Drag

Loaded

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REVIEW How do you say Kier? "Kia" like the car, if you had asked former Deee-lite diva Lady Miss Kier, when she was, er, hea for a special performance at monthly, genre-defying club Loaded on April 4.

The once de-groovy entertainer whose Brooklyn drag queen persona, complete with exaggerated accent that can best be described as a Rosie Perez-RuPaul collision, charmed audiences back in the early ’90s when she convinced us we could bomb the world with ecstasy, armed only with the power of love and a good beat.

Maybe the routine’s grown stale, maybe the drugs have worn off, or perhaps I’ve become too jaded for a World Clique (Elektra/Wea, 1990) mentality after watching bombs over Baghdad, part two, but Kier’s performance this time around lacked sincerity. In fact, the once vibrant and agile songstress, who worked video screens and club stages in retro-futuristic catsuits and platform boots as part of the groundbreaking Dee-lite two decades ago, could no longer bring us together — or even get it together — that night, even aided by a skilled backing band including P-Funk’s Ronkat and trippy background visuals.

Before the set began, Kier — in a lime and aqua space-age church dress, topped off by an over-the-top monster weave that housed more extensions than AT&T — kept the ironically mustached and spectacled crowd waiting for a good 20 minutes while rigging up her PowerBook. The purpose of this preliminary step became clear as Kier opened with her new material, including the less-than-stellar "Go Down on Me."

If she managed to maintain her soulful vocals, it was difficult to hear, since they were so heavily processed. If her eyes were still glimmering beacons of hope, it was impossible to see, since they continually searched her computer screen for lyrics. And forget about high kicks, when tightly trussed-up Kier could only manage the occasional hand-chopping move. As expected, Kier’s closer — the perennial favorite "Groove Is in the Heart" — continues to set the dance floor ablaze. Still, Kier should heed her own wise words: "You’re only as good as your new material." I wonder: if that’s true, how one might say, deee-sappointed?

LOADED First Fridays, 10 p.m.–2 a.m., $20. Rickshaw Stop, 188 Fell St, SF. www.myspace.com/clubloaded

Eat these queens’ meats

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It’s time to raise a knife and spoon to end AIDS, as restaurants throughout our fair berg are flooded on the evening of Thurs/24 for Dining Out For Life — a benefit in which 25 percent of all food and drink sales will be donated to StopAIDS. Oh yes, there will be drag queens. Perhaps even breaded and baked. Below are three choice happenings hosted by thirsty trannies aching to shove their meat in your mouth. Reservations strongly encouraged (Click here for 100 more participating restaurants!)

The Crispy Classic
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Miss Juanita More dishes out her famous fried chicken with honey goo (plus carrot cake dessert!) at Mars Bar. her scrumptious (and possibly underaged) More Boys will wait on you, hostess Candi Gurl will look stunned but glamorous, and DJ James Glass –= the hottest straight boy into underground disco — will help it all go down easy.

5-9pm
Mars Bar
798 Brannan, SF
(415) 621-MARS

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The Skewered Newbie
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No one skewers the reigning queens of the scene like Monistat — so appropriately she’ll be hostessing, along with Castro Shawn, at the Castro’s deliciously healthy skewered meat wonderland Asqew Grill. Don’t forget to shishkabob your hair, lady.

6pm
Asqew Grill
3583 16th St., SF
(415) 626-3040

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Just a Plain Ol’ Saucy Mess
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The fiendishly fingerlickin’ Felicia Fellatio — pictured here with cutie leatherboy cohost Jorge — will hold glutton court at Memphis Minnie’s BBQ in Lower Haight. (Did you know that Memphis Minnie’s features a sake tasting menu with it’s plethora of roasted flesh? Well now you know!)

7pm
574 Haight, SF
(415) 864-7675
www.memphisminnies.com

PS: It’s rumored that Felicia can down a whole rack of ribs without swallowing. Here’s proof, at least, that she can down a whole racket:

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Anyone for seconds?

Q: Will the Spray Cause Erectile Dysfunction?

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A. Not if you keep looking at porn.

Yesterday’s, er, news that men (sex, sex, sex, money, money, sports) take greater risks after viewing porn, got me wondering what will happen to the stock market when the feds start spraying female moth pheromones.

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Will the market go soft? Will everyone, drag queens included, start dressing as giant female moths?
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Will my cat start puking? And is Fodor really warning folks to stay the f*** away ?
(These latter two questions are raised in a somewhat erratic piece at the Huffington Post)

But don’t worry, Mommy, Arnie says the spray is safe.
Seriously folks, to reassure us all, the California Department of Food and Agriculture sent this transcript of the Governor speaking from Salinas.

“Hello-Today, Governor Schwarzenegger was in Salinas to continue statewide discussions on budget reform.
After his event, the local ABC station asked him about LBAM spraying. The transcript is below. Thought you may find it interesting.

ABC: Will you comment on LBAM spraying?

Governor: It’s important we do everything we can because it can destroy our agriculture products and harm our environment. Other countries can cut off our agriculture trade. Public safety is my number one priority and there is nothing that shows this program is unsafe.

ABC: Senator Migden is proposing legislation to prevent spraying before an EIR is done. Do u have a position?

Governor: We have done all the studies in the world and nothing says it is unsafe. We wouldn’t spray if it were unsafe.

ABC: You would look these people in the eye and tell them it is safe?

Governor: This is safe. The spraying is safe and there is nothing that says otherwise.

Meanwhile, folks who remain unconvinced that the spraying is safe are being urged…to catch a bus to Sacramento tomorrow, April 16.
Read on for details:

Mike Lacey = Marge Schott?

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We don’t want to drag all this us vs. them stuff up again — especially since, like, we won — but something uncanny has occurred. Village Voice Media honcho/bully Mike Lacey has been in some mighty hot water since he chose to use the “n-word” in a speech to a roomful of journalists on the anniversary of Martin Luther King’s assassination. (Watch the video!).

Perhaps worst of all, he was trying to be cool.

That immediately put us in mind of a similar gaffe by former Cincinnati Reds owner Marge Schott, one which lead to her eventual downfall. So, like the Internet-savvy alt.weekly we are, we dialed up the Intertubez — and look!

MUG SHOT
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MARGE SCHOTT
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Like we said, uncanny.

Migden finally wins one …

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Yesterday, after a bruising month and a potentially devastating weekend in which she failed to win the nomination of the California Democratic Party, incumbent State Senator Carole Migden finally saw something go her way – at least for now. Judge Edmund Brennan of the Eastern District Court for California in Sacramento ruled that she should be allowed access to over $600,000 in funds the state’s campaign finance watchdog had barred her from spending.

Last month, Midgen sued the Fair Political Practices Commission to gain access to the cash. The FPPC had declared it, and a reported $400,000 more that the Senator had already spent (in possible violation of state law) “surplus.” California’s surplus funds law places strict conditions on how and when politicians can transfer funds between various accounts. Migden responded by hauling the regulators to federal court and attempting to overturn the law on First Amendment grounds – citing a landmark Supreme Court ruling which equates political money with free speech.

Judge Brennan’s ruling yesterday was not an outright victory for Migden. The judge did not officially weigh in on the law’s constitutionality. He simply stated that, until the lawsuit can proceed in earnest, she should be allowed to tap into the accounts. But Roman Porter, spokesperson for the FPPC, told us it might not be as easy to get to the money as one would think. The cash, he told us, has been shifted around so much by Migden’s campaigns, no one is quite sure how to get it into her current accounts.

“Right now we’re still trying to figure out how that can legally happen … we’ve never been in a circumstance like this before.”

But in the end, provided that regulators and Migden’s campaign can figure out a way to move the money into her coffers, the lawsuit itself might just be an afterthought. No matter how things eventually turn out, Judge Brennan’s ruling yesterday does one critical thing for the embattled incumbent – it literally buys her more time in the race.

Calls placed to the judge’s courtroom deputy, who handles his calendar, were not immediately returned, but many observers expect the legal process to drag on for weeks, even months. The primary election is on June 3rd. By the time anything gets settled for real, the race is likely to be over and Migden no doubt will have spent most, if not all, of the money in question.

Ribbons and signs

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› sarah@sfbg.com

The hardest thing I’ve ever done was take my son to the airport the day he deployed to Iraq.

We set off at dawn, the hour that most dates with the Army begin, exhausted after a sleepless night in which my son packed his gear, put on his military fatigues and assumed what my daughter calls his "soldier’s face," an expressionless, unnaturally calm look.

The sun rose, Led Zeppelin began to sing, Dancing days are here again / As the summer evenings grow / I got my flower / I got my power / I got my woman who knows on my car radio — and I began to wonder how I could be helping my son in joining Bush’s surge.

Isn’t this kind of dysfunctional? I thought, wondering if my son’s militaristic tendencies were the universe’s way of jokingly paying me back for a lifetime of peacenik activities.

I know he says he wants to go, but he is young and innocent and doesn’t know what he is getting into, I thought, glancing at my son, who had always shown an interest in war since he was a small child, and was already looking like some kind of psycho-killer, thanks to a pair of black-rimmed, ballistic glasses he insisted on wearing on the plane.

And now he was reminiscing about the time he almost melted a machine gun barrel.

"I let off 300 rounds out of a machine gun without a break," he explained, his newly shaved head as fuzzy as a chick. "By the time I was done, the barrel was glowing orange and red at the tip. They were blanks, but they still create that much heat."

For a moment I wanted to turn and drive in the opposite direction. But I knew that there was nothing I could do to stop my son from going on his mission, the modern day version of the medieval knight’s quest.

It wasn’t until after we’d hugged and he’d disappeared into airport security that I broke down and cried.

When I got home, I took out the yellow ribbon magnet I got at the Camp Roberts PX store. I bought it last summer, when I attended the California National Guard farewell ceremony. And now I wrote on it, in black marker, "Til they all come home."

Then I stuck the magnet on my car, between the "Prune the Shrub" and the "Yes to Coexistence, No to Violence" bumper stickers. I’d finally come out as a military mom.

A few weeks later, I was filling up my car, when the guy behind me at the gas station commented on my bumper sticker collection.

"Don’t you think that sometimes there has to be violence for there to be coexistence?" said this guy, who looked younger than me, but older than my son.

"Last weekend 14 US soldiers were killed by roadside bombs," I said, my voice suddenly on the edge of tears. "What good does that do anybody?"

"Nobody," the guy agreed, evidently attuned to my distress. "What’s your son’s name? I’ll pray for him."

PRECIOUS TREASURE


These days, I pray for my son all the time, and all the people who are in Iraq, too. I pray in elevators and bathrooms and coffee stores. I pray when I’m driving across the Bay Bridge toward San Francisco and the towers on the bridge’s western span loom like archangels.

"Protect him, protect them all," I say to the towers, the angels, and anyone else who might be listening.

Until my son enlisted, I had no idea of the daily nightmare that military families endure. The pain they feel when they read the paper or see the news and hear that some soldiers have been killed, and wonder if folks in uniform will show up at the door with bad news.

And until I went to the National Guard’s farewell ceremony last summer, I had no idea what the 800 guardsmen, who were deploying with my son, were like. Then I saw them marching in formation toward me across a dusty parade field under the anxious gaze of their families. A shiver went up my spine.

They were so young, these soldiers — boys, most of them, just like my son. And they were so representative of the racial demographics of California, so many colors and ethnicities gathered there that day. And most of them didn’t seem to be rolling in money.

But they were precious treasure in the eyes of their wives and children, siblings and parents, who all would really rather not see them leave. And they continue to be a mighty rare resource in these days of no military draft, a body of soldiers who should be only be deployed when all other avenues have been exhausted.

Most of us are disconnected from these soldiers, their families and this war. We see images of burning tanks, charred buildings, and stunned Iraqis on the television. But there is no smell of burning flesh. No fear that the person walking toward us is a bomb, about to go off.

And without the draft, most Americans aren’t worrying that Iraq will devour their children. It’s a dangerous disconnect that could allow this war to drag on for decades — its burden to fall on the backs of the same soldiers and their families, over and over again.

Watching these young men prepare to deploy, I felt sick, remembering that when Bush first tried to make his case for the invasion, I naively believed this war could be averted. All it would take, so I thought, was people listing the many reasons why a preemptive invasion was illegal and how it would have long-term counterproductive repercussions for Iraq.

I also remembered how I began to grow desperate in December 2002, when Bush continued to talk about assassination, regime change, and first-strike nuclear attacks, despite the fact that inspectors found no evidence that Saddam had weapons of mass destruction and despite the fact that millions were marching against an invasion.

I helped organize and participate in a naked peace sign on a beach in Santa Cruz County, along with my friend and fellow peacenik Jane Sullivan.

I know that getting naked to stop the invasion sounds terribly lame in retrospect. As Jay Leno joked at the time, "Good idea. Wrong president." But it wasn’t likely to trigger any nuclear build-ups, either.

At the time, my son was 16 and wasn’t talking about joining the military. That happened in his first year at college. It was January 2006, and I was hopeful that since the war was becoming increasingly unpopular, the Democrats would be able to take control of Congress and force Bush to bring the troops home, before my son could be deployed.

My son’s recruiters apparently had no such illusions

"Run away, boy! They’ll send you to Iraq!" they said, when my son showed up to enlist.

"I couldn’t expect you to understand," he said, the day he broke the news of his enlistment, adding that he believed his ensuing experience would be "like a crucible."

Crucible is certainly an accurate metaphor describing my odyssey as a newborn military mom. As I wrote in my diary in Spring 2007, when my son got his deployment orders and came home on leave for a week, "Since last week, I have learned the difference between the cavalry, the field artillery and the infantry. I have helped my son draw up a living will and power of attorney documents. We have had conversations about death, maiming, and vegetative conditions."

We also had plenty of sweet and funny times, the way people do when they don’t know how much time they have left together. Like the day we took a road trip to Mount Tam. We laughed ourselves silly when the person in the passenger seat of the car ahead of us turned out to be a giant poodle. After we climbed to the top of the mountain and looked out at stunning views of the Bay and ocean, my son said, "If everyone could go into space and see the planet Earth from a distance, they’d probably become very spiritual."

Then he skipped down the path with a hop and jump, like a leprechaun on vacation.

The next morning we delivered him to the National Guard Armory in Walnut Creek (at dawn, of course,) so he could hurry up and wait until he and his fellow soldiers were bussed away to Paso Robles for three months of predeployment training.

The streets were deserted, except for a TV crew filming families like ours saying goodbye. This was the biggest deployment of the local Guard in a long time, and it was making prime time news. I didn’t feel much like talking, and afterwards, my daughter and I caught BART to San Francisco. The first stop was Lafayette. When we looked out the window, we saw a hillside covered with white crosses, one for each US soldier who has died in Iraq, so far.

It was May 9, 2007. The sign said 3,367.

"Unspeakable pain, grief, and discombobulation," was all I wrote in my diary that night.

THE PAIN GOES ON


By June 5, 2007, I noted that the number of US casualties had risen to 3,495.

Today, it’s creeping toward 4,000 soldiers, and no one even knows for sure how many thousands of Iraqis have been killed, maimed, or displaced by this war.

During the months my son has been gone, I have reached out to the other military moms and wives I know in the Bay Area. To them, I offer my profound thanks. They alone understand what it’s like to go weeks without hearing anything, then learn nothing of what is going on when you do get to speak with your soldier by phone.

When I told Kim Mack, whose 23-year-old son Bobby just returned from a yearlong tour in Iraq, that my son hopes to be home by the end of April, she said, "People don’t understand what it does to the family. I know what you are going through."

Mack is executive director for Sacramento for Obama and supports his candidacy in large part because she believes he’s the only Democratic front runner who is serious about withdrawing combat troops from Iraq as soon as possible.

Cindy Sheehan, whose son Casey died in Iraq on April 4, 2004, observes that none of the presidential front-runners are talking about a complete troop withdrawal.

"I cannot bring my son back to life, but your story is what keeps me motivated to get the troops out of Iraq and start the reconciliation process with the people of Iraq," Sheehan said.

So, here I sit, tortured by unspeakable worries as the fifth anniversary of the invasion approaches. Does the trail mix in my son’s care packages soothe his nerves or fuel random acts of violence? Will he and his buddies get the care they need when they come home? Will we be out of Iraq by 2009? When will the Iraqis get their country back?

I don’t know, but I’ll keep pushing until I have answers, and all the troops are home, and the black marker pen is completely worn off from my yellow ribbon magnet.

Say hello to my little Ferrari

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Every time I hear a Giorgio Moroder track, I am transported back to an exclusive Miami disco in the early ’80s. I’m Cuban drug lord Tony Montana, in my white polyester suit, disco dancing with the robotic, all-bangs, ultrablond Elvira Hancock. Her heavily stylized and mechanical moves are only bolstered by her last three nose-powdering bathroom trips.

Fast-forward to a recent Saturday night at sleek Italo-disco night Ferrari, a monthly fundraiser for volunteer-based, DIY station 93.7 FM West Add Radio at Deco Lounge. While drug cartel members, big-name celebrities, and models were noticeably absent, the club — still in its infancy and more baby powder than coca powder — is still very insider-y, attracting a notable crew of local DJs, promoters, and scene makers.

Hitting the dance floor, I was surrounded by a who’s who of San Francisco party throwers like Parker Day (Stiletto), Rchrd Oh?! (Hold Yr Horses, Lights down Low), and Juanita More (Trannyshack, Booty Call) among a mixed crowd of Mission kids, gay Tenderloin hipsters, and drag queens, all bumping on the dance floor to every conceivable disco subgenre — whether it was Italo, Euro, or Hi-NRG from assorted decades.

DJs Christopher Vick (Gemini, Paradise), Jordan (House Parties), Nicky B (Electric Boogie), and Connor and Primo (Night Beat), who mix more obscure ’80s dance artists Klein and MBO with innovator Donna Summer, describe their records simply as "robot rock."

As I passed a couple of girls dancing like automatons — with blond, heavy-on-the-bangs hair — I prepared to mourn the day this club is discovered by Bridgette and Tunnel. Maybe promoters can hire a machine gun–wielding security team to keep out the riffraff. But disco’s inherent inclusivity, bringing everyone together for an orgy of music and revelry, means biting the bullet and passing on the ammunition.

FERRARI

Second Saturdays, 10 p.m.–2 a.m., $5

Deco Lounge

510 Larkin, SF

(415) 346-2025, www.decosf.com

And also, herpes

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› andrea@altsexcolumn.com

Dear Andrea:

You guessed right — those letters about women who can’t have orgasms were both mine. Maybe I was so frustrated that I lied about my age so you wouldn’t think they were from the same person. Anyway, I’m in a stupidly worse situation now: I contracted herpes, despite having had sex with only one other human being. My boyfriend engaged in some ill-advised polyamorous experimentation about two years ago: I agreed to it even though I wasn’t sure it was a good idea. And he proposed it even though he was pretty sure it wasn’t a good idea, either.

It’s just HSV-1, but I can’t get over how unfair it is. I don’t even like oral sex! I have this irrational feeling of being punished. I hear that HSV-1 isn’t nearly as bad as HSV-2, and that I might never even have another outbreak (though it doesn’t feel that way). Plus, my boyfriend keeps saying that around 20 percent of Americans have genital herpes, which sucks because that means 80 fucking percent don’t.

While I love my partner, I never thought he’d be the only person I’d ever sleep with. However, I’m shy: having to have the pre-sex "I have an STD" talk means that I’ll just avoid sex. Since I wasn’t enjoying it anyway, this shouldn’t bother me. But now, I feel disgusting too. My boyfriend admitted that he had to leave school on STD Day because he was so completely grossed out that he felt faint. At least he’s unlikely to get it, since HSV-1 doesn’t like to jump from genitals to genitals.

Add to all this the fact that I don’t really want to be touched sexually, and you get the result that my boyfriend is unhappy too. Of course, now that I regret having just one relationship so far, I’m screwing that one up. It’s like some kind of terrible paradox.

I know that I’m overreacting, but I’m just so mad and unhappy. I know that outbreaks can be treated, blah, blah, blah, but then I’m just a less-ulcerated, less-contagious plague carrier. I know that I have to talk to some kind of therapist before I become even more messed up, but I thought that someone whose area of expertise is sex would be a good first person to ask.

Love,

Angry and Contagious

PS: Thank you for your previous advice, but I don’t think Betty Dodson will be advising me until everything involved doesn’t hurt.

Dear Contagious:

Sorry, nope. You totally have to talk to a therapist as well as a gynecologist, but mostly to a therapist — and possibly a psychiatrist too. Don’t you think you’re depressed and anxious enough to benefit from at least contemputf8g medication? I do!. And maybe you should speak to a yoga master about learning deep-breathing techniques. Or get a paper bag and breathe into it until you pass out or don’t pass out — however that trick is supposed to work.

First off, do we know how you got the genitally located oral herpes? We do not. Do we know that the introduction of the GLOH to your ménage was due to one of the women your boyfriend kissed during that brief foray into ill-advised polyamory? We don’t know that, either. Unless there’s something you haven’t told me, it’s possible that the boyfriend either picked it up somewhere far less ooky (it’s only oral herpes, after all) or already had it but it hadn’t made an appearance yet. Furthermore, do we believe that you had to agree to doing something that even your guy thought was a bad idea? Nuh-uh. I know you were young and silly, but so was he. I’d chalk that one up to "our bad" and move on.

You’re going to have to disentangle your anger with your boyfriend from your beef with fate and, for that matter, yourself. What happened happened, and hey, it could be worse. By the way, about 20 percent of Americans have genital herpes but somewhere between 50 and 80 percent have the oral version, so you’ve a ton of company — and some of it is quite nice.

If you drag your angry self to a clinic or to your regular gyno you can get on an antiviral, which will not only suppress your symptoms but make it far less likely that you could spread this thing to a putative future boyfriend that you don’t even want, especially since you still like the one you have. Then you won’t hurt as much and can get back to where you were before: frustrated, angry, and bitter because sex isn’t any fun for you. And then you can go see a therapist. And then, after that, maybe Betty Dodson and I can help you.

And before you think me unsympathetic, I’m really and truly not. I just think you need a swat on the behind to stop dithering in fury and start fixing stuff. I swat because I love.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Newsom to clubs: Curb it!

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Bad partiers! Go to your room!

Today our former pAArtying mayor (bitter?), himself a nightlife magnate, proposed some rather sketchy “Nightlife Reform Legislation” aimed at, he says, curbing all the violence going on in the vicinity of clubs. Because nightclubs are really the ground zero of violence in this city, of course.

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The only violence we see here is the muffin top on the right.

The proposed legislation will now go to the Board of Supervisors for approval, was co-sponsored by Supervisor Sophie Maxwell (in whose district a recent shooting at Jelly’s occurred), and was announced this afternoon by Newsom alongside Police Chief Heather Fong, members of the Entertainment Commission and local nightclub owners and promoters. We’re all for stopping the violence, but we’re also all for being able to throw a party free of governmental intrusion — hey, we’re nightlife libertarians! — and price tags in the thousands, both of which may be incurred by the below. Send an email to your supervisor now in protest — this legislation could wipe out a ton of independently produced parties, folks.

****It will be illegal, between the hours of 9pm-3am, to loiter within 10 feet of any nightclub (no word yet on bars). People waiting for the bus are excluded. What about people waiting for taxis? Or talking on the phone? And better drag on those smokes pretty quick! And hey, bangers, you’ll just have to shoot each other in the parking lot across the street, k? Update: according to SF Gate, people waiting for taxis and smoking will also be exempted

****Promoters will be held directly responsible for any incidents that happen at nightclubs they’re throwing parties at (Is that why local nightclub owners are excited about it?)

****The legislation proposes that ALL promoters who throw more than two parties a year obtain permits (wonder how much those will cost — and if the “promoters” in on the talks were high rollers looking for an easy way to quash competition?)

****All afterhours nightclubs will have to create “security plans” to be approved by the Executive Director of the Entertainment Commission (again, no word on what the cost will be).

We’ll clear up some of the details above and follow the story here. Full proposed legislation press release after the jump.

Clubs: All aboard for Trannyshack Reno

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Were you at Trannyshack this past Tuesday? Gurl, you missed it. Miss Juanita More put on a fierce and seamless 40 minute extravaganza of “Minnie the Moocher” Victrola soul-era tributes, complete with her signature “pass out spliffs to the crowd” move. It was all pretty breathless. And my pashmina reeked of weed!

A different context (“Edge of Aquarius” night at Trannyshack) but the same smoky gist

Anyway, what I really want to announce here is that it’s time for another Trannyshack Reno. That’s right, a 2-day, Easter weekend, 100+ drag queen blackout/road trip on a bus to see Trannyshack take over Reno, brought to you by mega-bigwigs Heklina and Peaches Christ.

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Hide the baskets

This means you may have to miss the wondrous and humongous Sisters of Perpetual Indulgence traditional outdoor Easter orgy and Hunky Jesus contest.

Mother of all indie?

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› kimberly@sfbg.com

SONIC REDUCER Is indie rock back? Did it ever go away? Is it to safe to wax naïf and twee once more? Is my shirt ill fitting yet modest? Will Converse ever go out of style? Do the Strokes suck? Wait, who are the Strokes?

Thoughts worth flexing one’s gray matter around on the verge of the indie-oriented Noise Pop music festival — though, well, the RCA-aligned Strokes ain’t indie, really. Nor can one imagine their jumpy once-new-rock appearing on the shock chart topper for the week of Jan. 27: the Juno soundtrack. The disc bounded bashfully up Billboard’s Top 200 over the course of a month till it reached the peak at a mere 65,000 copies, allegedly delivering a first-time number one to Warner Bros.–affiliated Rhino Records and inspiring many a question mark. Such as, isn’t 65,000 awfully low for the number one album in the country — surely those crack six digits?

Well, no more, apparently, in the many-niched, entertainment-rich marketplace (the sole exception: triple or quadruple threat Jack Johnson?). Sure, geeks are once again chic — as Superbad, Rocket Science, Eagle vs. Shark, and numerous other awkwardness-wracked cinematic offerings could tell you. And don’t forget, brainy indie rockers à la the Shins and Modest Mouse have been making inroads in chartland of late. Even the woman pegged by mainstream movie critics as the soundtrack’s breakout star, the Moldy Peaches’ Kimya Dawson, has been around since the turn of the century, when she was banging her bleached ‘fro against Adam Green’s tennis headband onstage at the Fillmore. Please, indie, let’s not even go into how long Cat Power, Belle and Sebastian, and Sonic Youth have been doing the do — and how canonical the Kinks, Mott the Hoople, and Velvet Underground are. Has indie — and its primary sources — simply reached an apex of popularity by virtue of low overall CD sales?

Like its music, Juno the film doesn’t quite reinvent the wheel but instead delivers the hormonal, feminine flip side of Rushmore‘s protagonist, less an antihero than a talented misfit learning from a young person’s mistakes. Pregnant with meaning, Dawson’s frail, wobbly voice — buttressed by her verbose, brainy lyrics — embodies that character and aesthetic as much as her clear inspiration, the Velvet Underground’s Moe Tucker, who sings the ever-sweet-‘n’-lowly "I’m Sticking with You" on the soundtrack.

It’s not so much that everyone is discovering indie rock: instead, perhaps the soundtrack gets much of its shine from the fact that the music is such an intrinsic part of the film’s emotional power — it’s as memorable as Juno’s rapid-fire, perhaps overly arch one-liners. Playing the film’s title tyke, Ellen Page at times sounds like a 35-year-old woman in a 16-year-old’s body. And in its no-fail, crowd-pleasing selections, the soundtrack similarly plays like a cultured 35-year-old’s music collection in teen comedy maternity garb. Now how fair is that? I’m tempted to call foul for the outclassed Hannah Montana 2 soundtrack (Walt Disney/Hollywood). *

KIMYA DAWSON

Thurs/21, 7 p.m., call for price

924 Gilman Street Project

924 Gilman, Berk.

(510) 525-9926

www.924gilman.org

SIX-SIX-SIX ORGANS OF ADMITTANCE TIME!

Six Organs of Admittance’s new CD, Shelter from the Ash (Drag City), rocks ‘n’ drones the most — but don’t expect the project’s winter tour–besieged Ben Chasny to scrape together too many thoughts on the making of the album: his "brain is on zombie mode," he concedes during a drive to Minnesota. Yet he does let on that the lovely Shelter was the result of simply bunking down, looking around his Mission District neighborhood for musical assistance (including from Comets on Fire kin Noel Harmonson and Fucking Champs chief Tim Green, who dwell nearby), and enlisting his live-in paramour, Magik Marker frontwoman Elisa Ambrogio, and Matt Sweeney, who happened to be in town for a wedding.

Too bad the Mars Volta had to swipe Chasny’s Ouija board rock ‘n’ roll thunder with their supposedly magic-derived new LP. "I was actually designing a Ouija board to sell during this tour — there are some really beautiful ones out there," he says. "And I ended up looking up Ouija on Wikipedia and found out about the Mars Volta, and I just gave up on the whole project." Of course, there are upsides to that downer. Chasny adds, "Elisa was, like, ‘It’s turning into a Six Organs tchotchke revue.’<0x2009>"

SIX ORGANS OF ADMITTANCE

Sat/23, 10 p.m., $12

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

Pollo Del Mar explains it all for you

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Eager-eyed writer Justin Juul continues his Guardian’s SF series “Meet Your Neighbors” by interviewing the current reigning Miss Trannyshack (and local journalist) Paul E. Pratt, aka Pollo Del Mar.

pollo1.jpg

Paul E. Pratt is an entertainment journalist who leads a double life as a crazy ass drag queen. So, when he’s not interviewing people like Spike Lee and Oliver Stone he’s getting all fierce and fabulous down at Trannyshack, where he was recently crowned Miss Trannyshack 2007. I’m not exactly sure how it happened, but I wound up spending the better part of a recent quiet Sunday drinking Pilsner and watching a drag show with Pratt at Mecca in The Castro. Here’s what he had to say.

SFBG: Hey, you don’t look like a drag queen at all. Whaddup with that?

Pratt: Well, I like to keep a fine line between who I am in drag and who I am out of it.

SFBG: Yeah, I didn’t know what to expect before I met you. I kind of thought you’d be all dolled up, ten feet tall and scary.

Pratt: Well that’s something you see more of in the Midwest, where I used to live. A lot of the drag queens out there feel sort of forced to live in drag all of the time. You’ll see a lot of transgender people, men trying to become women. The point of the community out there is different in that sense. San Francisco has another side. There’s the pageant circuit — the Imperial Court thing — that you’re seeing some of now. And then there’s the Trannyshack crowd. It’s not so serious out here. I mean, there are straight guys who perform occasionally. There are also female drag queens — we call them faux queens — and even couples like Landa Lakes and Miso Hornay. You don’t find too much of that elsewhere.

SFBG: So what you do is more just for fun then?

Pratt: It’s for fun and glamour and fabulousness.

“Never surrender!” Romney surrenders

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Welp, the boardroom Mormon is out, and now it’s up to Bridge Over River McCain and Huckabee Hound to feast on his Republican delegates’ innards. (I think. These caucus rules are so twisted I’m sometimes wishing we were back before the days of Hubert Humphrey McGee.)

I must say I rejoiced when Giulievil bit it, even though I wanted him in as a spoiler. There must be a lot of backroom arm twisting (waterboarding?) among the Reps right now to get Huck out of the race as well, before the rest of the religious unright leap right into his sweaty drag queen man hands.

A side note: has anyone else noticed how much Romney and McCain both look like waxen marionette creations from Thunderbirds?

thundereps.jpg
Eeeeery

Anyway, Romney said “If I fight on in my campaign, all the way to the convention, I would forestall the launch of a national campaign and make it more likely that Senator Clinton or Obama would win. And in this time of war, I simply cannot let my campaign, be a part of aiding a surrender to terror,” according to the AP.

He also said he had to step aside “Because I love America in this time of war …”

I think that says it all for the Republicans in general, no?

Clubs: Trannyshack (fuzzy) memories

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“The truth can finally be told, Marke B.,” said Trannyshack mama bear Heklina when I talked to her about her raucous 12-year-old trash-drag weekly at the Stud going dark in August. “I was gonna shut it down on our 10th anniversary — that’s just such a good, round number — but I was in talks for the past two years with some big time studios about a Trannyshack reality series, so I kept it going. But I guess that’s dead in the water now, so it’s time to move on.” Alas! But hurray for Heklina taking time out to figure herself out. And Trannyshack may return as a monthly, so that would be nice.

There have been so-so-so many disgustingly wonderful Trannyshack moments in the past dozen years to try to remember fully. I think I was at the opening night in 1996, but I was on a lot of meth then, so who the hell knows? Anyway, here are some performances for the ages. I’ll be adding more in the next week as soon as I get off my ass and fight my way out of this paper bag hangover (never huff Aquanet people — it’ll make your tongue stick to the roof of your mouth.) And there are a ton of Trannyshack vids on YouTube — except for some reason they’ve taken down clips from “Filthy Gorgeous: The Trannyshack Movie” — I wanted that one where Juanita More and the dwarf get naked for “Put It In My Mouth.” Anyway! Enjoy!

Heklina and Glamamore “All is full of love”

Rentecca and Kim Burley, “Two Trannies, One Cup”

Accidental tranny

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› superego@sfbg.com

SUPER EGO Guilty! I’m totally real-time guilty. Yeps, frenz, I’m that spastic whore on the dance floor whooping like a neon cough, flinging my Mary Kate triceps up when a thump drops in the mix. If a club has one of those heinous black lights at the door, I sneak in the back so no one spots the glowing spunk on my skirt or my phosphorescent VCR. I always ask for extra antioxidant-rich lychees in my pomegranatini, to offset the American Spirits. OK, I’ve blown the DJ. And although I’ve never stuffed a tube sock down my sequined thong or Botoxed my rosy areolae, those are my fake digits you just beamed into your contacts, sweetness. Thanks for the pomegranatini. Call me!

Also, I take things for granted. Some parties in this town have been around since Y2K was ripped-knee-high to a troll doll (New Wave City, 1984, Popscene, Death Guild, Red Wine Social, Qoöl). I’ve surely enjoyed them all. But in my ravenous quest for novelty I’ve watched them gradually fade from my schedule, like tears of joy evaporating on a monitor. Thus I was shocked when word squirted down the pudding pipe that — after 12 years of lunatic antics at the Stud — weekly trash-drag frenzy Trannyshack was slamming its barn door shut in August. Just where the heck will club pervs get their weekly fix of "two trannies, one cup"?

"I never intended to become a professional drag queen, Marke B. It was almost an accident," Trannyshack hostess Heklina said, laughing groggily into the phone when I rang for dish. I’d woken her up: it was 2 p.m. "I was merely dabbling in drag when the Stud approached me a dozen years ago to fill the Tuesday night slot. It’s been wonderful, but I’m ready for a change — and I’m too much of a control freak to let Trannyshack go on without me."

The lady was feeling candid. "I’m done with punk-rock drag," she added. "I’m tired of feeling like I have to haul in my own amps, manage the entire bar, and clean up afterwards. At this point I simply want to walk onstage and have the light show ready and the sound board all cued up. And I want more challenges, to work more in theater, expand my horizons, travel, figure myself out. You get trapped in a persona. This great thing comes along, people love it, and then suddenly it’s your whole life. For 12 years. Time for a breather!"

Hold on to your panicked panties, though. "Trannyshack the brand isn’t going away," Heklina continued. "I’m working on making it a monthly party somewhere nice, and we’ll still do big events like the annual pageant, Trannyshack Reno, international gigs, and maybe bring back the cruise." The weekly Trannyshack’s planning to go out with a bang too: a countdown of greatest hits and command performances has begun, with Ana Matronic of Scissor Sisters hosting Feb. 12 and an explosive 12th-birthday blowout Feb. 19.

Heklina is one of the OG rave-era club kids who made San Francisco fabulously unsafe at any speed, and Trannyshack freed drag from its Judy Garland fetters, flooding punk spirit — and oodles of bodily fluids — into the stalls of gay nightlife. The ‘Shack’s now venerable enough to be thought mainstream by some young turks, but it still feels like the scene’s bloody wig’s been yanked off.

TRANSPORTING How’s this for a leap of global proportions? The papacito of the nightlife’s global grooves movement, DJ Cheb i Sabbah — himself a proprietor of one of SF’s longest-running parties, 1002 Nights (now at Nickie’s in the Lower Haight on Tuesdays) — has just released another stunningly internationalist CD, Devotion (Six Degrees), and he’ll be throwing down, celebration-wise, at the huge returning one-off Worldly at Temple. Boosting Cheb’s subcontinental turntable wizardry live will be Pakistani vocalist Riffat Sultana and percussionists Salar Nadar and Mitch Hyare. Also trading on the tables: electrotabla etherealist Karsh Kale and bhangra breakster Janaka Selekta. Fold dem paper planes and twirl.

TRANNYSHACK

Tuesdays, 9 p.m., $8

Stud

399 Ninth St., SF

(415) 866-6623

www.studsf.com

www.trannyshack.com

CHEB I SABBAH AT WORLDLY

Sat/9, 10 p.m., $8

Temple

540 Howard, SF

www.templesf.com

www.chebisabbah.com

Video Mutants: Rave damage

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>>Click here to read Marke B.’s interview with Ryan Trecartin

› superego@sfbg.com

SUPER EGO "Hey Skippy, PattyMay is here. In. This. Room."

"Oh god, it’s true! PattyMay is in this room."

"Yes! Tell him I am here. I am PattyMay, and I am in. This. Room."

"Did you say PattyMay is in the room?"

This is the Guardian‘s video art issue, and anyone who’s recently hung out with a certain brand of cued-in, mid-20s clubber knows that the neon-splattered, inverted Internet psycho-vids of Ryan Trecartin are the new now. Those who’ve not hung out with such can plug directly into any enervated crackles and eyeball quivers lingering from their tab-heavy rave days — a tweekend back in K-land, courtesy of capital A — with a quick scan of the Philadelphia-based 26-year-old’s YouTube channel, WianTreetin.

There — and in several big-time art exhibitions throughout the world — you’ll find one of the most mind-bending glosses on getting ready for a night out, and actually going out, that’s ever been burnt to digi, A Family Finds Entertainment (2004). This half-hourish doozy begins with a gothic drag specter clutching a bottle of generic hair spritz and trying to pull a little girl into a bathroom closet. It ends with a boy who’s been run over by a ghost car rising from the dead, kind of, as a gender-clown version of himself gets reborn in a kiddie pool after a house is destroyed by an underground indie rock dance orgy. (Cue fireworks.)

In between is what one character calls "nonlinear trash, with color!" and the wickedest toss-off line in the universe, "To the dark side — I party alone." Also: a chipmunk remix of Sophie Ellis Baxter’s awful "Murder on the Dance Floor," a spastic impersonation of infernal fiber-optic networks, liberal quantities of ingested toner, confused plans shouted through butcher-paper walls, and the partially imaginary dream girl PattyMay, made somehow realer by several incantations of her name. All this and more, plus an overload of kitten star wipes.

What? That’s not your typical night out? Honey, call me.

Mapping the plots of Trecartin’s hyperactive, live-action phantasmagorias is so beside the point it’s next to it. Part of the posted synopsis of his 2006 short Tommy Chat Just E-Mailed Me: "Takes place inside and outside of an Internet e-mail…. Tammy prints stuff and confronts Beth. Beth does a Google search for ‘fun’ and finds ‘ugly,’ so she phone calls her dark dream girlfriend Pam who has communication problems, a dead computer painting, Apple OSX, and their lesbian communal baby prop."

And although the look and feel of his episodes — Microsoft-blue papier-mâché interiors, vine-sprouting ceilings, fluorescent-dipped skin tones, looped asexual voices, ominous snippets of warped bubblegum pop — are definitely wiggy, drug analogies come up obvious and short. Trecartin’s created a hilarious and horrifying — hilarifying — open-source code for the nightmare side of contemporary life, with its inflatable technological chaos, zombified discount shopping, and endless idiotic yakking. Wild club nights and the ancient rituals of rebirth they tap into yield a central theme — actual physical activity among streaming virtual selves.

In 2007’s I-BE AREA — basically what the invisible thing that sneaks up behind you when you’ve been online too long looks like — the main gist is the soul’s fate in a world of obnoxious social networking, one that reduces individuals to quasi-emotional ADD outbursts and illogical catchphrases. It’s life aboard the MySpace Death Star, and everyone had better fill up their blogs, crop their pics, broadcast in a perfect urban patois, and be their own friends. "Look, I think I just saw a highly advanced, 3-D text message of my future self giving me the middle finger," main character I-BE, a.k.a. Trecartin, says snootily.

I-BE AREA zings off on a million paths in its quest for authenticity — names become other names, twins melt into clones, characters switch places with their avatars and turn clairvoyant. There’s a jaw-dropping tap dance sequence featuring orphaned kids recorded on Adoption Audition Tapes. At one point a woman who looks like she wandered off the set of Dynasty identifies herself as the Head-PArent and drops a hypothetical blow-dryer into a hot tub full of hippie ghouls. Later a noodle-eyed tranny ectomorph called Pasta kidnaps a baby.

Near the center of it all is the Wood Shop — a real wood shop, with band saws revving and lumber strewn precariously. It’s also the perfect joke on a mainstream gay dance club (or online hookup site). "Exotic" black go-go boys writhe frantically on tables, fractured machinery noises sub in for lame-ass techno, and an obnoxious, pig-tailed faggy avatar screams "What?" into her brick cell phone. Then everyone prances around lewdly and breaks windows. Just like real life!

www.elizabethdeegallery.com/artists/view/ryan-trecartin

www.youtube.com/WianTreetin

Video Mutants: Guiding light

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>Click here to view some Kalup Linzy vids

A phone interview is a routine aspect of writing an article, but there’s a uniquely rich comedic irony to conducting a phone interview with Kalup Linzy. Since 2001, Linzy has been making soap operatic short videos in which a host of characters, most played by himself, converse by phone. In Conversations Wit De Children IV: Play Wit De Churen (2005), for example, one of Linzy’s personae, or churen, budding art star Katonya, is fired via phone by her boss — then dumped via phone by her boyfriend when he finds out she lost her job.

"I grew up watching soap operas," Linzy says when asked about the soapy underpinnings of pieces such as Da Young and Da Mess (2005), As Da Art World Might Turn (2006), and the installments of his All My Churen series. "I was raised by my grandmother, but it goes back to my great-grandmother — she used to listen to Guiding Light on the radio. When it switched over to TV she was going deaf, but somehow she would sit and watch soap operas all day long. We couldn’t turn the channel, and if we were playing and went to one of our aunt’s houses down the street, the same soap opera would be on. [The soaps] sort of inspired me to act and write. They struck that chord in me."

Whether set in the South or the Manhattan art world, Linzy’s videos dig deep, past the generic surfaces found in Springfield, Pine Valley, Genoa City, or any other fictional TV town. Cumulatively, his recurrent video presentations of phone conversations satirize social power plays — and unexpectedly create and illustrate familial and romantic bonds. Like the filmmaker Apichatpong Weerasethakul, though in a less languid manner, Linzy is capable of lacing his affection for the soaps’ dramatic pleasures with sharp referential observation: Da Young and Da Mess features a shot of Linzy’s woebegone character Taiwan that updates Édouard Manet’s Olympia, for example.

Linzy has stolen the show at a number of New York group exhibitions, and he’s represented by a gallery in Manhattan, Taxter and Spengemann. But his work and creative identity extend beyond traditional art spaces via YouTube, an official Web site, and two different MySpace accounts. Collectively, they present video excerpts, performance clips, and songs. One highlight on Linzy’s Web site is a clip of him (as Taiwan) at New York’s PS1 Contemporary Art Center performing the gospel-inflected dirge "Asshole," accompanied only by keyboard. "Asshole, asshole, asshole, why’d you do this to me?" Taiwan bellows in the chorus, his blunt question arriving with gut-busting comic impact after a melancholy and poetic intro. As the song goes on, Taiwan shifts the focus to his body, wondering, "Why did my asshole fuck it up for my soul?"

Returning to the subject of rich ironies — or in this case paradoxes — none other than Modern Painting magazine published perhaps the most incisive recent piece about new waves of video art activity. Author Michael Wang uses work by Linzy and this week’s Super Ego star Ryan Trecartin to assert that queerness is perhaps the preeminent form of postmodernism; his opening salvo suggests that the old dialectical relationship between experimental video and commercial television has effectively exploded in the Internet era. Considering this, it’s hard not to note similarities or connections between the outrageously popular — or perhaps antipopular — gay YouTube phenom Chris Crocker (see Trash, page 24) and figures such as Jonathan Caouette, Trecartin, and Linzy. Crocker’s housebound, familial acting out forms dozens of tiny sequels to Caouette’s performative diary feature Tarnation (2004). When Crocker asks "What’s your tea?" he might as well be wishing he were on a party line with a character from one of Linzy’s videos.

More evocatively, the helium-high and macho-low voices of the characters in Linzy’s videos are similar, though not of a piece, with the manic munchkin voices of the Day-Glo "streaming creatures" (to use the Jack Smith–inspired title of Wang’s article) who cavort through videos by Trecartin; and like Trecartin’s art, though again in a more casual manner, Linzy’s has strong connections to club culture. In fact, Linzy’s currently working on a project that, framed by original and dance versions of "Asshole," translates Taiwan’s misadventures, as well as a scathingly funny cameo by Labisha, another Linzy alter ego, into songs.

"Basically, [the album] tells the story of someone sad at home who goes out to the bar and ends up getting laid by trade and wakes up the next day with a hangover," Linzy explains with a laugh. He drops hints about a couch-potato parody of Otis Redding’s "(Sittin’ on) The Dock of the Bay," adding that whenever he tells people he’s making a video anthology for the album, they mistakenly "ask if it’s going to be like R. Kelly."

Based on tracks such as "Melody Set Me Free," with its drag-ball life-as-an-awards-show lyric, and "SweetBerry Shuffle," with its baton passes between feisty female Labisha and depressive gay boy Taiwan, Linzy’s debut album might be an American cousin of the amazing, unjustly obscure Dislocated Genius (Get Physical, 2006) by Chelonis R. Jones. There and on singles such as the fierce "Black Sabrina" (sample lyric: "Black Sabrina never pushes or shoves / She’s a foot up your ass / She then questions why you walk so funny / And utters ‘Punk bitch’ under her rum-tinted breath"), Jones embraces and expresses a multitude of voices, transcending prejudicial diagnoses of schizophrenia or multiple personality disorder. (You could also draw a line from a cover version of Klymaxx’s "Cherries in the Snow" by veteran artist Vaginal Davis — like Jones, an American expat living in Germany — to "Asshole." Or, in return, from Linzy’s videos to "Gossips," a scandalously hilarious YouTube excerpt from Davis’s most recent show, Cheap Blacky.)

Betty Davis, Dorothy Moore, and Dionne Warwick are just three of the ladies of song who’ve provided Linzy with inspiration recently. Though some of his recent video projects — especially the offhandedly brilliant black-and-white linguistic mystery The Pursuit of Gay (Happiness) — have lampooned old Hollywood, lately he’s been looking at ’80s music videos when he isn’t visualizing his music. "Back then the medium was new to [bands and video makers]," he says. "They were excited and it came across, even though some of the videos are cheesy." Today Linzy represents a new wave of audio and video excitement — hold the cheese. (Johnny Ray Huston)

www.kaluplinzy.com

www.myspace.com/kaluppresents

www.myspace.com/kalup1

www.youtube.com/kklinzy

>>Back to Video Mutants: The Guardian video art issue

Love me some Dolly…and pass the birthday pie at El Rio

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dollyparton.bmp

By Todd Lavoie

All right, I’m giving some heads up time here so you can plan your weekend accordingly: Dolly Parton turns 62 this Saturday, Jan. 19. Oh, the possibilities for celebration are endless, aren’t they? Maybe a spin of her 1971 classic Coat of Many Colors (RCA), or how about slappin’ 9 to 5 (oh, my sweet baby Jesus, so that flick is really from 1980?! Now I feel old) into the ole DVD player, or if you’re feeling particularly ambitious, you could always fry up some catfish and hush puppies (two of the Dixie diva’s favorite dishes, which must always be paired together: “One without the other is like pickin’ without grinnin’,” she once famously declared, and who am I to disagree?) Or, how about this: you could Dolly yourself up and swing on over to El Rio this Saturday night for their Tennessee Mountain Birthday Bash! Yep, a night of Dolly music, movies, and homemade pie! Ah, pie – who doesn’t love pie? And did I mention the Dolly-look-alike contest? I smell a photo op!

Whatever your plans may be, methinks some serious Happy Haps are in order for Ms. Parton. Sure, we’ve all probably succumbed to Dolly the caricature at one point or another, but the fact remains this: she’s one of the sweetest-voiced, savviest, and most successful artists of our lifetime: 25 number-one singles at last count, and 41 top 10 country albums so far – no one else comes close, even. She has penned some of the most touching, soul-baring, achingly tender melodies of the past five decades. But wait, there’s more: a star in the Hollywood Walk of Fame, inductions into the Country Music Hall of Fame and the Nashville Songwriters Hall of Fame, the distinction of being honored as a Living Legend by the US Library of Congress, as well as being rewarded the National Medal of Arts (the highest honor given by the US government for cultural excellence.)

Oh, and let’s not forget: she wrote “Jolene.” Covered by everyone from Olivia Newton-John to the Sisters of Mercy to the White Stripes to Susanna and the Magical Orchestra, it’s an absolute classic in the whole infidelity-song genre, an area with plenty of competition, particularly in country music. Here, in a more recent performance, she gives a shout-out to her drag-queen fans, then kicks up a mighty row with a wicked bluegrass version of the song.

Bye bye beautiful

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› a&eletters@sfbg.com

There’s a wonderful moment during the performance of "Bye Bye Blackbird" that opens the 1964 Chet Baker set preserved on a recent Jazz Icons DVD (Chet Baker Live in ’64 and ’79 [Reelin in the Years]). In the midst of the squarish piano player’s solo, the star trumpeter shuffles into the medium close-up frame, shucking a cigarette from his accompanist’s pack. Chiseled even when sporting a stuffy sweater, Baker takes a long drag and glides back to his place on the stage. The pianist plays on, but the camera operator tracks Baker, plainly in the clutch of a lonely lothario.

The cigarette break is more revealing of Baker’s largesse — his ineffable cool and the desire it produced — than any of his softly sustaining trumpet solos for the television program are. It also sheds some light on the side-winding portraiture that marks Bruce Weber’s adoring documentary Let’s Get Lost, filmed during the last months of Baker’s life in 1987 and now playing in a restored print at the Castro Theatre.

The first interview in Let’s Get Lost is with photographer William Claxton, an early admirer of Baker’s who waxes poetic about the revelation of shooting such a naturally photogenic subject. Weber, known for innumerable sleek Calvin Klein and Abercrombie and Fitch spreads, riffles through these striking stills in contact-sheet form, a neat solution to the persistent documentary problem of how to make archival photographs move. Twenty minutes pass before we begin to explore Baker’s music, and there are another 20 minutes after that before we meet his Oklahoma mother, our first whiff of personal history. Backward, it might seem, except for Baker’s being a cipher of his own iconography.

"He was trouble and he was beautiful," an interviewee muses early in Let’s Get Lost, and it might as well be the film’s byline. He was beautiful, possessing a ravaged, introspective glamour attractive to both men and women: writing about Baker’s underfed croon in his excellent liner notes for The Best of Chet Baker Sings (Blue Note, 1953), Will Friedwald notes, "His moony voice twangs like an Oakie [sic]-cum-valley person at times, but more often he achieves geographic — not to mention sexual — ambivalence." Though less remembered today than James Dean or Jack Kerouac, Baker had a comparable rogue appeal, his missing front tooth suggestive of wounded sensitivity, his shoulders bent under the unknowable weight of being himself.

Weber’s velvety black-and-white cinematography has never met a silhouette it didn’t like, and indeed, his documentary is first and foremost a tribute to Baker’s arch stylishness. Insofar as Josef von Sternberg, Leni Riefenstahl, and Michelangelo Antonioni’s idolatrous visions are often said to anticipate modern fashion imagery, Weber must rightly be considered their direct descendent: a fashion photographer turned filmmaker unapologetically devoted to surfaces. He is equally attentive to the silvery bleach of Santa Monica, the inky black swallowing various stage spotlights, and the shadows of heroin abuse running across Baker’s unbearably gaunt 57-year-old face — all shot in an amorous chiaroscuro evocative of the trumpeter’s West Coast cool musical phrasings, his constant drug nod, and the late-night languidness of his smoking and speech.

But, of course, Baker was trouble too, and this is where Let’s Get Lost can feel strained. Though clearly a labor of love, the film shrugs off conclusiveness as casually as one of Baker’s shopworn melodies might. For one thing, Weber isn’t much of an interviewer, asking the musician’s mother, "Did he disappoint you as a son?" and directing one of Baker’s ex-wives to "tell me something romantic." Still, with the recent documentary explosion prizing kinetic revelations at all costs, Weber’s patient accumulation is a virtue in itself. We hear several versions of a story about Baker getting his teeth knocked out, and although none of them paints a convincingly specific picture, we do get the overarching thrust of a sad decline.

Originally released the same year as Gus Van Sant’s similarly loving debut, Mala Noche, Let’s Get Lost gives the lie to the notion that every gaze is created equal. Weber may wrap the disillusionment of Baker’s life in the romanticism of the latter’s demeanor, but the director also gives the spiraling musician space for self-expression (including a couple of lovely, understated full performances) and, in an empathetic final scene, offers to buy him a methadone fix. The film is as recklessly lyrical as Baker was himself, and it’s in this way that — in spite of its shortcomings as biography — Let’s Get Lost has the spiritual heft of an ample epigraph. The ragged icon mumbles about the film’s production being "a dream," and the inevitable fade to black and memorial that follows seem exactly the type of void he’d like to walk into. *

LET’S GET LOST

Opens Fri/18, $6–$9

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

Say w00t

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› superego@sfbg.com

SUPER EGO So long, farewell, auf Wiedersehen, good-bye, Ms. 2007. Don’t let the 404 error smack your red-soled Christian Louboutin–clomping, MySpace bisexual ass on the way out. And take your tired $500 embroidered jeans, Belgian sunglasses, Hollister panties, Affliction Ts, and fake Bape reeking of your mama’s Target fabric softener with you — you know, the one with all the circa-2004 Louis Vuitton rainbow logos on it.

Screw you, Marc Jacobs. Bite me, DJ Tiësto. Can it, rosé-tipsy lady on the dance floor who keeps smacking me in the back of the head with her knock-off Fendi glitter-enameled suede baguette. Arrivederci, neon-streaked hair-don’ts, shuffling texters, drunken Googlers, Killers remixes, Rihanna drag, and Red Bull breath. Au revoir, veneer of social networking. Sayonara, bump watch. Fuck off, gay-lined tweeners.

Heyz, Marke B.! Can’t we get a little more <3???

Totez!!11!one. I know it’s halfway through January, but I had to let my bitter 2k7 hens out — and the above are just so country. I’m zipping them into my lead-lined Hannah Montana backpack and tossing them — gracefully yet firmly, in one sweeping motion, with my profile turned toward the camera, chin up — onto the raging pyre of fashion victimology. ‘K? The new year has me feeling positively jagged with sophistication, deliciously complex, and I need a squeaky-clean slate to cut my witty lines on. (Best overheard club phrases of 2008 so far: "Are those pants or a skirt?" and "This bathroom smells like Fritos and cum!" and "From the top you looked like someone else, but from the front you look like yourself.")

Also: fuzzy resolutions. It’s time to get more worldly, more intel, more funkily interconnected. Time to put the pow in MIA, the wise in dubwize, the balls in global. Everyone on the scene’s been snugging on their knit Sherpa thinking caps, braiding all of their international musical tastes together, and letting them hang down cutely over their ears. The fractured bass lines pumping through the multiculti underground are raising the roof of the world.

What the hell am I talking about? My secret favorite forward-thinking monthly of the past year: Surya Dub. I need to pack my glass bong up and hit there more on the regular.

Rocketing toward its first anniversary at Club Six, Surya Dub’s one of the few joints in San Francisco where the crowd is truly interdenominational, where representatives from all of the latest club contingents — Balkan lovers, Bollywood dreamers, rave revivalists, stoned dubsters, ancient househedz, indie cosmopolites, post-hyphy hoppers, grime gawkers, ragga ragers, and eager sublebrities — meet in a kind of United Nations of Nightlife, getting off to a tuneful mulligatawny of pan-planetary styles.

Resident and cofounder Maneesh the Twister describes Surya’s sound as "dread bass music." "There’s not really a genre that fully encompasses what we do," he told me over e-mail from Southeast Asia, where he was breaking for the hols. "Obviously there’s a heavy bass component which is the foundation, and a prominent dub influence, but one of our main goals is to bring seemingly disparate music styles and communities together. Hence our vision to bridge the gap between organic styles such as reggae, bhangra, and other global beats and more electronic styles such as dubstep, glitch, breakbeat, and drum ‘n’ bass."

Maneesh, who also resides at the fab Dub Mission weekly (www.dubmisionsf.com), went on to name-check some of his favorite regular parties — Surefire Dubstep, Grime City, Nonstop Bhangra — and a few Surya-friendly up-and-coming music makers, like Roommate, Juju, Process Rebel, and Matty G. But his bass-loving heart really pumps for his own Surya Dub Crew, which includes DJs Kush Arora, Amar, Ripley, Kid Kameleon, Jimmy Love, Ross Hog, and Neta, along with MC Daddy Frank and VJ Ohashi.

"For our anniversary celebration we’re presenting a huge coalition of local artists called the Bay Area Dubwize Soundclash, featuring J-Boogie, the Antiserum, Sam Supa, and Emcee Child," Maneesh wrote. "We wanted to book some UK and European guests, too," he added sheepishly, "but they’d rather be earning euros. Can’t say I blame them, really. Underground music here is a far ways from being as economically viable as it is in Europe."

Maybe the International Monetary Fund oughta launch an underground-nightlife development program.

(Click here to read my full interview with Maneesh, plus Surya Dub’s Top 10!)

SURYA DUB ONE-YEAR ANNIVERSARY

Jan. 26, 9 p.m.–4 a.m., $10

Club Six

60 Sixth St., SF

(415) 863-1221

www.suryadub.com

Golden Girls: Ghetto Fabulous!

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Oh, Mary! The girls spend Christmas in a homeless shelter.

REVIEW There’s something about performing old television shows (i.e. “The Twilight Zone”) on a bare-bones stage two feet from the front row that accentuates what was good about them in the first place–the snappy dialogues, the solid story construction, the tinge of the absurd. Needless to say, the additional bonus of having the parts of four scrappy gran’mas living together in Miami, played by a snazzy quartet of the Bay Area’s finest drag queens puts the icing, as it were, on the Hostess cupcake. Heklina as Dorothy-makes the (ahem) perfect straight-woman. The sarcasm practically drips from her three-inch long eyelashes, without her even having to say a word. Cookie Dough plays her ribald Sicilian mother, Sophia, stage veteran Matthew Martin channels racy southern belle Blanche, and Miss Trannyshack 2007, Pollo del Mar embodies spacey airhead Rose Nyland. In “Sisters of the Bride,” Blanche’s baby brother Clayton (Mike Finn) announces his plans to marry his boyfriend Doug (Laurie Bushman). Consternation and eventual acceptance ensue, along with some great one-liners (Blanche: “What will the neighbors think when they see two men in my bedroom?” Sophia: “They’ll think it’s Tuesday.”) The highly-anticipated Christmas episode, set in a homeless shelter, does lay on the schmaltz a bit thick, but after all, ’tis the season, even in Miami, where–the girls remind us–it is 103 degrees. Santa, how ’bout a plane ticket? Or maybe just a ticket to the next sold-out Golden Girls show… (Nicole Gluckstern)

Fri/28-Sat/29
8 and 10 p.m.
The Finn Theatre
814 Grove, SF
$20 cash donation
waiting list starts at 7:30
www.trannyshack.com
www.cookievision.com

Year in Music: Tinny bubbles

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The first time I heard it was in Peru. The pea-colored haze of la garúa — the fog of polluted drizzle that swallows Lima — fell about the airport as I waited in line for my preflight pat-down last spring. Suddenly, a fake-Baped tweener cut to the front, blaring a bootleg Kanye MP3 on his dinky Motorola cell. Poor Ms. West sounded like she’d been graduated into a bigger, stronger, faster chipmunk. Kaaan-yeee!

Yeah, we’ve all been privy to the public toucan trills of ringtones, those arpeggiated chest thumps that whistle, "Listen to my life choice, bitches. Doodle-oodle-doo!" But this was different. This was a whole freakin’ song. And it worked. Whether from sheer awe or pity — Kanye? Come on! — we all made way for the speaker creeper to skate right through. If he’d dialed up some leaked Keak Da Sneak back then, who knows? He probably could’ve flown us home.

In canny San Franny, ringtunes raged and enraged on Muni all summer, boosting the type of hip-hop hits formerly known as "regional" — see DJ UNK’s "Walk It Out" and Huey’s "Pop Drop and Lock It" — into the top 20 stratosphere (billboards on our foreheads, Billboard on our phones). Hip-hop — why not? Status ain’t hood, but it sure is glue, and the buses’ backseats bumped the bleats. Hyphy on the lo-fi tore it up, and public-listening history jumped: from boom box hiss to boomin’ system to bleeding earbuds to cellular blips.

I’m lovin’ the latest apex of the lo-fi revolution, despite the fact that ringtunes are the new rude. I’d been primed for it for years by the skips and squawks of samples, the wear and tear of classic vinyl dance floor tracks, and practically every experimental rock band of the past decade with an animal in its name. Besides defutf8g our culture’s mad lust for higher def, static always spirals me back. I hear it in my fondest past — bopping with my dad before grade school to a shitty TDK cassette of Erasure’s "Gimme! Gimme! Gimme! (A Man after Midnight)," recorded off a late-night AM broadcast; raising my hands at a rave as DJ Derrick May pushed all the levels into the tweeters, blowing out the system; shimmying next to my neighbors’ kidney-shaped pool while Don Ho (RIP) crooned from their oak-encased Thorens turntable, a grass skirt made of trash bags wrapped round my pin-thin kiddie hips.

Some folks argue that cell phones, iPods, the Internet, and what have you drown people in personal bubbles, smothering the social instinct to interact. Others moan that compressed files, cheap headphones, and puny bandwidth have made listeners trade quality for quantity. Maybe — although maybe not. When Mary or Alicia screeches on the 33, the music pierces through me. But where’s the indie ironist fronting Verizonized Vampire Weekend, the emo kid blasting ancient Pinback on his Blast, the Rihanna-loaded Nokia wantonly flaunted by a twirling drag queen, also named Nokia? Better keep my fuzzy ears open — I hear technology’s the great equalizer.

TOP 10 GUILTLESS PLEASURES


Jill Scott, "Hate on Me," The Real Thing: Words and Sounds, Vol. 3 (Hidden Beach)

Cool Kids, "Black Mags," Black Mags (Chocolate Industries)

Honey Soundsystem DJs

Foals, "Hummer," Hummer EP (Transgressive)

Santogold, "You’ll Find a Way (Switch and Graeme Sinden Remix)" (Lizard King)

Jose Gonzalez, "Teardrop" (Imperial Recordings)

DJ David Harness’s Super Soul Sundayz

Richard Strauss, "An Alpine Symphony," performed by San Francisco Symphony Orchestra, Oct. 26

Leslie and the Lys, "How We Go Out Version 2" video (self-released)

Cannibal Corpse, Vile (Enhanced) (Metal Blade)

Year in Music: Lady day and night

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› kimberly@sfbg.com

Judging from the hoo-ha on the message boards and the late-blooming stories coursing through the mainstream media, this may have been the year the music industry business model truly broke. In a boldly utopian and rawly realistic mood, Radiohead took their music and declared they didn’t want play with major labels any more — let the PayPal bucks fall where they may into the passed digital hat; Kanye West and 50 Cent allowed a gamers’ pseudo–sales war to eclipse any artistic statements they might’ve been making; and Britney Spears’s family-court and fashion disasters climaxed in a widely televised moment of lambasted lacklusterness before she was left, well, alone. Music sales slumped further as live music sales stirred. No wonder Madonna signed with Live Nation — save that black concert T for the Karl Stockhausen memorial, RIP.

It’s tough to find obsession material amid the music business coverage: the sounds that set you dreaming, the blood pounding, the ankles caving, and the thrills coursing down the mosh pit–spindled spine. Speaking to Nick Cave came close to triggering dry heaves for yours truly, but his all-too-human, literate gentleman–degenerate charm simply lanced a boil of long-festering obsession rather than sent me off on reveries of rabid fandom. Better to wrap my flaming neuroses around the highly visible good girl–bad girl archetypes embedded in the Alicia (Keys) and Amy (Winehouse) Show. Here’s to AA — let’s have another guzzle of Wino’s "Rehab."

Keys and Winehouse plugged into some deep doo-doo down in my teenage doghouse: I was the good-girl grind who chomped Chopin piano études when I wasn’t biting AP credits. OK, I never wept openly when I got a B, nor did I turn down a Columbia acceptance letter like the Keys-ter, but I could relate to the snippet of Nocturne no. 20 in C-sharp Minor that opens this month’s guilty obsession, As I Am (J). All about uplift and upholstered with a-mite-too-pristine, carefully calibrated R&B pop, AIA slides seductively through the holiday hokum with its anthemic, Linda Perry–cowritten "Superwoman," the Prince-like "Like You’ll Never See Me Again," and the no-muss lustiness of "I Need You." AIA lacks overall heat and inspired originality; the fact that Keys locks in with that other do-right prodigy, John Mayer, speaks volumes. Rather than hook into her natural-woman, way earthy, baby-blues-mama fire live, the type that threatened to softly blast Beyoncé off the Oracle Arena stage three years ago, La Keys is much too good a girl, making all the right moves, to break with the machine. Tellingly, she’s framed by a music-box mechanism in the video for AIA‘s first single, "No One." Agonizingly, ecstatically curled to within an inch of Diana Ross’s Mahogany, Keys stares into the distance like an anesthetized, perfectly blank, pretty doll.

Likewise, I can completely identify with the bad-girl train wreck embodied by Winehouse, howling in a red bra on the street and perpetually hiking up her low-riding denim in concert. Who hasn’t dreamed of cutting class, reviving trash, and dropping the high-achiever act? It’s far more dramatic to star in your own disaster movie, all puffy and tatted with throwback cuties, teased like girlgrouped Ronnie Spector and girl gang–inspired Priscilla Presley by way of Tura Satana, while tacked out in yesterday’s greaser girl garb. Winehouse is the politically incorrect, highly visible dark side of the feminine pop principle; she’s both original and so very not — what with her borrowed looks, band, and sound. Embroiled in a destructo-dance with her Pete Doherty–ish bad-boy hubby, Blake Fielder-Civil, Winehouse has been imploding in the spotlight since the year began with a bang of hype for Back to Black (Island/Universal). Like Spears, she caters to our obsession with woman as time bomb — all foibles, frailties, and fuckery — and helpfully provides a textbook case in cultural appropriation and modern day blackface, from her style to her album title to her lyrics. What are the uses of visualizing and verbalizing postfeminist shame and self-hatred while looking back at pop history, à la Winehouse’s "You Know I’m No Good"? Are these ways to inject new danger — or backhanded authenticity — into the predictable girl group–girl singer machination? Just turn to this fall’s Aretha Franklin compilation, Rare and Unreleased Recordings from the Golden Reign of the Queen of Soul (Rhino/Atlantic), to find that bad can ring as contrived as good. True soul just sings for itself.

TOPS IN 2007


Rhythm method: Aesop Rock, None Shall Pass (Definitive Jux); Battles, Mirrored (Warp); OOIOO, Taiga (Thrill Jockey)

Soft shuffle: Bill Callahan, Woke on a Whaleheart (Drag City); Charlotte Gainsbourg, 5:55 (Vice), Mariee Sioux, live

Popping out: the Besnard Lakes, The Besnard Lakes Are the Dark Horse (Jagjaguwar); Lavender Diamond, Imagine Our Love (Matador); Of Montreal, Hissing Fauna, Are You the Destroyer? (Polyvinyl)

I hear rainbows: Black Moth Super Rainbow, Dandelion Gum (Graveface); Radiohead, In Rainbows (self-released); White Rainbow, Prism of Eternal Now (Kranky)

The Davis family reissue korner: Betty Davis, Betty Davis (Light in the Attic); Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

Hotlines

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› superego@sfbg.com

SUPER EGO Gurl, my phones have been ringing themselves right out of my brand-new Safeway paper bag purse. The pink one, the silver one, the little lavender one I usually keep tucked in my Dita Von Teese fringed mesh teddy — they’re all off the hook, jingling like sequins in daylight. Bitches are chatty — scandal for the holidays, how novel — and you know I’d rather gag on Josh Groban or jack off to the L.L. Bean winter catalogue than keep the gossip from you.

Besides the dish that a certain local magazine is paying clubs to have its "personalities" staff the door at parties (drag queens as product placement — I love it) and the rumors flying around that many long-running weekly parties are shutting down (congratulations, Miss Trannyshack 2007 Pollo Del Mar!), there’s some serious nightlife shit going down. The "not in my backyard" whiners of our gloriously gentrifying city are squawking up a storm, and the San Francisco Police Department and the Board of Supes might actually be listening.

After-hours clubs and restaurants are feeling the heat (North Beach barhoppers may have to do without their postparty slices of pizza soon, and possibly any new bars as well), some up-and-coming neighborhoods may be zoned to exclude any nightlife or "adult" establishments, and I’m even hearing that new bars with liquor license transfers are being pressured to shout "Last call!" at midnight. Say quoi???

On top of all that, violence. Several bars have been brazenly robbed of late, and most clubs are rightly reminding their patrons to stay aware of their turbulent surroundings. Yet nothing can stop the dance floor love. Be careful out there, don’t mix up your mace and your mascara, and check out some great parties — before we’re all forced to boogie softly in our bedrooms.

TURN IT ON


Folks I know and trust have been living for Love It! Wednesdays at Icon Ultra Lounge lately. And given the DJ lineups that often include some of my new faves like No Battles, the dirtybird boys, and way-too-cute Tee Cardaci, I can hardly deny them their bliss. I’ll even be partaking gladly of it Dec. 5, when San Francisco’s very own tidal wave of techno, DJ Alland Byallo, washes over the dance floor to showcase his new label, Nightlight Music. Joining him will be Berlin-via-Detroit techno nomad (technomad?) Lee Curtis, whose live set of tweaky synths, sticky bass, and lo-fi disarray will surely rock the fuzzy Kangols off the crowd. Also glowing lively: a tag team live–versus-DJ set by Nightlight stablemates Jason Short and Clint Stewart. Brutal with the millimeter, kids.

CUMBIN’ AT YA


Cumbia electro-hop? Ah si, it’s happening. And global-eared local DJs Disco Shawn and oro11, of the new label Bersa Discos, are bringing it straight up. "We both went down to Buenos Aires and discovered this crazy experimental cumbia scene," Disco Shawn recently MySpaced me. "Bedroom producers were mixing the classic Latin American sound with electro, hip-hop, dancehall…. We’re bringing this music to the other side of the equator, to unleash it on gringo nightlife." Feel the tap-tap-typhoon of the Bersa Discos boys’ awesome cumbiaton discoveries at their new monthly, Tormenta Tropical, Dec. 7 at Club Six, as well as other synced-up styles of electro Sudamericano, baile funk, and live spazzy hip-hop from the mind-blowing Official Tourist.

TIEFIN’ OUT


Surely one of the best video mashups in the cyberverse is "Tiefschwarz Is Burning" on YouTube, wherein some enterprising goofball laid UK electropop sweetness Chikinki’s "Assassinator 13 (Ruede Hegelstein Remix)" over scenes from Paris Is Burning. The hypnotic minimal techno tune, which turns out, oddly, to be the perfect soundtrack for voguing ’80s downtown queens — RIP Willie, Anji, Pepper, Venus — was taken from Teutonic duo Tiefschwarz’s Essential Mix for BBC’s Radio 1, and before this explanation gets any more complicated, just look it up and fall into a Yubehole about it, already. Better yet, check out Tiefschwarz live (they’re hot, they’re brothers — why not?), courtesy of Blasthaus at Mighty on Dec. 15. German techno soul isn’t, amazingly, oxymoronic.

NIGHTLIGHT MUSIC SHOWCASE AT LOVE IT! WEDNESDAYS

Wed/5, 9 p.m.–2 a.m., $5

Icon Ultra Lounge

1192 Folsom, SF

(415) 626-4800

www.myspace.com/loveitwednesdays

www.nightlight-music.com

TORMENTA TROPICAL

Fri/7, 9 p.m.–2 a.m., $5

Dark Room, Club Six

60 Sixth St., SF

(415) 861-1221

www.clubsix1.com

www.myspace.com/bersadiscos

TIEFSCHWARZ

Dec. 15, 9 p.m.–2 a.m., $20

Mighty

119 Utah, SF

(415) 762-0151

www.blasthaus.com

www.tiefschwartz.net