intertwined with fukú is the burden of histories familial and colonial.

Given its subaltern subject matter, its slang-fueled homeboy/homegirl wisdom, curbside humor, and restive energy, Diaz’s novel would seem a natural fit for the kind of hip hop–inspired theatre Intersection for the Arts has championed with the Living Word Project as well as recent successes like Angry Black White Boy. On stage, however, it amounts to a high-energy but shallow distillation of the ample novel’s several decades of private history that are set meaningfully against a diasporic backdrop of colonial peonage, imperial intervention ("Santo Domingo was Iraq before Iraq was Iraq!"), hopeful and desperate migrations, New World ennui, oppression under a series of local and globetrotting top dogs — especially dictator Trujillo, here introduced only in the second act and a bit too inconsequentially — and disillusionment with that American Dream.

Codirectors Marc Bamuthi Joseph (of LWP) and Sean San José (who directed Angry) find their way into the material through a fluid physicality and driving beat (although actual beatboxing from Aguirre and singing by the cast are kept to a minimum). The effortless bounce and verve never gets close to the bone, though, since the relentlessly playful tone and broad if charming characterizations can’t sustain the full weight of the narrative. Straddling comedic melodrama and turned-out hip-hop performance, Fukú satisfies the requirements of neither too well, leaving its deeper themes marooned in the shallows of a fleetingly infectious celebration of outsider status.

FUKÚ AMERICANUS

Through June 21

Thurs-Sat, 8 p.m., $15–$25

Intersection for the Arts

446 Valencia, SF

(415) 626-3311, www.theintersection.org

Big Business

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PREVIEW Here’s a page right out of any rabid metalhead’s book of wildest, mind-blowingest dreams: What if the Norse gods Thor, Odin, and Tyr descended from the stormy heavens and formed a power trio? What would it sound like? What earthly buildings would crumble to the ground? What souls would be raised from their shadowy graves? What chaos would ensue?

To answer that first question: what if? What’s more metal than thunder, lightning, magic, and Valhalla? Those dudes invented it. They started their band approximately 1,300 years ago, before you or guitars existed. Second, they would sound like Los Angeles bone-crushers Big Business, whose giant leaden riffs, primordial Cro-Magnon rhythms, and thunderous hollow vocals pretty much sound like a band Thor might have dreamt up after an all-nighter spent smiting Viking tribes with lightning bolts and joyriding in his goat-drawn chariot with a ravishing blonde goddess.

The guys in Big Business, cut from the same pitch-black cloth as any fearsome Nordic god, are fast approaching their own place in the pantheon of mortal metal royalty. Their sludgy, doom-soaked sound is forged by ex-Murder City Devils drummer Coady Willis and bassist Jared Warren, formerly of Karp. And if their musical resumes weren’t already steeped in metal street cred, Willis and Warren joined the Melvins to record (A) Senile Animal (Ipecac, 2006) and Nude with Boots (Ipecac, 2008). The Biz added guitarist Toshi Kasai to its lineup in 2007, just after its sophomore album Here Come the Waterworks (Hydra Head) won it a hailstorm of critical success and a spot touring with Tool.

Now Big Business’s third album has arrived. While retaining the group’s visceral low-end attack, Mind the Drift (Hydra Head) adds more of Kasai’s quick-fire guitar work to the murk — it gives the album an atmospheric discord that swings like a wrecking ball. The Biz gets almost prog-metal when it adds vocal harmonies (wait, now they sing, too?!) and an organ solo to the dirge of "Ayes Have It." Bottom of the Hill, look out. Will King Buzzo join them on stage? Whatever happens, Big Business won’t be taking prisoners.

BIG BUSINESS With Tweak Bird. Wed/27, 10 p.m., $12. Bottom of the Hill, 1233 17th St, SF (415) 621-4455

Racial justice: A to G spells victory

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OPINION On Tuesday, May 19, poor and working-class families of color packed the San Francisco School Board with a powerful message of hope, opportunity, and justice: we want the right to a secure future in our own city. To get a good job here, we know we need a high quality education that prepares us for college, career, or union trade — not poverty or prison.

After a year of research, organizing, and talking to thousands of families, collecting 3,000 postcards, and mobilizing hundreds of parents and youth, our proposal — that every San Francisco student have access to the so-called A–G classes — was approved, setting the stage for a systemic change in our public schools that could dramatically improve the lives of tens of thousands of students of color over the next few years.

A–G describes the high school coursework that state colleges require for admission. Setting A-G as part of the graduation requirement will finally give low-income black and Latino students access to high expectations and our state college system.

We will have to stay on top of the district and monitoring will be intense and long-term, but we have parent and student leaders ready for the task, because their own lives are at stake.

Our experience is that thousands of parents and students get the issues, but that so many San Franciscans, even progressive ones, just don’t. In San Francisco, 75 percent of children are black, Latino, Asian, or Pacific Islander, and more than 80 percent of those families are low income. A full 90 percent of the students in public schools are students of color. This means kids’ issues in San Francisco are issues of racial and economic justice.

Our issues are often not the ones that make front page news. Education outcomes for black children — right here in San Francisco — are the worst of the state’s urban districts. But this gets lost in the inside baseball reporting about City Hall politics, the flinging about of political self-righteousness, and frankly, issues like JROTC.

We believe that organizing families for racial equity in our public school system is core to a progressive agenda in the 21st century. Consider the following.

•<\!s> Young people’s future in the 21st century San Francisco economy now requires a college education. More than 50,000 blue-collar jobs that paid a living wage without requiring a degree have disappeared from SF over the last generation.

•<\!s> Only one in three students from SF schools graduated from high school prepared for a four-year university in 2008. Without access to college and career-ready A-G classes, most graduating students weren’t even eligible for either the U.C. or California state universities or prepared for a union apprenticeship exam.

•<\!s> Most black, Latino and Pacific Islander students do not have access the A-G college, career, and union trade path in San Francisco. In fact, five out of six Latino students and 9 out of 10 African American students graduated without the A-G classes required to even be eligible for a U.C. or state university.

This new school board policy might be one of the most important steps toward racial equity in a generation. Join our work to make San Francisco public schools a vehicle of economic opportunity, racial justice and democracy. *

N’Tanya Lee is executive director of Coleman Advocates for Children and Youth.