Electronic Music

“My girlfriend is a hacker”: Inside the EFF party

Sasha Cuttler And Mary Magee
-
2

On our way to the Electronic Frontier Foundation’s 21st Birthday party, my programmer friend explained to me why, if it weren’t for the work of the good folks over at EFF, neither eBay nor WikiLeaks could do their thing.

See, it’s all about encryption, a topic my friend is slightly obsessed with. It used to be illegal for anyone but the government to send encrypted information through electronic channels, he explained, using technology that’s now commonplace and used in any website that requires a log in. In the 1990s, the EFF came along with a lawsuit to open up the ability to offer a secure transfer of information to the masses. The tech law firm prevailed, and soon it became possible to securely log in to a website and enter your credit card information without fear that it would be intercepted. Hence, the trail was blazed for online shopping.

From minds far more subversive than that of Meg Whitman sprang a very different use of the technology. Utilizing encryption software, WikiLeaks designed a way for whistleblowers to securely submit classified documents to an online repository.

That’s just one of many accomplishments that EFF could point to at its Feb. 16 celebration. A nonprofit, EFF “fights for freedom primarily in the courts,” according to its website, taking on the US government and major corporations on issues that threaten Internet freedom and digital rights. EFF boasts more than 61,000 contacts through its Action Center, which it uses to beat back bad legislation and raise awareness.

Just in the last few weeks, EFF has taken on the FBI over its plan to expand federal surveillance laws, weighed in on net neutrality, fended off against attacks from Congress over its aggressive protection of online privacy, and spearheaded a program that allows web users to surf secure all the time.

The EFF staged its 21st bash at Bricks and Mortar Media (BAMM.tv), a “content creation factory” in SoMa.

The place was adorned with festive, futuristic hacker art, from a flat-screen monitor displaying a word cloud, to a stage setup featuring an aerial array of computer bits and video game controllers.

One room featured a live video feed projected onto the wall with a strobe-light effect, and partygoers delighted in throwing kung-fu kicks in front of it and watching themselves flicker on screen like action figures seconds later.

In true tech-pioneer fashion, the night featured live nerdcore performances. What’s nerdcore? Let me put it this way. When the star of Dual Core shouts into the mic, “Throw your hands in the air if you’ve got mad skills,” the people he’s addressing really do have mad skills – like programming, web design, developing apps for mobile devices, managing vast databases, creating video games, and yes, even hacking. One of Dual Core’s raps included the line, “My girlfriend is a hacker.” He’s clearly smitten.

Several chiptune artists also performed, including Crashfaster  — “a chip musician, retro remixer, and low-bit concert promoter whose outreach has galvanized the Bay Area’s vibrant chiptune community,” according to EFF – and Trash80, “the eminent chip musician behind ArduinoBoy — software that helps integrate the Nintendo Game Boy into any existing electronic music arsenal.”

I had the honor of chatting with Doctor Popular, described on EFF’s site as a “professional yo-yoer, nerdcore artist, and innovator.” The good doctor makes music using only an iPhone, iPad, and some wires. He told me he writes songs using a handful of apps while riding CalTrain from San Francisco to San Mateo for his day job at a company that makes video games.

And oh, the nerdy crowd! The knowing glint in their eyes, those people who really understand how to manipulate technology. They program software, develop apps, eat, sleep and breathe online communication, whip out iPhones and Droid phones and talk about video games, latest versions of browsers and operating systems, and other matters that this reporter could not quite comprehend, because they were using acronyms.

They were gracious. “Sorry,” some one said to me after launching into a paragraph of alphabet-soup gibberish to my programmer friend. “Sometimes I forget, and then I notice people’s eyes glazing over.”

And yet, when you hang out with hardcore nerdcore fans, you learn the most fascinating things. For example, how when you begin typing “Torrent” into a Google search engine, the word “torrent” will not show up in the automatic feed that suggests search terms. Why? Well, there are theories.

Sound and environment: Moving beyond tropical bass with Chief Boima

John Elberling
-
0
Sound and environment: Moving beyond tropical bass with Chief Boima

A couple weeks ago I shot a long-winded email to former Bay Area DJ and producer Chief Boima. I had just finished speaking to Dun Dun of the Los Rakas crew for what eventually became this article, and he mentioned an upcoming EP with former Bay Area DJ and producer Boima. Now, if you don’t know about Boima, you need to get acquainted with the Banana Clipz digital funk on Ghetto Bassquake (for free download, too). It’s a joint instrumental album between Boima and Oro 11 of Bersa Discos that merges electronic architectonics with rhythms, melodies, and sound bits from the African diaspora.
Enough of that, though — Boima withstood my long-windedness, and after a couple exchanges, he did all the explaining.

SFBG Dun said that you do with instrumentals what Los Rakas does with lyrics. Do you see similarities in your respective styles? Your backgrounds and influences?
Chief Boima Well, when I first came across Los Rakas I had just come back from Panama, and I was on this high from hearing all the big carnaval tunes and the mix of sounds that reflected my musical and cultural background, but in a Spanish-speaking world. I grew up on the stuff that a lot of Panamanians grew up on, zouk, dancehall, soca, etc. So I was at the SF Carnaval and I heard Panamanian reggae but with this Bay Area flavor to it. (Check my initial reaction here, and I had been posting stuff like this.) I identified with what they were doing immediately.
Also, my father is from Sierra Leone, and I grew up with West African cultural influences, so I try to incorporate that musically into my electronic and hip-hop beats. I feel like Los Rakas do the same thing with Panama, and what Dun said is a great compliment.

SFBG Dun also mentioned a future EP coming up. What’s your process working with Los Rakas? What are some of your thoughts on this upcoming EP?
CB Well I linked up with Rico and Dun after not seeing them for maybe a year. I had given Rico some instrumentals and I never had gotten the chance to record on them. At that point I had a little studio set up in my spot in Oakland, so I invited them down to work on stuff. I think it was a real natural collaboration because we knocked out a lot of different stuff in like 6 months. They would come over and just freestyle or write. A lot of songs came out through different processes. Like one song they gave me an acapella and I constructed a beat around it. Other songs, I played them the beat and they’d just start writing to it, and we’d record. This would all happen after work and on weekends, so it was cool because the sessions were real compact but productive. I’m real excited about the EP. I think the material is strong and unique, so I can’t wait to see the reception.

SFBG “Tropical” or “tropical bass” seems to be the new term which has emerged to cover the range of new electronic music informed by both American and Afro-Latin styles of music, and their many convergences and hybrids. Do you see yourself as part of this tropical movement? Would you trace its form or define it differently?
CB I get the name tropical bass, but I see it akin to a label like world music that’s just kind of vague. I think the styles that are included under the genre are diverse musically, but they share similarities in the production process that is informed by increased access to technology and information across the world. It’s also really related to urban environments, like hip-hop and house were in their beginning stages. So I see all this music as a kind of continuum of hip-hop and electronic music from Detroit and Chicago. I see myself as part of that production process, more than a musical genre.
The genres I enjoy and work with are informed by their local environments and have names like hip-hop, dancehall, coupe decale, house, soca, and kuduro. They come out of specific regions, and their environments inform the music. A lot of the most popular rhythms are related to Africa and its diaspora, people who are generally scattered around the tropics. So that’s why people use tropical, but I wouldn’t necessarily describe myself or anyone else that way. It doesn’t really work anymore when you get [sounds like] Balani in Mali, or UK Funky, which are not tropical [in setting], but are still informed by the same aesthetics and production processes.

SFBG Do you try to digitize or transfer Afro-Latin/Caribbean folk sounds, genres, or ideas into electronic form?
CB Yes, but I don’t explicitly set that as a goal. I add in all my influences, which are informed by growing up in the Midwest and spending time on the West Coast as much as “folk” music. I was into hip-hop and electronic music growing up, and my older relatives would get down to music that was recorded by live instruments. I love those older tunes, they make me nostalgic, and make me feel connected to my culture, so I wanted to bring the feelings that I have when I hear them to a contemporary club space.

SFBG Our sense of place is now more amorphous than it was maybe thirty years ago. The Internet has in many ways uprooted us, and with regards to music, given us access to all sorts of folk genres, sonic forms of indigenous culture, traditional sounds and instruments, beforehand only accessible perhaps by being there or coming into contact with someone who was indeed there. To what extent do you think the open source availability of the Internet influences the way you channel folk forms of music and older sonic traditions in your production? In what way does place or region (whether the Bay, Cuba, NY, or online places, even the temperate range of tropical) inform your music?
CB I think the Internet has facilitated interactions and dialogue, but you can’t overlook things like increased immigration and traveling. A New York Times article recently said that New York is as diverse as it’s ever been. It claims that NY has more people born in other countries living there than ever before. The whole United States is changing. Europe is changing. The feedback loop to global centers of production in the “South” is super influential. International travel is becoming cheaper, so it’s easier to see the whole world. I think we’re going to reach an energy crisis in the near future where all that will be curbed a little, and the Internet will keep those interactions going, but we’re really living at the apex of an empire, just like the Romans, and the Ottomans, and the Greeks were super diverse civilizations informed by cultures from all over the world. So the Internet is just our current means of achieving those interactions. It takes the place of the role that sailors and desert caravans and conquerors had before. It’s just faster, and totalizing across the globe.
I travel a lot, and I have a diverse cultural background with multiple influences. That puts me in a certain position of influence because of my experience, but someone who has never traveled can have the same influences because I post about it on the Internet. But that doesn’t mean that it’s a new thing. Cotton and sugar comes from India. Potatoes come from Peru. Coffee comes from Ethiopia. These are things that are fundamental to our cultural identity today, but we don’t necessarily think about them as coming from other places. I feel like these things seep into everyday life, and they become a part of wherever they end up whether NY, London, Rio, Kampala, etc. But when they get to those places I think they change. In other words, environment’s influence is fundamental and if you listen hard you can tell the difference.

So dreamy

Jesse Hawthorne Ficks
-
0
So dreamy

Of all the indie bliss-bands to break through in the last year, Teengirl Fantasy — coming to town Sat/8 — is the dreamiest. Not just in the heart-dotted Tigerbeat vein, although TF’s spangly Angelfire website (teengirlfantasy.angelfire.com) certainly plays on giggle-driven hormone rushes.

No, Oberlin College students Logan Takahashi and Nick Weiss also meticulously tap into a subconscious slipstream of musical influences — 1990s R&B, ’70s soul, Balearic house, Windham Hill new age, bubblegum pop — that roils with allusive energy but never jolts upright into blunt nostalgia or jokey parody. The meticulously layered synth-and-sample compositions on debut album 7AM don’t lead directly to the dance floor either. Instead, they amble ecstatically down some long, spectral hallway toward a distant rave. When performing live, however, Teengirl Fantasy moves multitudes.

SFBG Are you guys still in the midst of your big tour? And did you really play the Great Wall of China?

Nick Weiss We still have one semester left of school, so we tour constantly during school breaks. We played a festival near the Great Wall in August. It was amazing — China was such a nuts place to be. Even though the government attempts to create such a restrictive environment, there are plenty of punks and people who party really out of control. One night we were taken to a Go Kart track around 1 a.m. The place where you bought your tickets was also a bar, so everyone was drunk driving!!! It ruled!!

SFBG You’ve mentioned before that one of the aims of your music is to capture a certain dreaminess or “half-asleep” sensation. There’s a rad sound art exhibition going on from L.A.’s 323 Projects right now that reminded me of you. It’s called “from one side to the other, I’ve dreamed that too.” Basically, you call this number, (323) 843-4652 from anywhere until Jan.17 and it plays an array of sound art pieces made by different people. What would you put on a Teengirl Fantasy Hotline?

Logan Takahashi My voicemail answering message is a recording of one of those Buddha Machines made by FM3. I’ve always thought that was a pretty clever idea for a product or a piece, just a bunch of simple, really pleasant infinite loops.

SFBG Speaking of dreaminess and loops, I think one of the best tracks of the year is “Dancing in Slow Motion” from 7AM. It totally reminds me of how everything sounds when you’re trying to say something in a dream and you wake yourself up — this kind of shivery mumbling. Guest singer Shannon Funchess’ sublimated diva delivery is right on.

NW We met Shannon through her Light Asylum bandmate Bruno Coviello, who coincidentally lived at the studio we were working in. However, we had already seen Light Asylum a bunch of times and knew how amazing her voice was. We wrote the song pretty quickly, but our initial impulse was to make a huge ballad, the size of The-Dream but with a dreamier twist …

SFBG: I also adore the “Dancing in Slow Motion” video, directed by Mark Brown. Between that and the “Cheaters” and “Portofino” videos, you’ve been tagged as adopting a “visualizer” aesthetic. How much input have you had with your videos and the visual manifestation of your music?  

NW: We really just choose an artist whose work we really love, give them the track, and let them do whatever they want. Working with Mark Brown, Kari Altmann, and the legendary IASOS has been so cool… we really love the videos each of them made. I wouldn’t call them pure “visualizer,” I’d say that their looks are pretty intentional rather than automated.  However maybe we just have a pretty high tolerance for rave graphix. I could watch fractals pulse to trance for hours.

LT: Honestly we never intentionally were looking for a unifying aesthetic between our videos, but it is kind of funny to go back and look at the things they have in common. I spent a lot of time watching ‘beyond the mind’s eye’ videos as a child and I think that had an effect on my threshold for abstract 3D FX.

SFBG The title of your album, 7AM is kind of an in-joke to old-school ravers, conjuring up both the kooky bombast of KLF’s “3AM Eternal” and warehouse bragging, as in “Dude, I was there at 7 a.m. when Richie Hawtin dropped ‘Pacific 707.'” Do you guys deliberately build references and concepts into your tracks beforehand, or do they come out of a more organic jamming process?

NW It really is an organic process. We won’t usually start talking about a track until after we’ve written and recorded it. Once we start mixing, we might talk references. But when we’re writing, it’s really more about capturing the live feeling and strengthening improvisations.

LT It helps for us to keep that element of viscerality and response as part of the songwriting process.

SFBG Detroit techno seems a touchstone for you …

LT Detroit!!!! Still trying to make it to the Detroit Electronic Music Festival, hopefully this year. Huge fan of the music that comes out of that city.

TEENGIRL FANTASY with Pictureplane, Tormenta Tropical, and Donuts DJs. Sat/8, 10 p.m., $5––$10. Elbo Room, 647 Valencia, SF. www.elbo.com.

Music Listings

Jesse Hawthorne Ficks
-
0

PHOTO BY KATHRIN MILLER

Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 29

ROCK/BLUES/HIP-HOP

Adam Hodani Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Harvey Mandel Biscuits and Blues. 8 and 10pm, $18.

Persephone’s Bees, Marc and the Casuals, Virgil Shaw with Peacock Gap and the Wagoneers Hemlock Tavern. 8:30pm, sliding scale or bring canned food for the SF Food Bank.

Professor Gall, Thrillouette, Slow Poisoner Grant and Green. 9pm, free.

Tubes Yoshi’s San Francisco. 8pm, $26.

Victims Family, Schlong, Crosstops Elbo Room. 9:30pm, $10.

*X, Ray Manzarek Slim’s. 8pm, $31.

Yellow Dress, Alright Class, Wolf Larsen Bottom of the Hill. 9pm, $8.

JAZZ/NEW MUSIC

Gaucho, Michael Abraham Amnesia. 7pm.

Kim Nalley Rrazz Room. 8pm, $35.

Michael Parsons Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Sam Reider Coda. 7pm, $7.

Tom Shaw Trio Martuni’s, Four Valencia, SF; www.dragatmartunis.com. 7pm. With guest Jennifer Ekman.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Future Night Knockout. 9pm, $6. Chillwave, dubstep, electro bangers, and more with DJs Danny Glover, Mike Stasis, J. Kick, and the Pope.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Red Wine Social Triple Crown. 5:30-9:30pm, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 30

ROCK/BLUES/HIP-HOP

La Corde, Face the Rail, Cat Party Hemlock Tavern. 9pm, $6.

Dizzy Balloon, AB and the Sea Rickshaw Stop. 8pm, $14.

*Economen, Hormones, Myles Cooper Bottom of the Hill. 9pm, $8.

Rick Estrin and the Nightcats Biscuits and Blues. 8 and 10pm, $20.

Further Bill Graham Civic Auditorium, 99 Grove, SF; www.ticketmaster.com. 7:30pm, $45.

Home Alones Knockout. 9:30pm. Live music plus a screening of Home Alone (1990).

Kacey Johansing, Rad Cloud, Sparrowsgate Amnesia. 9pm, $7.

Little Hurricane, Midnight Sun, Scott Gagner Red Devil Lounge. 8pm, $6.

Opt Out, Death First, Homeowners, Neighborhood Brats, Cutter Sub-Mission, 2183 Mission, SF; www.sf-submission.com. 9pm, $6.

Slip, Nathan Moore Café Du Nord. 9pm, $30.

Troublemakers Union Velma’s Jazz and Blues Club, 2246 Jerrold, SF; (415) 824-4606. 7pm.

Zongo Junction, Turkuaz Slim’s. 9pm, $13.

JAZZ/NEW MUSIC

Stephen Lugerner Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Kim Nalley Rrazz Room. 8pm, $35.

Dianne Reeves Yoshi’s San Francisco. 8pm, $45.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz with guests See-I spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Erica Jayne Crib, 715 Harrison, SF; wwwthecribsf.com. 9pm.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

FRIDAY 31

ROCK/BLUES/HIP-HOP

Dresden Dolls, Pomplamoose Warfield. 9pm, $38-50.

Further Bill Graham Civic Auditorium, 99 Grove, SF; www.ticketmaster.com. 7:30pm, $65.

John Lee Hooker, Jr. Biscuits and Blues. 8 and 10pm, $60.

George Lacson Project, DJ Malcolm Marshall Union Room (upstairs from Biscuits and Blues). 9pm, $15.

Growlers, Gantez Warrior Hemlock Tavern. 9pm, $15.

Chris Isaak Fillmore. 9pm, $85.50.

Mo’Fessionals, Limbomaniacs, Adam Lesher Band Slim’s. 9pm, $45.

Nerf Herder, Hooks, Sassy!!! Bottom of the Hill. 10pm, $25.

Rebirth Brass Band, New Orleans Klezmer Allstars Independent. 9pm, $85.

Slackers, Boss 501 Great American Music Hall. 9pm, $35.

Sonny and the Sunsets, Fresh and Onlys Amnesia. 9pm, $20.

Surprise Me Mr. Davis, Big Light Café Du Nord. 9:30pm, $50.

JAZZ/NEW MUSIC

Kim Nalley Rrazz Room. 7 and 10:30pm, $60-135.

Rayband, 8 Legged Monster Coda. 6 and 9pm, $25.

Dianne Reeves Yoshi’s San Francisco. 8 and 10pm, $50-100.

*Lavay Smith and Her Red Hot Skillet Lickers, Casino Royale, Mr. Lucky and the Cocktail Party featuring Ralph Carney Bimbo’s 365 Club. 8pm, $60.

White Cloud, Andrew Benson, LAG Ensemble Lab, 2948 16th St, SF; www.thelab.org. 9pm, $15.

FOLK/WORLD/COUNTRY

“Hillbilly New Year’s Eve” Plough and Stars, 116 Clement, SF; (415) 751-1122. 9:30pm, $10. With the Earl Brothers.

Mucho Axe, Big Tings 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, $15.

“New Year’s Eve Carnaval” Peña Pachamama, 1630 Powell, SF; www.pachamamacenter.org. 7 and 8:30pm, $99-125. With Fogo Na Roupa, Fito Reinoso, and more.

DANCE CLUBS

Blow Up New Year’s Eve Kelly’s Mission Rock, 817 Terry Francois, SF; www.blowupsf.com. 10pm, $18. Electro party with DJs Jeffrey Paradise, Eli Glad, and more.

Cockblock NYE 2011 Rickshaw Stop. 9pm, $20. With Natalie Nuxx, DJ China G, and host the Gaysha.

Countdown San Francisco 2011 Impala, 501 Broadway, SF; www.impalasf.com. 8pm, $59. Two levels of music, including hip-hop, top 40, old school, and club hits.

11: SF’s Longest New Year’s Eve Celebration Factory, 525 Harrison, SF; (415) 339-8686. 8pm. Massive electronic music party with Mark Farina, Marques Wyatt, Dale Martin, Julius Papp, and more.

Icee Hot Elbo Room. 9pm, $15-25. Electro with Bok Bok, Ramadanman, Disco Shawn, Ghosts on Tape, and Rollie Fingers.

Lights, Champagne, Action! Bubble Lounge, 714 Montgomery, SF; www.bubblelounge.com. 10pm, $115. With the Corporate Scandals and lots of bubbly.

Mango New Year’s Eve Party El Rio. 7pm, $30-50. Hip-hop and salsa with DJs Marcella and Edaj.

Mega New Year’s Eve in the City Suite 181, 181 Eddy, SF; www.suite181.com. 8pm, $25. Multi-themed giant party with three different dance floors and DJs Escobar, Ski, Mauricio, and more.

New Year’s Eve 2011 Club Six. 8pm, $10. Hip-hop, reggae, dancehall, and more with Jah Warrior Shelter, Cooyah Ladeez, Mr. E., and others.

NYE @ Eve 2011 Eve Lounge, 575 Howard, SF; www.eveloungesf.com. 9pm, $40-50. Soulful house, Latin-Afro, soul, and more with Whooligan, DJ Mel, and DJ Inkfat.

1984 Mighty. 9pm, free. New Year’s Eve party with Dangerous Dan, Skip, and others spinning nonstop 80s music.

Palace on Wheels: Electric Vardo New Year’s Eve New Delhi Restaurant, 160 Ellis, SF; www.newdelhirestaurant.com. 9pm, $29-80. Dance, music, and cuisine following the Romani trail from Rajasthan to the world.

Sea of Dreams “GalaxSea” NYE Concourse Center, 635 Eighth SF; www.seaofdreamsnye.com. 9pm, $89-100. With Thievery Corporation, Balkan Beat Box, Modeselektor, Beats Antique, and more.

Streets of SF NYE 2011 Fort Mason Center, Marina at Laguna, SF; www.streetsofsfnye.com. 9pm, $200. Steve Aoki headlines, with Aaron Axelsen, Designer Deejays, and DJ Zaq.

Sunset + Honey New Year’s Eve Public Works, 161 Erie, SF; www.publicsf.com. 9:30pm, $20. With DJs Tim Sweeney and Kim Ann Foxman.

Teenage Dancecraze New Year’s Eve Party Knockout. 9pm. Twist, surf, and garage with DJs Russel Quann and dX the Funky Gran Paw.

Trannyshack New Year’s Eve DNA Lounge. 9pm, $20. With host Heklina.

21+ Indie and Hip-Hop Milk. 8pm, $20. With White Menace and Miles the DJ, plus a live performance by K. Flay.

Vivid NYE Wish, 1539 Folsom, SF; www.wishsf.com. 8pm. With DJs Seven and Sol, plus DJ Mancub.

SATURDAY 1

ROCK/BLUES/HIP-HOP

Avon Ladies, Dry Rot, Elders, Ecoli Hemlock Tavern. 9:30pm, $7.

John Nemeth Biscuits and Blues. 8 and 10pm, $20.

Pinback, JP Inc. Bottom of the Hill. 10pm, $20.

JAZZ/NEW MUSIC

Dianne Reeves Yoshi’s San Francisco. 8 and 10pm, $45.

FOLK/WORLD/COUNTRY

Africa Rising Coda. 10pm, $10.

DANCE CLUBS

Breakfast in Bed NYE 2011 After Party Supperclub. 5-11am, $15. With DJs David Harness, Galen, Alain Octavio, and more.

Debaser Knockout. 9pm. Nineties alternative with DJ Jamie Jams and Emdee.

Dirty Talk Deco Lounge, 510 Turk, SF; (415) 346-2425. 10pm, $3-5.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

New Wave City DNA Lounge. 9pm, $7-12. Eighties dance party.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Saturday Night Soul Party Elbo Room. 10pm, $10. Soul with DJs Lucky, Phengren Oswald, and Paul Paul.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 2

ROCK/BLUES/HIP-HOP

Edgar Winter Band Yoshi’s San Francisco. 7pm, $38.

JAZZ/NEW MUSIC

Kally Price Old Blues and Jazz Band, Emperor Norton’s Jazz Band Amnesia. 9pm, $5.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Maneesh the Twister, and guest Lady Ra.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

MONDAY 3

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Punk Rock Sideshow Hemlock Tavern. 10pm, free.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 4

ROCK/BLUES/HIP-HOP

Bitter End, Psychology of Genocide, Wolves and Thieves, Maker Thee Parkside. 8pm, $8.

Boneless Children Foundation, Il Gato, My Second Surprise Hemlock Tavern. 9pm, $6.

Aaron Glass and friends, Sufis, Humboldt Squid Elbo Room. 9pm, $8.

Plan 9, Blasfemme Bottom of the Hill. 9pm, $8.

JAZZ/NEW MUSIC

Coda Jazz Jam Session Coda. 8pm, $5.

DANCE CLUBS

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

New Year’s Eve 2011 parties

Jesse Hawthorne Ficks
-
6
New Year’s Eve 2011 parties

As always, we recommend attending several parties on New Year’s Eve — just to spread your personal brand of bubbly around (and change up the scenery a bit.) Below are some recommendations for maximum impact, all of which take place the night of Fri/31. Chin chin! (Check out our Music Listings for even more.)

1984

The long-running (as in almost 20 years!) retro ’80s party is playing host to a free flashback at Mighty, in a ppreciation of, well, everything ’80s. DJs Dangerous Dan and Skip play all the faves and waves.

9 p.m.–2 a.m., free. Mighty, 119 Utah, SF. www.mighty119.com

 

BEARRACUDA

Calling all big, hot gay men — the fur will fly at this hairy annual affair, with DJs Steve Sherwood, dabecy of Electronic Music Bears, and Medic

8 p.m.–4 a.m., $25 advance. Deco, 510 Larkin, SF. www.bearracuda.com/NYE


BLOW UP NYE

Stylish hip-electro madness continues to reign at this monthly party, and the NYE Blow Up blowout should be pretty spectacular (and gorgeously messy). DJs Jeffrey Paradise, Eli Glad, and more help you explode.

10 p.m.–3 a.m., $18 advance, 18+. Kelly’s Mission Rock, 817 Terry Francois Blvd., SF. www.blowupsf.com

 

BOOTIE NYE

The outrageous mashup club teams up with Mezzanine to present this bonkers night, with DJs Adrian and Mysterious D, live band Smash-Up Derby, French rapper Grandpamini, upstairs room by Brass Tax, pirate balloon drop, and much more.

9 p.m.–late, $20–$40. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

COSMIC VOYAGE

Hardworkin’ San Diego techno DJ Donald Glaude is no stranger to SF — he’ll know exactly how to take you higher (and blow up the Funktion One sound system) at Vessel for this intergalactic jam

9 p.m.–6 a.m., $25–$65. Vessel, 85 Campton Place, SF. www.vesselsf.com

 

COUNTDOWN

Get down with a rockin’ reggaeton, hip-hop, and reggae new year fiesta at Club Six, with the awesome Los Rakas live (seriously, those guys are dope), Jah Warrior Shelter Hi-Fi, the Coo-Yah Ladeez, Mr. E, and more to fill all three dance floors.

8 p.m.–4 a.m., $10. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

ECLECTIC FEVER

Cumbia, Afro-Latin funk, bhangra, reggae, flamenco, soul, and more styles take over the floor with live performances from Sila, B-Side Players, Locura, Non Stop Bhangra, and more.

8 p.m.–3 a.m., $35 advance. West Bay Center, 1290 Mission, SF. ef2010.eventbrite.com

 

ELECTRIC VARDO

A wonderfully global dance party with a “Palace on Wheels” theme, featuring fat Chance Belly Dance, DJs Amar and lady ra, chef Ranjan Dey’s Indian creations, and music from Bollywood to Andalusia.

9 p.m., $29–$80. New Delhi Restaurant, 160 Ellis, SF. palaceonwheels2010.eventbrite.com

 

“11”

Deep house master Marques Wyatt from L.A. joins our own Mark Farina, Julius Papp, and many more for a dance floor marathon, claiming to be the “longest New Year’s Eve celebration.” Whew!

8 p.m.–6 a.m., $30 advance. The Factory, 525 Harrison, SF. 11-zvents.eventbrite.com

 

15TH ANNUAL COMEDY COUNTDOWN

Yuck up your new year with super-hip (and mostly cute!) comedians Charlyne Yi, the Sklar Brothers, Shane Mauss, Nick Thune, Christina Paszitsky, and a ton more. Hilarious balloon drop!

9:30 p.m., $60–$120. Palace of Fine Arts, 3301 Lyon, SF. www.ticketmaster.com

 

G.A.W.K.

The still-spunky, 25-year-old Gay Artists and Writers Kollective is hostings its annual NYE blowout, with live musical performances and readings that attract newcomers and classic artists alike for some kollective fun.

8 p.m.–1 a.m., free and all ages. Tikka Masala, 1668 Haight, SF. 

 

ICEE HOT NYE

Get down and wobbly as the city’s best showcase for grimy-funky new musical styles brings in the new year with London’s Bok Bok and Ramadanman, DJs Disco Shawn, Ghosts on Tape, and Rollie Fingers.

9 p.m., $15–$20. Elbo Room, 647 Valencia, SF. www.elbo.com

 

KIM NALLEY

The incredibly gifted and hot-to-trot blues chanteuse will “Let the Good Time Roll” with two smokin’ shows on New Year’s Eve at the wondrous Rrazz Room at Hotel Nikko. Just watch Ms. Nalley go!

7:30 p.m. and 10 p.m., $35. Rrazz Room at Hotel Nikko, 222 Mason, SF. www.therrazzroom.com

 

LEXINGTON CLUB NYE

Spend the eve getting down with the coolest dykes on the planet (and the ladies who love them). DJs DURT and Pony Boy rock the tables, Aimee and Chandra host. Free glass of champers from 8 p.m.-9 p.m.!

8 p.m., free. Lexington Club, 3464 19th St., SF. www,lexingtonclub.com

 

LOOSE JOINTS NYE

The awesome funky Friday weekly party with DJs Tom Thump, Damon Bell, and Centipede is a top choice for those looking to get down.

9 p.m., $10. Make-Out Room, 3225 22nd St., SF. www.makeoutroom.com

 

MANGO NYE

The funky summer jam for a diverse and stylish crowd of lesbians returns to wave bye-bye to ’10. DJs Marcella & Edaj make it happen at El Rio.

7 p.m., $15–$40 advance. El Rio, 3158 Mission, SF. mango2011nye.eventbrite.com

 

POWERHOUSE NYE

Showering go-go boys! Muscular bartenders serving it up stiff! Yep, you’re at the Powerhouse, spraying your man-champagne into 2011, with DJ DAMnation and a $100 wet towel contest. (free towel check!)

10 p.m., $10. Powerhouse, 1347 Folsom, SF. www.powerhouse-sf.com

 

RENDEZ-VOUS IN PARADISE

Normally the phrase “Las Vegas’s best DJ!” sends us running to the barn for pitchforks — but this is scratch turntable legend Tina T, who is amazing. North Beach’s Atmosphere club is pretty swank, but the crowd will get down.

10 p.m., $50–$75. Atmosphere, 447 Broadway, SF. www.a3atmosphere.com

 

SEA OF DREAMS

This incredibly huge, longtime New Year’s Eve tradition is bursting with star power: Balkan Beat Box, Thievery Corporation, Modeselektor, Beats Antique, and tons more. Plus, a “GalaxSea” theme, for all you Neptunefish of 2011.

9 p.m.–5 a.m., $75–$135. Concourse Exhibition Center, SF. www.seaofdreamsnye.com

 

S.O.S. (STANDING ON STARDUST)

The fab rare disco and funky stylings of DJ Bus Station John will be on full display at this incredible-sounding shindig at Burritt Room, put on by handsome duo Bon Vivants. We hear there’ll be yummy food and a giant ice-sculpture unicorn shooting champagne, so ….

9 p.m.-2 a.m., $85. Burritt Room, 417 Stockton, SF. More info here.

 

SOME THING NEW

Some Thing, the weekly Friday night theatrical drag extravaganza (always full of hot altqueers), comes up with something special — drag goddess Juanita More takes the turntables with Sidekick and Stanley Frank to turn you out.

10 p.m., $10. The Stud, 399 Ninth St., SF. www.studsf.com

 

STREETS OF SAN FRANCISCO

Infamous DJ Steve Aoki and club photographer Cobrasnake are leaving the electro hipsters behind and appearing at this fancy ball, featuring a scale replica of the city’s beloved monuments.

9 p.m., $12–$200 advance. Fort Mason Center Festival Pavilion, Marina Blvd., SF. www. sanfrancisconewyear’seve2011.com

 

SUNSET AND HONEY

Two of the city’s smartest house and techno collectives, Honey Soundsystem and Sunset, join forces at the awesome new Public Works, with special guests Kim Ann Foxman of Hercules and Love Affair and Tim Sweeney of Beats in Space.

9 p.m.–5 a.m., $30. Public Works, 161 Erie, SF. www.publicsf.com

 

TEMPLE OF LIGHT

Temple’s annual luminous extravaganza goes “3-D” to delight the eyes and ears (and a third thing — feet?) with DJ Paul Hemming, Jaswho? live, Ben Tom, Soulspin, and more.

9 p.m.–4 a.m., $40–$150. Temple, 540 Howard, SF. www.templesf.com

 

TRANNYSHACK NYE

Good lord — Heklina and her cray-cray drag queens are teaming up with circus-themed party Big Top to wrestle 2010 out the door. Look out, shoulder pads! Tons of performances, Ejector live, DJ Omar, and an appearance by Kembra Pfaler of the Voluptuous Horror of Karen Black.

9 p.m.–3 a.m., $20. DNA Lounge, 375 11th St., SF. www.dnalounge.com

Cho tunes

Andrew Lam
-
0
Cho tunes

superego@sfbg.com

SUPER EGO “You know me, I’m always doing something,” Margaret Cho practically purred over the phone en route to another smash show on the East Coast. Um, understatement of the year much? While the Cho-stess with the Mostest is lately giving off the chill vibes of an edgy comedian and right-on scenester in her prime (she’s not shy about being on the golden side of 40), she’s been more active than ever. “I totally have symbolic flames on the side of my tour bus,” she quipped. “It’s so retro ’90s.”

The San Francisco-born, Korean American, queer-lovin’ smart-mouth may have a fulltime TV job on Lifetime’s Drop Dead Diva, but she’s also just released an actually damn good album of “comedy music,” Cho Dependent, with guest helpers like Tegan and Sara, Fiona Apple, Ben Lee, and Ani DiFranco. (Her DIY dancing turd outfit for the “Eat Shit and Die” video is pretty priceless.) Her current “Cho Dependent” tour, however, focuses less on the tunes and more on the stand-up topics she’s polished to raucous perfection. “I talk about immigration, my mother, maybe my new bellydance workout. Also gay rights — I hear they’re really in right now,” she deadpans. High on her agenda when she hits the city? Some more ink at Everlasting Tattoo on Divisadero, “the best tattoo shop in the world.”

“It’s just so awesome to be coming back to SF on this tour,” she continues. “It’s always like coming home to family. A family with a lot of little dogs.”

MARGARET CHO: CHO DEPENDENT Sat/4, 8 p.m., $29.50–$49.50. Nob Hill Masonic Auditorium, 1111 California, SF. www.livenation.com, www.margaretcho.com

 

PHONIC

Thursday night workout time. The weekly Phonic party at Endup is one of my favorite scene treats, and the lineup this time around is too SF techno-tasty to pass up. Dabecy of Electronic Music Bears joins Honey Soundsystem’s Jason Kendig and Pee Play for some distinguished beats in a deeper vein.

Thu/2, 10 p.m.–4 a.m., free before midnight, $10 after. EndUp, 401 Sixth St., SF. www.theendup.com

 

BETTER

This party on Maiden Lane promises to be a fun crush of styles, with wide-ranging dancefloor selections from DJ Deevice (Pirate Cat Radio), Jason Kendig (again!), Sleazemore (Lights Down Low), and Solar (Sunset). “We’re really hoping to save downtown from douchebags and the women who love them,” Deevice told me. “The place is nice, but not chi-chi. I mean, it can’t obviously double as a strip joint like other downtown clubs. Just come and have some fun.”

Check out DJ Deevice’s absolutely lovely “Better” mix:

“Dec 2010 Mix” by DJ Deevice

 

Fri/3, 9:30 p.m.–3 a.m., $5 before 11 p.m./ $10 after. 45 Maiden Lane, SF

 

LAZER SWORD

Finally! Bay natives Lazer Sword, the fab duo who basically broke the future bass scene wide open, are releasing their debut album and it’ll be bonkers. Lazer’s Low Limit and Lando Kal beam in for brain melt, with support from spooktastic up-and-comer OoOoOO, OG atmospheric electro-hopper Machinedrum, and DJ Dials, who always has great hats. It’s all part of Hacksaw Entertainment’s second anniversary blowout.

Sat/4, 9 p.m.–3 a.m., $14.50 advance. Mighty, 119 Utah, SF. www.hacksawent.com

 

SMALLTOWN DJS

One of the highlights of my recent trip up north — this rad-cute duo from Alberta, Canada, pops four turntables and manages to do in Girl Talk types when it comes to mixing electro banger flair with underground house beats, hip-hop and Bmore swagger, and sly pop winks. Somehow it doesn’t come off as Vegas-y mashup as one might supect — maybe it’s vinyl Canadian party magic.

Sat/4, 9 p.m.–3 a.m., $5 before 11 p.m., $10 after. Public Works, 161 Erie, SF. www.publicsf.com

 

TIARA SENSATION PAGEANT

Get ready for glamour and outrage — of a fantastic, ethereal bent, of course. The kids from the Friday weekly Some Thing party blow up with this must-see drag runway fundraiser for the Off Center theater. Contestants: Alotta Boutte, Elijah Minelli, Honey Mahogany, Lil Miss Hot Mess, Mercedez Munro, Monistat, and Turleen. DJs: Stanley Frank and Hoku Mama Swamp. Plus: Juanita More and Miss Rahni. Names!

Sun/5, 8 p.m.–midnight, $35. Temple, 540 Howard, SF. www.templesf.com 

 

Enchanted

Jesse Hawthorne Ficks
-
0
Enchanted

MUSIC Andreya Triana is a singer-songwriter from Southeast London, and Tokimonsta (Jennifer Lee) is a post hip-hop producer from Los Angeles’ South Bay. Triana delivers soulful jazz vocals, forged from a personal and fragile source, and Tokimonsta crafts warm synthetic R&B beats with a driving low-end. Triana’s music is sincere and confessional, Tokimonsta’s amplified and playful. But both artists adeptly recast sensuality in today’s electronic music, which is all too often submerged in a limited emotional sphere between two hedonistic impulses: aggro and more aggro.

I first heard Triana’s voice on “Tea Leaf Dancers,” one of Flying Lotus’ most memorable forays into computer soul from the Reset EP (Warp, 2007). What is most striking is how effortlessly Triana is able to inflect her full-bodied vocals into the lustful synth and bubbling bassline, expertly intertwining the emotional resonance of her lyrical skill with the song’s fissured digital architecture. In the past few years, Triana has steadily cropped up on singles and remixes from some of the most innovative producers in the U.K., from Natural Self to Mount Kimbie. And just this last year, she teamed up with Bonobo (Simon Green), who featured her vocals and songwriting on his new record, Black Sands (Ninja Tune), and produced lush orchestration for her lovely full-length debut, Lost Where I Belong (Ninja Tune).

On Black Sands, Triana breathes life into “Eyesdown,” floating confident verses over an uneasy two-step breakbeat and dreamy ambient swirls. She gathers tremendous strength while staring into the pain of loss: “Hands up/ I got my eyes facing down/ Slowly while the tears fall down/ Slow down.”

For Lost Where I Belong, Bonobo delved into a more minimal take on production with machines and live instruments, hinging together spheres of downtempo jazz and folk in a unique body of pastoral sound. Soft chord progressions twirl among wistful guitar riffs and horn blasts of tranquil joy. On the title track Triana traces the struggle of finding home, and in “A Town Called Obsolete,” she looks inward to find comfort in face of the most demanding other: oneself. The looseness of the song structure lets Triana take control of the narrative and unfold her talent as a visceral songwriter while simultaneously exerting the full-fledged powers of her pipes.

Tokimonsta also has been making noise the last couple of years. She gained shine from Mary Anne Hobbs’ late BBC Radio 1 “Experimental” show as well as the extended family of L.A.’s now infamous Low End Theory weekly. She’s also the only female beatsmith officially on the roster of Flying Lotus’ Brainfeeder upstart. Tokimonsta’s style of sound can be sketched through a light study of her pseudonym: “toki” means bunny/rabbit in Korean while the “monsta” signifier has its own range of connotations on the cutesy side of evil. The name might bring to mind mutant anime toys, or for more adventurous-minded cartoon geeks, the prophetic rabbits haunting the lots of Watership Down.

You could say that Tokimonsta pulls from the psychedelic elements underpinning animation to infuse her music with a soulful, otherworldly quality. Her first EP from earlier this year, Cosmic Intoxication (Ramp), travels through the spacier realms of instrumental hip-hop. And her recent full-length, Midnight Menu (Art Union), begins where DJ Shadow’s “Midnight in a Perfect World” left off: in awe toward the abyss of the city’s night sky and fully enthralled with the prolonged indulgence and manipulation of emotion. Telephonic buzzes begin “Sa Mo Jung” just before a huge bassline kicks the engine toward a maximalist warp zone. The 8-bit haywire synth and rumbling sub-bass of “Chinese Smoothie” evoke the trailing luminescent tail of a dying comet. But some of the best Tokimonsta joints are remixes: an enchanting rendition of Marvin Gaye’s “If This World Were Mine” and a flip of Tweet’s “Call Me” into a glitched-out marvel of electric desire.

BONOBO (WITH ANDREYA TRIANA), TOKIMONSTA

Sat./27, 9 p.m., $22.50

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

Our Weekly Picks: November 24-30

Andrew Lam
-
0

WEDNESDAY 24

MUSIC

Pretty Lights

Fewer and fewer new musicians are choosing to fight the losing battle against illegal downloading, deciding instead to align with our interweb overlords and rely on their music to speak for itself. Colorado electronic music producer Derek Vincent Smith, a.k.a. Pretty Lights, has been steadily releasing free albums on his website all year, and this tour is proof that a heavy helping of Internet chatter can indeed get you a big-time show at The Fox. Reminiscent of early-aught DJ Shadow or RJD2 albums, Smith’s style infuses old school, crate-digging funk and soul with contempo dance beats, an approach that’s lain dormant in the aftermath of the mashup. Come for the rad music and stay to see how many “candy kids” it takes to turn the show into a rave. (Peter Galvin)

With Thunderball and Gramatik

7:30 p.m., $27.50

The Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

MUSIC

Kenny Dope

I have an urge to use Kenny Dope’s last name as an adjective, but the powers that be informed me I’m cut off from using any more puns this week. So here’s the straight talk: Come Thursday, you’re gonna be in a full on turkey (or tofurkey) coma, which makes tonight night your last chance to squeeze in some cardio. Even for the unmotivated, Kenny Dope will make this happen. Also half of the production duo Masters at Work, Dope is known for reworking disco, jazz, pop, and especially Nuyorican soul to make everything (including your feet) move a whole lot more. (Ryan Prendiville)

With David Harness and LadyHouse

10 p.m., call for price

Endup

401 Sixth St., SF

(415) 646-0999

www.theendup.com

 

FRIDAY 26

EVENT

Dickens Christmas Fair

Imagine 12,000 square feet of Victorian London, suitable for diversion over Thanksgiving weekend and perhaps some light Christmas shopping (sorry, I said it). But harken! The Dickens Christmas Fair is one costume-heavy event whose appeal goes far beyond the Miss Havisham fan club. Especially if you like beer — there will be five pubs on the cobblestone streets, including the Bohemian Absinthe Bar, and ribald entertainment like daily performances of The Mikado and an explorer’s club where the audience is regaled with tales of British empire expansion. And especially if you like cinching — Dark Garden’s corsetry will be there amid the fake snow and bawdiness, perfect for the French postcard tableaux nearby. Wink. Nudge. (Caitlin Donohue)

Fri/26–Sun/28; also Dec. 4–5, 11–12, 18–19;

11 a.m.–7 p.m., $12–$25

Cow Palace Exhibition Halls

2600 Geneva, SF

1-800-510-1558

www.dickensfair.com

 

PERFORMANCE

Mummenschanz

With zany characters created from wires, tubes, boxes, and even toilet paper, all ages will delight in Mummenschanz and its imaginative world. Founded in 1972 by Bernie Schüch, Floriana Frassetto, and the late Andres Bossard as a nonverbal theatrical troupe interested in transcending national and cultural barriers, this Switzerland-based pantomime company has enjoyed internationally acclaim. 3×11, a retrospective look back on the company’s most popular and successful works of the past 33 years, will entertain Bay Area audiences immensely this weekend. Come and be enchanted by the wacky, witty universe of Mummenschanz. (Emmaly Wiederholt)

Fri/26-Sat/27, 2 p.m.; (also Sat/27, 8 p.m.);

Sun/28, 3 p.m., $22–$52

Zellerbach Hall

UC Berkeley, Berk.

(510) 642-9988

www.calperformances.org


DANCE

The Christmas Ballet

The late Michael Smuin knew western music inside out. From Bach to Coltrane, Palestrinata to Presley, he let it feed his wit, imagination, and — let’s be frank — a dollop of his sentimentality. Nowhere did he put these propensities to better use than in The Christmas Ballet, a rip-roaring trip through the holidays. You can’t miss the way these composers inspired him for choreography that’s both classical and cool. Every year he added a few new voices, letting others rest. This year the task of keeping the show fresh has fallen to choreographer-in-residence Amy Seiwert, who picked Leonard Bernstein’s version of the “Carol of Bells,” and ballet master Amy London, who went for Andy Williams’ “It’s the Most Wonderful Time of the Year.” The show comes to SF Dec. 15. (Rita Felciano)

Fri/26–Sat/27, 8 p.m.;

also Sat/27, 2 p.m., $20–$62

Lesher Center for the Arts

1601 Civic Center, Walnut Creek

(925) 943-7469

www.smuinballet.org


FILM

Kuroneko

Japanese director Kaneto Shindo has a thing for ghostly mothers and daughters-in-law, perhaps because the supernatural events that unfurl in his elegant, horror-minded films always spring from domestic traumas. In his most famous film, Onibaba (1964), two women are driven to madness after preying on near-dead samurai in feudal Japan. In the equally stunning Kuroneko (Black Cat, 1969), a different pair of women linked by a son gone off to war also prey on samurai: only this time, as vengeful, shape-shifting spirits. Shindo makes more than a few stylistic nods to Jacques Tourneur (especially 1942’s Cat People) in this recently restored beauty, which dwells as much on the sorrows of the dead as it does on the terror the dead inflict on the living. (Matt Sussman)

2:30, 4:45, 7, and 9:15 p.m., $7.50–$10

Castro

429 Castro, SF

(415) 621-6120

www.castrotheatre.com


PERFORMANCE

Yard Dogs Road Show

Two years since this glitter and glory bordello played its own show in the Bay? Egads! But jealous lovers we are not. YDRS felt the need to bring its vaudevillian stage presence to circus freaks around the country, so like the proverbial “thing,” we loved it enough to let it go — and it has returned. High Times described the 13-member troupe as “an acid trip without the come-down” — the group stuffs into its hobo cornucopia cheery fanfare, sword swallowing, burlesque, a mystic man, handlebar mustaches, and Mission Thrift finery enhanced by their temporarily halted epic wanderlust. Dance off your Turkey Day paunch to the freewheeling frolics. (Donohue)

Fri/26–Sat/27, 9 p.m., $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


DANCE

The Velveteen Rabbit

Margery Williams’ tale The Velveteen Rabbit has made many a child hope their most beloved toy might one day come to life — and for the past 24 seasons, the story of a boy and his adored stuffed rabbit has come to life itself, thanks to ODC Dance. Directed and choreographed by KT Nelson with music by Benjamin Britten, this dance adaptation features the talented artists of ODC as the madcap characters in this childhood favorite. With festive undertones and a classic narrative about enduring love and what it means to be real, The Velveteen Rabbit is the perfect way to ring in the holidays with the family. (Wiederholt)

Fri/26–Sun/28 and . 5, 12, 2 p.m.;

Dec.2–3 and 9–10, 11 a.m.; Dec. 4 and 11, 1 and 4 p.m.

$15–$45

Yerba Buena Center for the Arts

Novellus Theater

700 Howard, SF

(415) 978-2787

www.odcdance.org


SATURDAY 27

DANCE

Nutcracker at Zeum

Is there a little one in your life who would love The Nutcracker but doesn’t have the attention span to sit through a two-hour extravaganza? There is no better (or more affordable) way to make that first foray into Nut-Land — where brave little Marie lets the evil Mouse King have it — than Mark Foehringer’s theatrically savvy and utterly charming Nutcracker at Zeum. The show runs 50 minutes and squeezes a tiny orchestra into the corner of the stage. The kids can watch scenery being moved. The story is beautifully condensed with dancers still shining in spiffy turns and floating leaps; Brian Fisher’s Drosselmeyer is as mysterious and kindly as any seen on local stages. (Felciano)

Through Dec. 19

Sat.–Sun., 11 a.m. and 2 p.m.;

also Sat., 4 p.m.,$25–$40

Zeum

Yerba Buena Gardens

221 Fourth St., SF

1-800-838-3006

www.brownpapertickets.com/event/125859

 

MONDAY 29

MUSIC

Grinderman

Apparently deciding he needed to be even more of a badass, Nick Cave went ahead and added blues-punk outfit Grinderman to his repertoire as a songwriter, screenwriter, author, and film scorer. The group is all raw, sweaty, garage-rock drive, full of dirty-sounding guitars and some psychedelic touches sprinkled throughout. Grinderman includes three members of Cave’s touring-recording band, the Bad Seeds, and is further proof that even now into his 50s, he isn’t even thinking of slowing down. (Landon Moblad)

With Armen Ra

8 p.m., $29–$35

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com


TUESDAY 30

EVENT

SF Green Film Festival screening and launch party

Who’s “greener” — the guy in the Haight who picks up cigarette butts, takes one arguable drag, then deposits them in an otherwise empty can? Or the innumerable Prius drivers? Not sure, but sometimes I turn green when everything from drinking coffee to buying stocks is considered candidacy for eco-martyrdom. What are we, leprechauns? Mythical creatures or no, it’s good to understand what’s going on in the world, and to get inspired to change it if it sucks. Tonight’s kickoff event features a screening of Dive!, chronicling the romantic art of eating out of Dumpsters, plus short films, film clips, and trailers. Cocktails and conversation prescreening; proceeds help bring the films to the inaugural festival next March. (Kat Renz)

6 p.m.–9 p.m., $10–$20

Ninth Street Independent Film Center

145 Ninth St., SF

(415) 625-6100

www.ninthstreet.org


MUSIC

Os Mutantes

Combing traditional bossa nova, samba, and tropicalia music of its native Brazil, with a sound heavily inspired by western rock from the Beatles and Jimi Hendrix, Os Mutantes was one of the more adventurous psych-rock bands of the 1960s. The band has had its music covered and praised by such artists as Kurt Cobain, Beck, and Of Montreal. Front man Sergio Dias has remained active as a solo artist in Brazil, but the band, in any incarnation, hasn’t really been on the map for more than 35 years. Now Dias is leading a new lineup with a new album in tow, resurrecting the Os Mutantes sound. (Moblad)

With Ariel Pink’s Haunted Graffiti

8 p.m., $27

Regency Ballroom

1290 Sutter, SF

1-800-745-3000 www.theregencyballroom.com  

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Our Weekly Picks: November 10-16, 2010

Jesse Hawthorne Ficks
-
0

WEDNESDAY 10

EVENT

“Goldies After Party”

You dog-eared the pages of last week’s Guardian, reading about the Guardian Outstanding Local Discovery award winners. Tonight, head to 111 Minna to congratulate the artists in person — and to rock out at the free, open-to-the-public after party. Taking the stage: Oakland “slop-pop” rockers Bare Wires, SF popsters Brilliant Colors, dark post-punker Soft Moon (a.k.a. Luis Vasquez), pop sensation Myles Cooper (of “Gonna Find Boyfriends Today” fame) with club sensation Alexis Penney, and DJs Naoki Onodera and Primo Pitino. Don’t miss what’s sure to be a mother lode (yep, shameless gold joke) of a party! (Cheryl Eddy)

9 p.m., free

111 Minna Gallery

111 Minna, SF

www.sfbg.com/2010/11/03/goldies-2010

 

THEATER

Or,

Aphra Behn was a woman ahead of her time. A 17th century spy and the first professional female playwright, Aphra Behn is the topic of Liz Duffy Adams’ new play Or, at Magic Theatre. Full of sensationalism, sex, art, politics, and laughs, this comedy hosts a variety of eccentric characters including double agent William Scot, actress Nell Gwynne, and even King Charles II himself. Adams received the fifth Lillian Hellman Award for Playwrighting for Or, at the 2010 Lilly Awards; the play promises a dose of English history and a chance to chuckle the night away. (Emmaly Wiederholt)

Through Dec. 5

Wed.–Sat., 8 p.m. (also Sat, 2:30 p.m.);

Sun, 2:30 p.m.; Tues, 7 p.m., $45–$60

Magic Theatre

Fort Mason Center, Building D, Third Floor, SF

(415) 441-8822

www.magictheatre.org

 

THURSDAY 11

DANCE

Ampey!

In 2008, Adia Tamar Whitaker took a trip to Africa, where she encountered ampey, a Ghanian children’s dance for which you need to be on your toes in more ways than one. It became the inspiration for Ampey!, in which she explores complexities surrounding identity, family, and home. For Whitaker, that “return” trip had been become a voyage of discovery — though not in the way she anticipated. Presented as a work in progress last year, one could sense Ampey!’s artistic potential; it already included a powerful percussive “sitting dance.” Perhaps the best aspect of the two-year Performing Diaspora Project is its offer to artists like Whitaker to keep working on what needs to be done. (Rita Felciano)

Through Nov. 21

Thurs/11–Sun/14 and Nov. 18–20, 8 p.m.;

Nov. 21, 3 p.m., $19–$24

Counterpulse

1310 Mission, SF

1-800-838-3006

www.counterpulse.org

 

MUSIC

Ghostface Killah

No one has your back like Iron Man. Pretty Toney was the original link that brought the whole Wu-Tang together. Always willing to lend a devastatingly together verse to just about anybody’s single (MSTRKRFT, Prefuse 73, DANGERDOOM, etc), Starky still has found time to release classic after classic album. On his latest, Ghostdini: Wizard of Poetry in Emerald City, the Wallabee Kingpin went the extra mile, dispensing priceless relationship advice via a series of YouTube videos. Isn’t it about time you gave Ghostface Killah a little something back in return? (Ryan Prendiville)

With Sheek Louch and Music by Frank Dukes

9 p.m. $22

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

MUSIC

Masaki Batoh

Incorporating elements of Krautrock, folk, free jazz, and all manner of indigenous instrumentation, enigmatic Japanese psych collective Ghost are the heirs to such earlier cosmic emissaries as fellow countrymen the Taj Mahal Travelers. Founder and core player Masaki Batoh takes a similarly eclectic approach in his non-Ghost releases, whether turning out a chugging acoustic cover of Can’s “Yoo Doo Right” or mournful dirges, as on his recent collaborative albums with Espers’ Helena Espvall. Tonight’s rare solo set, with Batoh alternating between guitar and banjo and a table full of electronics, should prove no different. (Matt Sussman)

With Young Elders

10 p.m., $10

Vortex Room

1082 Howard, SF

www.myspace.com/thevortexroom

Also Fri/12

With Sic Alps

10 p.m., $5

Ghost Town Gallery

2519 San Pablo, Oakl.

www.myspace.com/ghosttowngallery

 

DANCE

Sankai Juku

Butoh is perhaps one of the most enigmatic dance forms. Emerging in the late 1950s in opposition to the Westernization of Japan, butoh often explores the more grotesque side of human nature. Unlike other dance forms with a syllabus of movements, butoh may be completely conceptual, hyper-slow, playful, scary, or none of the above. It defies definition. Audiences can begin to wrap their minds around butoh as Sankai Juku, the legendary Japanese butoh company, tours to San Francisco to present Hibiki: Resonance from Far Away, a piece said to plumb poetic beauty. Meditative and hypnotic in its simplicity, this award-winning work is a signature of butoh. (Wiederholt)

Thurs/11–Sat/13, 8 p.m.;

Sun/14, 2 p.m., $35–$60

Yerba Buena Center for the Arts

Novellus Theater

700 Howard, SF

(415) 978-2787

www.ybca.org

 

FRIDAY 12

MUSIC

Lindstrøm

Known to much prefer holing up in the studio in his home base of Oslo, Norway, than performing live, this is a rare opportunity to catch a set from one of the more interesting electronic music producers around. Lindstrøm first made a name for himself as a remix artist, reworking tracks from the likes of LCD Soundsystem, Roxy Music, Franz Ferdinand, and the Boredoms. His solo albums are full of frosty disco beats, heavy synthesizers, classic funk influences and enough of an adventurous streak to appeal to more than just the dance floor crowd. (Landon Moblad)

With Marbeya and Publicist

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

DANCE

“Manifestival: Like Oil and Water: From Gaza to the Gulf”

Lots of Bay Area artists know that the world is a village, all politics are local, and that it’s probably not a good idea to ignore an problem until it burns your face. Socially committed dance is a large part of what we see on our stages. Artists are the antennas of the race and following them is fun as well as instructive. This year’s Manifestival theme of “Like Oil and Water: From Gaza to the Gulf” should provide more than enough inspiration for the two different programs. Onstage the first weekend are Jessica Damon, Jose Navarrete, Michael Velez, Nicole Klaymoon, Sri Susilowati, Naked Empire Buffoon, Stella Adelman, and Youth Speaks. (Felciano)

Through Nov. 20

Fri.–Sat., 8 p.m., $22

Dance Mission Theater

3316 24th St. SF

(415) 273-4633

www.brownpapertickets.com

 

VISUAL ART

“A Journeyman’s Papers”

Rare is the gallery show at which the owner of said gallery steps out from the wings and shows his or her own work. Risks! No one wants to be seen as the next megalomaniac Thomas Kincaid, drunkenly careening into the heavily curtained schlock-nests of Midwestern housewives, right? No fear of that kind of showboating here. Rob Delamater, co-owner of dapper cognoscenti-magnet Lost Art Salon, creates voluptuously genteel, generous-spirited pieces that fit right in with his gallery’s excellent collection of rare vintage modern works. Block-printed portraits of the wanton Bloomsbury group, evocative and crepuscular figure studies, and, perhaps most intriguing, softly primitive compositions evoking the California coastline painted on vintage book covers are the gorgeous, midcentury-type whistle stops on Delamater’s artistic journey. Doff your fedora, shed your silk shift, and have a lovely look. (Marke B.)

Through Jan. 31, 2011

5:30–8:30 p.m., free

Lost Art Salon

245 S. Van Ness, Suite 203, SF

(415) 861-1530

www.lostartsalon.com

 

SATURDAY 13

MUSIC

Dãm-Funk

George Clinton and Parliament Funkadelic are going to be at Yoshi’s next week. That’s cool. But instead of waiting to enjoy what’s sure to be a great reminiscing on where funk’s been, why not check where it’s going? Dãm-Funk (pronounced “Dame Funk”) lays down a DJ set at Som Bar. A DIY DJ, producer, and recording artist, Dãm-Funk uses the same playbook as Ariel Pink, digging deep into genres and musical styles that were left by the wayside to create distinct sounds. While I can’t guarantee that he’ll break out the Animal Collective (so many records to choose from), word is that he’ll bust out the keytar. (Prendiville)

With King Most, Jacob Pena, and Freddy Anzures

9 p.m., $10

Som.

2925 16th St., SF

www.som-bar.com

 

EVENT

“Frogs in the Fog”

Wow, I just found the frikkin’ treasure trove! Not even my ecology-expert friends knew that the San Francisco Naturalist Society has the most kickass events calendar (www.sfns.org/events) — one that’s updated daily, to (hiking) boot. Probably the coolest-sounding upcoming event is led by “Mr. Science,” a.k.a. Chris Giorni, founder of Tree Frog Treks, and starts with checking out his extensive stash of amphibians and reptiles. After bonding with uncharacteristic mini-fauna, grab a slice of pizza to sustain your explorer spirit onward toward the hidden ponds, sacred groves, and endless discoveries of western Golden Gate Park. While the Treks’ mission is to make science fun for the kiddos, this adventure is open to all. (Kat Renz)

4 p.m.–6:15 p.m., $15–$50 (sliding scale)

Tree Frog Treks’ Frog Hall

2114 Hayes, SF

(415) 564-4107

www.baynature.org

 

SUNDAY 14

MUSIC

Nile

Specializing in impossibly fast blast beats and meticulously researched Egyptological lyrics, Nile has carved out a niche as one of the scene’s most revered death metal acts. The South Carolina quartet hews closely to the genre’s traditions, playing intricate, epic compositions that lean heavily on tremolo picking and sheer speed. Replicating such extreme chops live is no mean feat, but previous appearances by the band have been flawless and incendiary, particularly when they launch into epic closer “Unas Slayer of the Gods.” Whether you’re there for the tales of bloodthirsty pharaohs or just excited to bask in the copious beats-per-minute, Nile will take no prisoners. (Ben Richardson)

With Ex Deo, Psycroptic, Keep of Kalessin

7:30 p.m., $30

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

MONDAY 15

MUSIC

Thermals

For punk-tinged indie rockers Thermals, consistency is the name of the game. Never straying too far from its bare-bones, guitar, bass, and drums format, the Portland, Ore.-based band has now released five albums of punchy Buzzcocks-esque rock ‘n’ roll. Its newest, Personal Life, was produced by Death Cab for Cutie’s Chris Walla and includes a nice mix of slower, more drawn-out tracks and infectious, pound-on-your-steering-wheel bursts of adrenaline, such as lead single “I Don’t Believe You.” (Moblad)

With Night Marchers and White Fang

8 p.m., $16

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com 


The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Don’t stop this crazy thing

Andrew Lam
-
0
Don’t stop this crazy thing

arts@sfbg.com 

Coldcut used to brag that it was “Ahead of Our Time.” In the late 1980s, they slapped the phrase onto a host of groundbreaking forays into cut-and-past sound mathematics like “Beats + Pieces,” “Doctorin’ the House,” and “Stop This Crazy Thing,” freewheeling tunes that treated the history of sound as an enormous candy shop, copyright laws be damned.

And now? Coldcut’s long-running company Ninja Tune reflects the musical times in all its heterogeneous subgenres and variations on familiar themes. When Matt Black and Jonathan More launched Ninja Tune in 1990, it was to create an outlet for the group’s abiding passion in instrumental beats (which the British press would soon garnish with colorful nicknames like “trip-hop” and “sampledelia”). It was built on Coldcut-related productions like DJ Food’s Jazz Brakes series and Bogus Order’s Zen Brakes. Over time, the label flowered into a major indie with two sublabels (Counter and Big Dada) and dozens of artists passing through its doors, from Amon Tobin and Roots Manuva to Antibalas and Mr. Scruff. Today, it releases iconoclastic statements from the L.A. beat scene (Daedelus), the Baltimore indie/electro scene (Spank Rock and the Death Set), and London’s grime and bass worlds (the Bug).

During a phone interview from London, Coldcut’s Black says, “All the artists on the label have their own character. It’s like a collection of audibles, really. There’s a consistency in the fact that we’re all quite out there.” He adds that Ninja Tune is more “advanced” than it was in its first decade, when most of the roster — including production units like the Herbaliser and Funki Porcini — fit under the “trip-hop” rubric. “I felt that some of the early releases interpreted the Coldcut blueprint too literally, just getting some funky loops and sounds and stringing it out for a bit.” Part of this is due to maturity. The Herbaliser, for example, began making beat “loops” for discerning headz but has since grown into a full-fledged band. Even DJ Food, which now solely consists of producer Strictly Kev, has become a purveyor of soundtrack music inspired as much by David Axelrod as Marley Marl.

The mutating Ninja Tune amoeba is being chronicled through a series of 20th anniversary promotions. The deluxe box set Ninja Tune XX includes a hardcover book, six CDs, and six 7-inch vinyl records. The book, Ninja Tune: 20 Years of Beats & Pieces (Black Dog Publishing, 1992 pages, $29.95), is also available separately as a paperback. “If you look at the arrangements and the musicality on the music on the XX set, it’s a lot more advanced than it was a few years ago,” says Black, pointing to San Francisco’s Brendan “Eskmo” Angelides as an example.

Eskmo isn’t the first Bay Area artist to record for Ninja Tune; that honor belongs to rap experimentalist cLOUDDEAD, which released the U.K. edition of its 2001 self-titled album through Big Dada. However, he gives Ninja Tune a foothold in the thriving bass and organic electronic music scene through the symphonic boom of tracks like “Hypercolor.” Eskmo says that signing with Ninja Tune, which just released his self-titled debut, has been “really inspirational,” adding, “It’s a unique thing in this day and age for an independent to be flourishing and still put out creative stuff.”

According to Stevie Chick’s book 20 Years of Beats & Pieces, Ninja Tune emerged in the wake of the music industry’s brief yet disillusioning courtship of Coldcut, who dazzled with a game-changing remix of Eric B. & Rakim’s “Paid In Full” (the classic “Seven Minutes of Madness” mix) and U.K. pop hits like Yazz’ “The Only Way Is Up” and Queen Latifah’s “Find a Way.” The label began as Coldcut’s middle finger to demands that they become another group of pop-dance hacks like Stock Aitken Waterman. “We really liked making instrumental hip-hop, fucking around, not having to make another ‘pop’ track,” Black tells author Chick. On albums such as 1997’s Let Us Play, Coldcut found an equilibrium between advocating the wonders of cutting-edge technology and vinyl consumption and promoting anticapitalist themes.

An inevitable byproduct of Ninja Tune’s success (as well as that of its great rival, Warp Records) is that its fashion-forward yet radical communal lifestyle seems more myth than reality. In 2005, the label released Amon Tobin’s soundtrack for the Ubisoft video game Splinter Cell: Chaos Theory. Last year, Speech Debelle won the U.K. Mercury Prize for her Speech Therapy debut. A few months later, the British rapper announced that she wanted off the Big Dada label because it didn’t promote her work enough. Meanwhile, several roster artists have scored popular car commercials, from Mr. Scruff’s “Get a Move On” for the Lincoln Navigator to the Heavy’s “How You Like Me Now?” for KIA Sorento minivans.

“We’ve adapted our game,” Black explains. “We’ve got a company called Sync, Inc. and they specialize in getting sync licenses or getting our music placed in films, TV, video games, and adverts. That’s become an important part of our business.” When asked if that contradicts Coldcut’s earlier independent philosophy, he answers, “We give our artists a lot of freedom. If an artist wants to license a track to Coca-Cola, we wouldn’t necessarily block them. Coldcut has turned down a lot of syncs, particularly car ads, ever since we did one for Ford and realized that was a terrible idea.” Ironically, the song used was “Timber,” an instrumental decrying the eradication of rain forests. Even though Coldcut gave half of the licensing money to Greenpeace, says Black, “We didn’t feel comfortable with it.”

Two decades on, Ninja Tune continues to weather the rapid changes of the music industry while sustaining Coldcut’s dream of an independent haven for progressive artists. But the future ain’t free. “I believe the corporations are the Nazis of our age,” Black says. “But you sometimes have to talk to the Nazis because they’re a reality.”

NINJATUNE XX

With Amon Tobin, Kid Koala, DJ Food and DK, Toddla T and Serocee, Dj Kentaro, Eskmo, Ghostbeard, An-Ten-Nae, Motion Potion

Fri/29, 9 p.m.-4 a.m.; free with rsvp

1015 Folsom

103 Harriet, SF

www.ninjatunexx.xlr8r.com

 

 

Delicate power

Andrew Lam
-
0
Delicate power

arts@sfbg.com

DANCE When Diaghilev’s Ballets Russes premiered Mikhael Fokine’s Scheherazade in June 1910, Paris exploded. Not only had the choreographer forsaken the hallowed halls of classicism, he had put on stage the most sensually explicit ballet ever seen in that city’s stage. Its orientalism and Leon Bakst’s exquisitely lush design influenced fashions and design for years.

None of this impressed Alonzo King when it came to his commission from the Monaco Dance Forum for its Ballets Russes centenary in 2009. King drew upon versions of One Thousand and One Nights that have floated around the Middle East and India for centuries. What he has picked up is the delicacy of the storytelling, in which one fable spins out of another. King’s Scheherazade feels as evanescent and shimmery as a spider’s web; yet its resilience comes from the way he deploys his dancers. The skewed balances, fractured lines, and abrupt transitions are intended to open doors to deeper perception of the potential that King sees in everything, dancers included. Here — until the flattish ending — they were enveloped in a transparent lucidity, no doubt much enhanced by Axel Morgenthaler’s sophisticated lightening.

King kept traces of the Arabian Nights narrative in which Scheherazade ultimately wins her life and marries the King. Anchoring the choreography is an extended “Pas de Deux for Scheherazade” (Laurel Keen) and Sharyar (David Harvey) that aspires toward myth. It is physically fierce as well as lyrical, passionate yet also impersonal. These dancers could be lovers, male/female principles, or natural forces. They reject entanglement even as they acknowledge its inevitability. When Keen grabs Harvey’s head with both hands, you don’t know whether she is about to tear it off or embrace it. Hanging onto limbs, crawling between legs and swimming on arms, these two equals struggle to keep apart until the tender resolution. Expressively complex, Harvey has finally stepped into his own as a King dancer; longterm company member Keen seems to become stronger the longer she keeps dancing.

A potent presence was Corey Scott Gilbert who, in his long red robe, flowed through Scheherazade as perhaps a guiding spirit. In Fokine’s version, the sultan’s wife fell in love with a Nubian slave, danced by Nijinsky in black face. The racism of that portrait has rendered the ballet unperformable. Tall, strong, with a reach that seems limitless and an ability to hone in on the smallest detail and be vulnerable, Scott Gilbert seemed a tribute to and vindication of that slave.

Scheherazade opens on a note of intimacy. Keen is surrounded by three attendants (Meredith Webster, Ashley Jackson and newcomer Jeannette Diaz-Barbuda) who introduce themselves in personalized solos as she, stretched in a classic oriental divan pose, watches them from the sidelines. This gentle woman-centeredness set the tone for the rest of the ballet. Jackson became the first among equals, exquisite in her phrasing, and drawing strength from who knows where.

Not that King shortchanged his men. Ricardo Zayas shot through his variations like a rocket. Following Keelan Whitmore as he wove himself in and out of ensemble work was one of the evening’s great pleasures. The work also gave showy opportunities to new apprentices Michael Montgomery and Christopher Bordenave.

Composer/percussionist Zakir Hussain incorporated elements of Rimsky-Korsakov’s Scheherazade into a rich mellifluous score of world and electronic music—performed live — that immeasurably contributed to King’s choreography. As did the opulent but ever so restrained designs for set and costumes by Robert Rosenwasser and the fabulous Colleen Quen. By following Diaghilev’s dictum that music, design, and dance need to support each other for a unified theatrical experience, King paid the master impresario his most appropriate tribute.

Unfortunately, Scheherazade ended on a flat note. A free-for-all involving the company and assorted additional dancers flooded the stage with, judging from the music, what was supposed to be an atomistic hymn to joy. A great ensemble choreographer King is not.

SCHEHERAZADE

Thurs/21–Sun/24, $25–$75

Novellus Theatre

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-2787

www.ybca.org

Treasure Island Music Fest preview, take one

Andrew Lam
-
0
Treasure Island Music Fest preview, take one

Cords. Pedals. Buttons. Plugs and pieces. What is electronic music but a soundtrack of electricity flowing from one plastic part to another; a collection of volts humming and vibrating in an ironically harmonious fashion that somehow manages to tantalize our organic bones and flesh? Treasure Island’s Saturday lineup is dedicated to the electronic elements of today’s sound waves, but the event’s artist grouping distorts the genre’s seemingly obvious definition to one that is tattered with new sound bytes and unlikely additions.

Out goes the assumption that “electronic music” equals tranquilized club kids, and in come the offshoots of chill wave, electro-pop, electro-rock, folktronica, dance rock, and all kinds of made-up names. From the dance-party infiltrators, LCD Soundsystem, to the “next level shit” of Die Antwoord, each of the 13 acts playing Saturday’s Island stage hold unique qualities. DeadMau5 and Kruder and Dorfmeister remain strictly digital; Little Dragon and Holy Fuck incorporate traditional instruments; French duo Jamaica bans synth completely, while Miike Snow and Wallpaper might consider their vintage plug-in pianos family members. When it comes to defining today’s electronic scene, DJs and professional remixers definitely count, but the full set of rules is still TBD.

Music is what frees us from our overloaded lives, cutting through our webbed-out existence with sounds that take us “away from it all,” yet electronic music seems to work as both an escape and a reminder. Aren’t we tired of hearing our computers bleep? How about those ridiculously catchy videogame noises and horrid ringtones that rot the brain? Electronically-inclined musicians are adding such sounds to their repertoire, disguising them with mustaches and wigs, tangling them with bass and dreamy melodies then handing them back in a totally rad new package.

It’s a streamlined recycling process, melting, molding, and converting junk sounds into something that injects new movement into our robot routines. No, not everything has been thought of before — here is one area where fresh sounds are being discovered.

In fact, things are so new and up in the air that some bands included in the electronic half of this weekend don’t even consider themselves part of the genre. Sarah Barthel, half of the newest blog sensation Phantogram, is one example, though she and bandmate Josh Carter use a fair amount of outlet-powered instruments like samplers, synths, beat machines, and loop machines. “Sound has so many options today. It’s mind boggling and amazing,” she says while riding in a tour van to Atlanta.

Phantogram’s mysterious electro-rock doesn’t necessarily call out “brand new” when it spins, mostly due to its throwbacks to ’90s trip-hop. But similar to a fair portion of Saturday’s bill, the duo is living somewhere off the classic genre map.

“People will ask, ‘Where’s your drummer? Why don’t you have one?” and I just tell them, ‘We don’t want one,'” Barthel says with a laugh, remembering that just moments prior she had expressed her excitement over Phantogram’s newest addition to the tour family— a real drummer to replace their box with buttons. “In general, we’re just trying to go for a different aesthetic. And typically, more traditional elements like a live drummer wouldn’t fit that. But right now, it’s totally working.”

Electronic music today is full of contradictions — as many loopholes as loops. Anything goes and nothing fits quite right, which is why Antoine Hilarie of Jamaica doesn’t even know how to answer the question, What is electronic music?

“I don’t have the slightest idea, to be honest,” he says, before taking it a philosophical step farther and questioning the point of my question altogether. “Genre-defining is a bit obsolete in my opinion. These days I only listen to bands I like, whether they’re rap, electronic music, rock, or folk.”

It’s a genre that can incorporate all genres, meaning it’s own definition is completely lost for words. But none of the bands on Saturday will be playing unplugged. And if the power does disconnect any of our electric artists, we’ll have a very quiet island. 

TREASURE ISLAND MUSIC FESTIVAL

Sat/16, noon–11 p.m.; Sun/17, noon–10:30 p.m.;

$67.50–$475

Treasure Island, SF

www.treasureislandfestival.com

 

Our Weekly Picks: October 6-12, 2010

Jesse Hawthorne Ficks
-
0

WEDNESDAY 6

MUSIC

Caribou

Electronic music whiz Dan Snaith, a.k.a. Caribou, has a spirited stage show. In contrast to the solo job of the albums, Caribou gigs include a full live band and have been known to feature multiple drummers and percussionists (including Snaith himself), plus trippy, projected visuals. For a taste of his knack for polishing 1960s psych and ’70s krautrock weirdness with a modern dance club sheen, check out this year’s Polaris Music Prize runner-up, Swim, or 2003’s excellent Up In Flames. (Landon Moblad)

With Emeralds

9:30 p.m., $18

Regency Ballroom

1290 Sutter, SF

1-800-745-3000

www.theregencyballroom.com

 

THURSDAY 7

PERFORMANCE

Ralph Lemon

Early in his career Ralph Lemon made intimate, highly formal, nonnarrative dances. Then he engaged in huge, multiyear, multidisciplinary enterprises that took him from Abidjan to Beijing and Kyoto. Now he has come home — sort of. Lemon was raised in Minnesota, but in researching his family he encountered a now 102-year old Mississippian with whom he has worked for the last eight years on How Can you Stay in the House and Not Go Anywhere? The work consists of a performance, film, and visual arts installation — all on one ticket. Lemon’s work has always been well considered and choreographically cogent. No reason to think How Can You? will diverge from the norm. (Rita Felciano)

Through Sat/9

8 p.m., $25–$30

Novellus Theater

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

MUSIC

Glass Candy

The music industry is a fickle mistress, and when bands take a long time to release material it becomes really easy to forget their past accomplishments. Take Glass Candy: it’s been a minute since the band made any significant waves, instead laying low the past few years and releasing 12-inch singles on trusty record label Italians Do It Better. The band’s style is a mash of disco and contemporary electronics that recall the best John Carpenter scores if they had blasé vocals by Nico. Candy’s singer Ida No remains the group’s greatest asset, and her delivery manages to be silly and sexy at the same time. This show proves that Italians Do It Better understands how to properly conduct a comeback, casting Candy, the label’s biggest successes, as headliners on an all-star bill that includes spin-off outfit Chromatics and, most surprisingly, label owner Mike Simonetti with a DJ set. (Peter Galvin)

With Chromatics, DJ Mike Simonetti, Soft Metals, and DJ Omar

9 p.m., $15

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

MUSIC

Tera Melos

Roseville three-piece Tera Melos storms Bottom of the Hill for a night of loud, mathy, prog-inspired rock ‘n’ roll. With new album Patagonian Rats fresh off the presses, Tera Melos seems poised to make some noise in indie-rock circles all over the country. Guitarist Nick Reinhart possesses a bottomless bag of wildly frantic riffs and finger taps, while the rhythm section thrashes along with shifting time signatures and complex song structures. Tera Melos isn’t the first or only band to make this kind of music these days, but it’s certainly one of the best. (Moblad)

With Skinwalker and Glaciers

9 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

DANCE

Margaret Jenkins Dance Company

If you are at all interested in seeing out how mature artists — let’s say, with a track record of more than 35 years — keep turning out good work, there is probably no better way than to keep watching the Margaret Jenkins Dance Company. Jenkins’ MO — she suggests ideas; the dancers come up with responses; she edits the responses — has worked remarkably well, even for San Francisco Ballet dancers, who certainly are not trained along the lines of individual responsibility. This one-night stand offers a return of the wondrous first section of last year’s Other Suns I and a preview peek at Light Moves. Jenkins works for the first time with multimedia artist Naomie Kremer, who creates moving images based on her own paintings. (Felciano)

8 p.m., $18–$26

Jewish Community Center of San Francisco

3200 California, SF

(415) 292-1200

www.jccsf.org/arts

 

FRIDAY 8

MUSIC

Fool’s Gold

Drag rock is very big right now. Who needs authenticity when you can see a band like Edward Sharpe and the Magnetic Zeros being all folk, as if everyone just forgot about Ima Robot? (Oh wait, we did.) Well, same deal with Fool’s Gold and afropop. Of course, Vampire Weekend tries to do the same thing (it’s also known as Graceland-ing), but Fool’s Gold doesn’t have that annoying ka-ching of a cash register in every one of its songs. With a pair of ’60s throwbacks opening, it should make for a musical voyage through time and space. (Ryan Prendiville)

With Bitter Honeys and Soft White Sixties

8:30 p.m., $12

Rickshaw Stop

155 Fell St., SF

(415) 861-2011

www.rickshawstop.com

 

MUSIC

“Tankcrimes Brainsqueeze”

Tankcrimes is a resolutely underground Oakland record label, kicking out small-scale, mostly vinyl releases of criminally overlooked punk and metal bands. Focusing on breakneck tempos, DIY values, and that delicious intersection between punk’s manic energy and metal’s lumbering power, the label has nurtured a small stable of unimpeachable acts. “Tankcrimes Brainsqueeze” is a two-day festival celebrating these crossover crusaders, headlined by Richmond, Va., party animals Municipal Waste and Oakland’s own splattercore dungeon masters Ghoul. Hard-punning death metallers Cannabis Corpse will also appear. Look forward to 48 hours of demented double-time, disemboweled corpses, and decimated beer supplies. (Ben Richardson)

With Vitamin X, Toxic Holocaust, Direct Control, A.N.S., Voetsek, Ramming Speed, and more

Fri/8, 7:30 p.m.; Sat/9, 7 p.m., $15–$17 (two-day pass, $30)

Oakland Metro

630 Third St., Oakl.

(510) 763-1146

www.oaklandmetro.org

 

MUSIC

Davy Jones

As a member of the Monkees, Davy Jones was one of the original teen idols — he sang lead on some of their biggest hits, including “Daydream Believer” and “A Little Bit Me, A Little Bit You.” Unlike many of the other early pop heartthrobs, however, he has since gone on to a highly successful four-decade (and counting) career in show biz. His many other memorable performances and appearances over the years include a variety of acclaimed stage roles, television cameos (think The Brady Bunch) and solo albums. Expect a little bit of everything at these intimate shows. (Sean McCourt)

Fri/8, 8 p.m.; Sat/9-Sun/10, 7 p.m.

(also Sat/9, 9:30 p.m.), $45–$47.50

Rrazz Room

Hotel Nikko

222 Mason, SF

(415) 866-3399

www.therrazzroom.com

 

SATURDAY 9

EVENT

“Behind the Scenes on Treasure Island with Harrison Ellenshaw”

Now considered a swashbuckling classic, Disney’s Treasure Island (1950) was the first entirely live-action film that the studio produced. And one of the people who helped bring the tale of Long John Silver to life was the immensely talented Peter Ellenshaw, who created a series of matte paintings that provided the wondrous sense and grand scope of the various background scenes. His son Harrison, an equally accomplished artist in his own right (having worked on projects such as The Empire Strikes Back (1980)) will be on hand today to discuss his father’s work on the perennial pirate favorite, sharing some of his family’s history and the secrets that went into creating the magic for Walt Disney. (McCourt)

3 p.m., $9–$12;

Screenings, 1 and 4 p.m. daily through Oct. (except today), $5–$7

Walt Disney Family Museum Theater

104 Montgomery, Presidio, SF

(415) 345-6800

www.waltdisney.org

 

MONDAY 11

DANCE

WestWave Dance Festival

Monday nights are livening up this fall during WestWave Dance’s 19th annual contemporary choreography festival. Designed to allow new and established choreographers to develop and present work without the hassles of self-production, the festival presents 20 choreographers from the Bay Area and beyond in four showcases through December. Evening two of the series is an eclectic mix of choreographers hailing from various backgrounds and aesthetics: Viktor Kabaniaev, Tammy Cheney, Rachel Barnett, Annie Rosenthal Parr, and Kara Davis’ project-agora deliver to audiences a sampling of what our rich and unique contemporary dance scene has to offer. (Emmaly Wiederholt)

8 p.m., $22

Cowell Theater

Fort Mason Center

Marina at Laguna, SF

www.westwavedancefestival.org

 

MUSIC

Valient Thorr

Chapel Hill, N.C’.s Southern rocking punks Valient Thorr may sound good on record, but they have to be seen to be believed. Frontperson “Valient Himself” is a bearded lunatic, flying around the stage and spreading the rock gospel with the verbose alacrity of a storefront preacher. The band behind him provides no-holds-barred punk-rock rave-ups with a hefty dose of Southern rock filigree and a dash of unhinged weirdness. New platter The Stranger was produced by knob-god Jack Endino, who thickened the sound without diluting the band’s digressive tendencies. The Thorriors will be cranking it out from atop Bottom of the Hill’s lofty stage, raining down sweat while they do it. (Richardson)

With Red Fang and FlexXBronco

9 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 626-4455

www.bottomofthehill.com

 

TUESDAY 12

MUSIC

PS I Love You

Sure, the White Stripes blew the doors open for guitar drum duos to rock and have mainstream success, but the Black Keys proved that it wasn’t all just a quasi-incestuous fluke. Now all the boys feel comfortable doing it together. We’re not going to try and claim that Ontario, Canada’s PS I Love You is the only stripped down, sticks and picks outfit in town tonight, but if the spiraling, echoing post-pop songs off their just released first album (the single “Facelove” in particular) are any indication, you’d be hard up to find one that gives it to you like this. (Prendiville)

With Gold Medalists and Downer Party

9 p.m., $7

Hemlock Tavern

1131 Polk St., SF

www.hemlocktavern.com 


The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

 

After dubstep

Jesse Hawthorne Ficks
-
0
After dubstep

arts@sfbg.com

MUSIC Dom Maker and Kai Campos met a few years ago at university in South London, where they bonded over the emerging wobble of what would become the biggest underground music of the decade: dubstep. Campos introduced Maker to some tracks he was producing on his computer, and in a year’s time they both started making music together. These were the early years, before the duo became Mount Kimbie and would advance dubstep beyond its typically rigid hopscotch game between ferocious bass and synth rattle. Mount Kimbie got down on simple software, played around with some loops, sang a bit, and ventured out of their bedrooms to suck the life of countryside and alleyway sounds into hungry recording devices.

“I started using the computer because it was the only way I could record my music on my own,” Maker tells me during an e-mail correspondence. “I tried numerous times to start a band, but nothing came about. I thought I would try it myself, and I was surprised that some of the material came out sounding so electronic.”

That desire for a band’s musicality transferred over to Mount Kimbie’s unique approach to make songs that reside on the fence — surely now a sad, rotting wooden fence — separating dance hits and pastoral folk. The duo passed a demo of original beats around and caught the attention of Paul Rose, a.k.a. Scuba, head of the independent British label Hotflush Recordings, who signed them even though they don’t produce the sort of face-melting dubstep that incites one-hand-in-the-air frenzies. You can absorb Maker and Campos’ sounds while swinging in a deserted beachside playground. I’d say that it’s music for trains and spaceships, grottos or mountaintops. But hey, that’s just me.

Last year Mount Kimbie dropped the EPs Maybes and Sketch on Glass, both on Hotflush, two stunning odysseys into the future of digital sound. Maker’ and Campos’ efforts have culminated with this summer’s excellent full-length debut, Crooks and Lovers (also on Hotflush), an electronic soundscape prone to the sort of expansive emotional wandering that you typically hear only in dusty blues records.

“As we have progressed as Mount Kimbie, both of us have become more interested in looking at [different] ways of recording and creating sound than just through the use of software synths,” Maker says. “The album is very sample-based, along with a lot of our own field recordings and recorded guitar and vocals.” This amalgamation of live and digital sound taps into electricity of a listener’s nerve endings. Finally, some of the nebulous forms of technological feeling whirling with me — cultivated by years of video game playing and Internet surfing and everyday 21st century living — are affirmed, even vindicated. I’m one step closer to naming them.

There’s something urgent about Crooks and Lovers: It navigates a nebulous emotional tension so present in this age as we use gadgetry to bridge our loneliness and exuberance. “Tunnelvision” opens the record with a foreboding ambient noise. As if to spirit us away to the other side of that warp hole, the humming bass empties into a floral guitar riff marked by layers of scrambled vocals and softly burping electronics.

“[“Tunnelvison” is] made up almost entirely of material that we field recorded in a wind tunnel in the small village that I live in by the sea in Brighton,” Maker says. “It is interesting to work with sounds that have more feeling of place.” This sort of topography of emotion carries over throughout Crooks and Lovers. In “Before I Move Off,” a collage of bleeping keys washes over heavy percussion and a dreamy string melody. The songs continually build in a repetitive momentum toward release. Tension expands, contracts, and lets go, rotating in a feverish order.

Some songs linger within introspection. Round synthesized cords and off-kilter drum patterns enclose “Ruby” and “Carbonated” into an abyss that feels more like a great open sky than a frighteningly deep hole in Guatemalan soil. These cuts are matched by outward expressions of joy: “Mayor,” maybe the only banger on the record, lets the sub-bass erupt in helicopter jolts of energy over whirling keys that burst in gasps of smoke. But dubstep’s integral wobble is toned down here, a softer and less obnoxious gyration of energy that fits into the song’s methodical momentum. And always the fissured vocal cuts emerge from the shadows, coded and manipulated and barely recognizable, but striking — a reflection of our own inchoate inner gurgles of sound-patterns unable to organize themselves into the right words or shapes to let us express what we feel.

None of Mount Kimbie’s singles on Crooks and Lovers stand out with the same level of warmth and power as say “William” or “Serged” on their previous EPs. But the record is cohesive, meant to rise and fall in a full listening experience. It’s the sort of record that connects with common personal experiences, and then stretches them outward. After listening to it a few times — and it is a record that has immense replay value — I understand a bit more where Mount Kimbie is coming from and how they fit into today’s electronic music landscape.

If Burial is the fettered graveyard of the dubstep alter-verse, then Mount Kimbie is the haunted hillside where spectral ghosts, fleshed robots, and strange wisps of ephemeral life make their retreat during an indigo dusk that could just as easily be dawn. There’s something utterly enchanting there. Field recordings of everyday noise and mechanical grind weave slinky shapes around digital drum patterns that limp and leap and do windmills around sampled chirps and spherical bleeps. It’s a soundtrack for dissolution: the rigid lines between human and computer, sentience and thingness, city and nature, all melt away into the gushing blood that pumps through the sewer arteries beneath Mount Kimbie.

If my rampant speculations offend, then let me add that the loose framework of their resonant topography is very open to interpretation. “Mount Kimbie is a fictional creation that is just made up from two different names, both are part of the track name of a song by another band,” says Maker and Campos. “It is quite nice to be under a name that has no meaning and suggests nothing. We are not fans of being blatant with meanings.” And so the sun sets over the old town of dubstep. What’s next?

MOUNT KIMBIE

With Dntel, Asura, Mary Ann Hobbes and DJG

Sat/25, 9 p.m., $10

Mount Kimbie with Dntel, Asura, Mary Ann Hobbes, and DJG

Public Works

161 Erie, SF

(415) 932-0955

www.inticketing.com

Stimulating voltage

Jesse Hawthorne Ficks
-
0
Stimulating voltage

Don’t ask synthesizer inventor and electronic instrument designer Don Buchla (appearing Thu/9 as part of the 11th Annual San Francisco Electronic Music Festival) for a CD of his music. He’s more interested in following his curious muse — in this case, through the oft-uncharted territory of performance — than documenting his many experiments.

“It’s hard to have a CD that hasn’t been done yet,” the soft-spoken, even-keeled Buchla quips, deep within his Berkeley Victorian. He’s tucked behind a desk in a beige-carpeted, orderly studio-basement dotted with instruments — a hulking vibraphone dominates the space — and a few rainbow-colored 1960s- and ’70s-era lights. “None of my music can be recorded,” he adds. “It’s all theatrical in nature and involves a lot of visual simulations — stimulations.”

Buchla’s last performances were with saxophonist Peter Apfelbaum in Europe. His next appearance, a rare Bay Area one, will be in collaboration with Nine Inch Nails player Alessandro Cortini, for whom he made one of his Buchla Series 200e analog synthesizers. Using the 200e, a Thunder tactile surface MIDI controller, and various pieces of percussion, the two are making electronic and acoustic music with a distinct “element of chaos.” Buchla says they are striving for “unpredictability — allowing things to happen that we didn’t anticipate.”

In the meantime, forget about procuring a document of any of the practice sessions. Still, the inventor — who came out with his first modular synthesizer just months after Robert Moog in 1963 and created the first analog sequencer, among many other instruments — has made live CDs in the past. Indeed, his audiences would sometimes get a CD of the first half of a concert once the performance was completed and receive the second half in the mail. “If you want a record of the music,” he says, “the record should be the music you heard.”

If the live-recording-as-you-wait approach reminds you of the tape heads who devoted their energies to the Grateful Dead, you’re not far off: the Dead were onetime Buchla clients. He built their sound system — as well as the system on Ken Kesey’s bus — around the time he was doing sound and light at the Avalon Ballroom and the first Fillmore auditorium, as part of the North American Ibis Alchemical Company. Owsley Stanley, the Dead’s soundman and the onetime LSD cook, enlisted Buchla to make a Series 100 system for the band. “He wanted it to be very unique, so I painted all the panels candy-apple red,” Buchla remembers with a chuckle. “It was quite dazzling. It’s in their museum now, a collector’s item.”

Buchla’s instruments have all become collector’s items, from his Series 500, the first digitally controlled analog synth, to his all-in-one-paintbox Music Easel. “I usually can’t afford to keep them myself,” he says, laughing. “If I had, I’d be wealthy now.”

The first synthesizer that Buchla built in 1963 for composers Morton Subotnick and Ramon Sender at the San Francisco Tape Music Center was the fruit — the silver apple — of the UC Berkeley physics graduate drop-out and musique concrete composer’s roving curiosity. He’d learned that the Center had a three-track tape recorder, a marvel anywhere outside film studio contexts at the time. “I observed what they were using to compose electronic music,” Buchla remembers. “I proposed that instead of using the radar and gun sights and physics lab equipment and Hewlett-Packard oscillator, they build instruments intentionally geared toward electronic music. That was a revolutionary thought.”

In the 1984 book The Art of Electronic Music, Subotnick tells Jim Aikin that Buchla synthesizers are notable for “the way things are designed and laid out, so that a composer can impose his or her own personality on the mechanism. For example, Don always disassociated a voltage controlled amplifier from its control voltage source. That meant that the voltage source could be used for controlling anything. It wasn’t locked into a single use … That kind of sophistication has given him [a reputation] as the most interesting of all the people building this kind of equipment.”

The first Buchla Box, using touch-sensitive pads or ports rather than a standard keyboard, was funded with a $500 grant from the Rockefeller Foundation. Today it’s permanently ensconced at Mills College. On a side note, Buchla estimates it would easily go for $30,000. Buchla still tackles new designs — he has a multichannel filter that can serve as a Vocoder coming out next month — and his instruments, it seems, “don’t depreciate at all, so they’re good investments.”

“But I prefer to build them for playing.” 

11TH SAN FRANCISCO ELECTRONIC MUSIC FESTIVAL

Wed/8–Sat/11, various times, $10–$40 (pass)

(Alessandro Corti and Don Buchla perform Thurs/9, 8 p.m., $10–$16)

Brava Theatre (except Fri/10 at de Young Museum)

2781 24th St, SF

(415) 861-3257

www.sfemf.org

Our Weekly Picks: September 1-7, 2010

Jesse Hawthorne Ficks
-
0

WEDNESDAY 1

FILM

“Oskar Fischinger Classics”

That one of cinema’s greatest modernists should have worked in animation is perhaps not so surprising — it’s the mode of film production most easily bent by a singular vision, in which aesthetic achievement is inextricable from mechanical innovation. Still, there’s no accounting for a genius like Oskar Fischinger, who channeled his knowledge of engineering, architectural design, and organ-building into his dense visual symphonies. Like many intellectual émigrés who fled Nazi Germany for Southern California, Fischinger found L.A.’s bottom-line culture inhospitable to his working methods. But a career-spanning program at the Pacific Film Archive reveals a master artisan who devised countless fresh ways to impress the rigor of form with sheer delight. (Max Goldberg)

7:30 p.m., $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-1412

www.bampfa.berkeley.edu

 

EVENT

Ending Mountaintop Removal: Appalachian Activists in San Francisco

Another talk on humankind’s crusade to beat our planet to a bloody pulp is coming to town. But be forewarned: this ain’t no Sierra Club meeting. To save the last remaining mountaintop in their home from removal by coal mining corporations, the Appalachian community in Coal River Valley, W.V., (the name alone implies environmental havoc) has gone rogue — tree sittings, road blockades, and protests, leading to more than 150 arrests and exorbitant bail fees. Key activists from their group Climate Ground Zero have taken to the road to share the underreported story of their struggle. Raise a nonviolent fist in solidarity. (Caitlin Donohue)

7–9 p.m., $5–$10 donation suggested

Station 40

3030B 16th St., SF

(415) 235-0596

www.indybay.org

www.climategroundzero.org

 

THURSDAY 2

MUSIC

“On Land Festival”

Noise-waffle diehards, aural experimentalists, and, yes, Mills College students, have a world of ear-tugging wonder in store when Jefre Cantu-Ledesma’s and Maxwell Croy’s Root Strata label throws its second annual On Land music festival. “What I felt most happy about was the fact that the musicians thought it was really great,” Cantu-Ledesma said. “Not ‘blah, blah, blah,’ but a good response that really made it worth doing it another year.” This time they unearth a veritable treasure trove of juicy, internationally recognized undergroundlings, including some past residents of the Bay like Charalambides’ Tom Carter, Grouper’s Liz Harris, and Yellow Swans’ Pete Swanson. Top it off with the first West Coast appearance by New York’ Citys Oneohtrix Point Never (which put out the stirring Returnal not long ago and performs with live video by local artist Nate Boyce) and Zelienople, and you have something you might dub “must-see sounds” for the serious follower of well-grounded, out-there sounds. (Kimberly Chun)

Through Sun/5

7:30 p.m. (Sun/5 show at 6:30 p.m.), $10–$20 (four-show pass, $45)

Café du Nord and Swedish American Hall

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

EVENT

Arts Market SF

The Tenderloin-Civic Center neighborhood takes its knocks, but its rough exterior belies an urban work of art. Even historically speaking: Miles Davis blew his horn at the Blackhawk nightclub at the corner of Turk and Hyde streets and the Grateful Dead recorded American Beauty here. Today it’s one of the last remaining places in the city a real boho can afford to hunker down and throw paint at a canvas. So it makes perfect sense the hood hosts the city’s newest arts bazaar. Participating locals include T-shirt company the loin (which screens its wares in a nearby basement), plus jewelry artists, painters, and printers. Go to grow the artist network in our city’s hard knocks hub. (Donohue) Noon–8 p.m., free

U.N. Plaza

Market and Seventh, SF

www.artsmarketsf.org

 

FRIDAY 3

MUSIC

Terry Riley

At 75, “In C” composer Terry Riley is still capable of guiding several thousand souls in devotional listening. His caterwauling piano figures are anything but immobile, so it’s a dream to be able to move around during one of his concerts. Circling the Berkeley Art Museum during his last performance there, I came upon several unexpected pockets of resonance; for his part, Riley seemed perfectly calm, as if playing in his own private den (or geodesic dome, as the case may be). He returns for an encore performance tonight, again accompanied by his son Gyan on guitar, and once again for a bargain price. (Goldberg)

8 p.m., $7

Berkeley Art Museum

2626 Bancroft, Berk.

(510) 642-0808

www.bampfa.berkeley.edu

 

MUSIC

Miami Horror

Australian producer Benjamin Plant started out just a few short years ago as a remix artist and DJ in Melbourne, Australia, creating dance music inspired by ’70s disco and electronic soundtracks. The name said it all, really — Miami Horror. Since then, his quickly rising profile has sent Plant branching out (natch) into pop and making the inspired decision to tour with a live band. Having added the pizzazz of on-stage guitar and drums to the shimmery synths, Miami Horror isn’t just referencing the past any longer, it’s challenging contemporary dance acts to pick up the pace. (Peter Galvin)

With Parallels, Pance Party, and Eli Glad

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

SATURDAY 4

DANCE

RAWDance

Lots of people, apparently, like watching dance in an almost-hidden space spawned from a ballroom hooking up with a bowling alley. RAWdance’s biannual Concept series has been smash hit ever since the first one in 2007. The idea is to informally present in-progress or excerpts from recent works on a pay-as-you-can, free-popcorn-and-coffee-and-snacks basis. Unfortunately, the current lineup — Holly Johnston, Lisa Townsend, Kelly Kemp, RAWdance, Catherine Galasso, and Laura Bernasconi/Carlos Ventura — may be one of the last. The James Howell Studio is on the market. Any suggestions for a new home for this nicely curated, always intriguing, and ever-so-welcoming dance series? (Rita Felciano)

Through Sun/5

8 p.m. (also Sun/5, 3 p.m.), pay what you can

James Howell Studio

66 Sanchez, SF

(415) 686-0728

www.rawdance.org

 

SUNDAY 5

MUSIC

Abe Vigoda

Once you get over the initial disappointment that this is not the actor Abe Vigoda opening for Cold Cave, I think you’ll be pleased to find an L.A. punk crew that plays a distinctly Caribbean style of punk — a lot of steel drums and reverbed guitars — and sounds like fellow Smell bands No Age and HEALTH while maintaining a personality very much their own. Abe Vigoda also exhibits something slightly unusual in the punk industry: a willingness to grow. Each subsequent record release has introduced new ideas into the band’s sound, from changes in tempo to exploring electronic textures. With a seemingly bright future, it’s possible that someday the band might even overtake the actor in popularity. Tell Abe it was only business; I always liked him. (Galvin)

With Cold Cave

9 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

MONDAY 6

MUSIC

Panda Bear

One of the many mysteries of the intentionally mysterious Animal Collective is how the group’s later albums manage to make indie music so danceable. The man behind that particular mystery is Panda Bear (a.k.a. Noah Lennox), co-singer and sampling man, who seems to draw as much inspiration from electronic music as the ’70s psychedelia that is the Collective’s bread and butter. In his solo incarnation, Lennox tones down the grandiosity of his day job, drawing inspiration from the Beach Boys, R&B, and the widely eulogized hip-hop producer extraordinaire J Dilla to create a slower and more laid back atmosphere. Currently residing in Lisbon, which Lennox calls “the European California,” Panda Bear’s music is a clear reflection of a sunnier, sweeter lifestyle than we normally see here in Fogland. (Galvin)

With Nite Jewel

8 p.m., $25

Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

MUSIC

“Cowgirl Palooza”

Saddle up, buttercup. It’s Labor Day weekend, all your pals are on the Playa, and you don’t know what to do with your dog day afternoon but head out for some honky-tonkin’. And sugar, El Rio’s got you covered. At the eighth annual Cowgirl Palooza, you can drown your sorrows with one of its signature margaritas, eat your fill of free BBQ (while supplies last), and scoot your boots to the cheekily country-fried tunage of one of San Francisco’s finest, most underrated bar bands, 77 El Deora. When Jenn Courtney dominates the mic, demanding a bad boy to do her good, poison for her heartbreak, and someone to please change the record, which sucks because it reminds her of “you,” you’ll be glad you skipped that silly little party in the desert after all. What’s it called again? (Nicole Gluckstern)

With Wicked Mercies, Bootcuts, Evangenitals, and Los Train Wrecks

3 p.m., $10

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

 

TUESDAY 7

MUSIC

Extreme Animals

The Extreme Animals are difficult to pin down. The band’s website describes its sound as “No Doubt + Linkin Park + New Red Hot Chili Peppers,” and Jacob Ciocci, TEA’s spasmodic, pepperoni-pizza-eating leader, tries to pinpoint it further with this recent tweet: “If anyone ever asks, ‘What is Extreme Animals the band?’ say ‘it’s like Lady Gaga — it’s music AND art!'” Far from some self-effacing ironic gesture, these descriptors are entirely genuine and accurate. If anything, they leave out a smorgasbord of equally embarrassing acts and kitsch culture destined to be forgotten if not for zealous karaoke bars and garage sales. In other words, TEA doesn’t shy from absorbing and acknowledging its influences; it binges on anything and everything the pop entertainment world dishes out, then it shits and pukes it out on stage in phantasmagoric pixelated form. (Spencer Young)

9 p.m., free

Southern Exposure

3030 20th St., SF

(415) 863-2141

www.soex.org

 

MUSIC

Hope Sandoval and the Warm Inventions

Hope Sandoval’s voice remains a seductive study in contrast, sounding at once near and far, with a hollowed core and warm edges, always lingering. The darks shadows of that voice flicker over a whole generation of younger singers — male and female — woozy bedroom-pop types, and psych-folk melancholy cases. Mazzy Star’s “Fade Into You” is still a classic slow-burn ballad, but she’s recorded several fine, less remarked-upon albums since. In any case, you don’t forget a voice like hers. Sandoval doesn’t play out much. Jim Jarmusch talked her into his All Tomorrow’s Parties dream bill in New York City, but that’s her only other show in the States on this “tour” — so expect the Great American to be packed to sway. (Goldberg)

8 p.m., $26

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com 


The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

 

From Alps to Arp

Jesse Hawthorne Ficks
-
0
From Alps to Arp

johnny@sfbg.com

MUSIC Taking its name from the 1982 final edition in Brian Eno’s ambient series, the On Land Festival is in some ways a younger relative of the San Francisco Electronic Music Festival (as well as a prelude to it). Attuned to grain of sound as much as volume, unlike popular music fests, it isn’t as concerned with expansion or unlikely pairings as with the enhanced appreciation that can result when artists with a kinship are brought together. Grouper is back, and this year, Oneohtrix Point Never appears amid online raves and a recent collaboration with Antony Hegarty. On Land also sees the return of former SF resident Alexis Georgopolous, who’s had a hand in two excellent 2010 albums, The Alps’ spring release Le Voyage (Type) and Arp’s brand-new The Soft Wave (Smalltown Supersound). Alps are playing On Land while Arp isn’t, but because the Guardian covered Le Voyage earlier this year, the time seemed right to check in with Georgopolous about The Soft Wave.

SFBG There is a more pastoral quality to the music of both The Soft Wave and FRKWYS, Vol. 3, your recent collaboration with Anthony Moore. To me this is interesting because I just got off the phone with a musician and former New Yorker who talked about the lack of nature in New York City in relation to the Bay Area. Arp’s music has a strong elemental feel to it, one suggestive of oceans or the cosmos, but this more pastoral atmosphere is new in a way, so I’m wondering about its inspirational sources.

Alexis Georgopolous I like the idea of conjuring the natural world with analog synthesizers. It’s true that the current vogue is for ultra-artificial sound. It’s become trendy to exploit all the present synth sounds that were off limits, that were just too cheesy. Some good music has come of that opening up of the floodgates — Ariel Pink, Oneohtrix, James Ferraro. But I can’t say I know where this zeitgeist is leading. It might not be good.

But though there are some new age gems to be found, I’m not into just anything that purports to be “cosmic” or has a synth on it and happens to be obscure or ignored.

SFBG The Soft Wave was recorded onto two-inch tape. What is it about two-inch tape that attract or appeals to you in terms of the resulting sound?

AG Most of my favorite records were recorded to tape. There’s just something about it, the way that things can sound far away but also very present. Now everything is just butted right up against your ears. There’s no space between you and the sound. It’s just a wall. If you record 16 tracks or less on two-inch, the space on the tape itself creates a spaciousness, a wide angle. If digital gives you a blank space to inform, tape adds its own atmosphere.

SFBG Was it a major step to move vocals to the foreground as you do on Soft Wave‘s “From a Balcony Overlooking the Sea”? I realize you’ve sung or used your voice a little before in other projects, but your voice is central to the song, and its arrival occurs within what otherwise is an instrumental recording. It’s a bold gesture in that context.

AG It was simply a song that needed to be sung, not just played. It was written at a time when I’d realized the California chapter of my life, significant as it was to me, was over. It was, um, emotional. I’d seen so many friends leave and though I still have many dear, dear friends in San Francisco, it just felt that the time had come and I would be doing something wrong if I chose to ignore it. I had to leave. It sounds desperately corny, but I was literally choking back tears when I did the first take — which we ended up using.

I’d written and demoed a number of songs with words and vocals for The Soft Wave sessions. But after listening to what had been recorded, “From A Balcony” seemed appropriate while the others seemed destined for another album, the next album.

Initially, the idea of including just one song with vocals on an album seemed bizarre. But then, the unlikeliness of it all — the fact that I couldn’t think of an album that did that — began to appeal to me. The next album will be entirely vocal songs. “From A Balcony” is the bridge to the next record.

SFBG “High Life” also marks an overt step into melodicism. In some ways it’s so immediate or classic it sounds like a cover (forgive my ignorance if it is indeed one). Can you tell me a bit about the creation of that song?

AG Ha! That’s great. Well, it’s my own tune. But I’d be curious to know if you know of a song that sounds like it! That reminds me of the story about Paul McCartney waking up with the melody from “Yesterday” in his head. It was already so fully formed, so familiar in his dream, he was convinced it probably wasn’t his own tune. Some record executives looked into it, really looked high and low for a preexisting song that sounded like it. They didn’t find it. So McCartney recorded the song. I think it’s the most covered song of all time. Alas, I digress!

“High Life” is just a joyful little tune. Something to lighten things up after recording “From A Balcony.” It’s a bit cheeky, innit? I was sort of going for a Holger Czukay solo album feel, when he was into West African music and Fairlight synthesizers. I love Malcolm McLaren’s track “Obatala” (from 1983’s Duck Rock). It’s always struck me as sounding a lot like late-’70s Can. Like ethnological synth forgery. Fourth world.

ON LAND FESTIVAL: ARP DJ SET

With Oneohtrix Point Never, White Rainbow, Pete Swanson, Operative, Robert A.A. Lowe, Eli Kezsler and Ashley Paul, Golden Retriever

Fri/3, 7:30 p.m., $10 ($45 for four-night festival pass)

Cafe du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

ON LAND FESTIVAL: THE ALPS

With Zelionople, Xela, Date Palms, Grasslung, Metal Rouge, Le Revelateur

Sat/4, 7:30 p.m. $10 ($45 for four-night festival pass)

Cafe du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Northern lite

Jesse Hawthorne Ficks
-
0
Northern lite

superego@sfbg.com

SUPER EGO My friends, there is another America. One where the teeth are clean, the streets nonthreatening, the nightlife tidy, the needle exchanges plentiful, and the gays legitimized. No, not Guam or Puerto Rico: I’m talking about Canada. OK, OK, one would be hard-pressed to identify any fierce contemporary regional dance music exported from the Great White North — there is no son Canuck — yet techno artists from Richie Hawtin (hard at work compiling a 25-year Plastikman retrospective) to Circlesquare (whose recent Robert Longo-ripping vid for “Dancers” caused several international heart palpitations) have at least kept Canada on the electronic music map. And there’s a thriving hip-hop scene as well, although rappable subjects of urban strife in this most civilized of countries are mostly restricted to stern public transit inspectors and spotty free wireless.

I just zipped back from four days in dazzling British Columbian hot spots Victoria and Vancouver, and while I came across no glorious cybernetic dance hybrid of Scottish strathsprey and Inupiat blanket toss, northern nutters like Calgary filter hip-house duo Smalltown DJs and deliciously deep divers Eames and Fatso of Victoria’s Soft Wear party caught my roving ears. Also discovered: Canada might be irony-free. At otherwise fantastic alterna-faggy party Queerbash, the boys and girls may have been torn from my hunky, uninhibited lumberjack fantasies and the stout drag queens unafraid to creatively camp up odd diva house classics like Sunkids’ “Rise Up” — but the tunes were pure Gaga-wave punctuated by 2k7 Britney, which I guess is retro now? And can every pop “club remix” stop sounding like someone scratching a new pair of nylons over the telephone? Elastic-synthetic, I get it. Still, the punky kids ate it up with nary a wink, and it would have been too impolite not to join in. But Canada, dear Canada: your homosexual party music drives me loony. Please fix.

 

POPSCENE VS. LOADED

Two of the biggest indie dance clubs team up again for rock debauchery, with DJs Omar and Aaron Axelsen and live gigs from localistas the Limousines and Lilofee.

Fri/3, 10 p.m., $13. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

 

GEMINI DISCO FAREWELL

The kids behind this incredibly popular and stylish retro-disco affair are ending on a high note — on this, their four-year anniversary, they’re packing up the mirrorball and move-move-moving on. Do the hustle, shed a tear with DJs Vin Sol, Nicky B., and Derrick Love, and hosts Le Dinosaur and Christopher McVick.

Sat/4, 10 p.m., $5. UndergroundSF, 424 Haight, SF. www.geminidisco.com

 

MOTOR CITY DRUM ENSEMBLE

He’s not from the Motor City and the only drums are your feet on the dance floor, but knob-nymph Danilo Plessow from Stuttgart sure knows his way around dance music history. He’s exemplary of a new wave of German techno-ists who aren’t afraid of that little thing called “funky.” Catch him opening for revered slow-and-low Frankfurt producer Roman Flugel (once described as “Patrick Cowley on ketamine”) at the monthly Kontrol party.

Sat/4, 10 p.m.–late, $20. EndUp, 401 Sixth St., SF. www.kontrolsf.com

 

LE PERLE DEGLI SQUALLOR ONE-YEAR ANNIVERSARY

For a dozen tight moons, DJ Bus Station John has carved out a monthly space at wondrously gritty mid-Market dive the Hotspot for cruise-y gentlemen with low goals and high minds. Revel in lusty disco rarities, luridly cheap drinks, upstairs pocket-pool, and several indecent exposures.

Sat/4, 10 p.m., $5. The Hotspot, 1414 Market, SF.

 

LABOR OF LOVE

It’s a three-day weekend with no Burners — let’s celebrate! Looong-running parties Stompy and Sunset once again team up to flood the Cocomo all day with funky house sounds and a distinct lack of fun fur and yarn braids. With DJs Galen, Solar, Tasho, Deron, and tons more.

Sun/5, 2 p.m.–2 a.m., $20. Café Cocomo, 650 Indiana, SF. www.pacificsound.net

 

COCKTAILGATE: DROWNING LADY

Another play for the Playa-less — super-bendy drag lady Suppositori Spelling’s weekly gender clown hoot kicks out the jams (watch those heels) with a lineup of bedazzled performers actively protesting Burning Man’s “no glitter, no feathers” anti-drag policy. Guest hostess VivvyAnne Forevermore soaks you with love.

Sun/5, 9 p.m., $4. Truck, 1900 Folsom, SF. www.trucksf.com

Show time

Jesse Hawthorne Ficks
-
0
Show time

Alps, Sept. 4, Cafe du Nord

Baths, Oct. 12, Bottom of the Hill

Best Coast (with Sonny and the Sunsets), Oct. 26, Great American Music Hall

Big Boi, Sept. 23, Regency Ballroom

Black Mountain, Nov. 26, Fillmore,

Blonde Redhead, Nov. 19, Warfield

Caribou (with Emeralds), Oct. 6, Regency Ballroom

Chapterhouse (with Ulrich Schnauss), Oct. 9, Mezzanine

CocoRosie, Oct. 5, Regency Ballroom

Cold Cave, Sept. 5, Great American Music Hall

Connie Francis, Oct. 16, Castro Theatre

Corin Tucker Band, Oct. 11, Great American Music Hall

Davy Jones, Oct. 8-10, Rrazz Room,

Deerhunter (with Real Estate), Oct. 29, Great American Music Hall

Delorean, Nov. 10, Great American Music Hall

Elvis Costello (with Nick Lowe), Oct. 1, Great American Music Hall

Fennesz, Sept. 28, Swedish American Hall

Flaming Lips (with Ariel Pink, Health), Oct. 1-2, Fox Theater

Florence and the Machine, Nov. 5, Fox Theater

Ghostface Killah, Nov. 11, Slim’s

Hardly Strictly Bluegrass Festival, Oct. 1-3, Golden Gate Park

High on Fire, Sept. 29, Great American Music Hall

Hot Chip, Oct. 17, Warfield

Indian Jewelry, Oct. 15, Hemlock Tavern

Interpol, Oct. 18, Fox Theater

Jeffrey Johnson (as “Edie Beale”), Nov. 5-6, Rrazz Room

Jennifer Holliday, Nov. 12, Castro Theatre

Jenny & Johnny, Sept. 3, Great American Music Hall

Jonas Brothers, Sept. 18, Shoreline Amphitheatre

Jonsi, Oct. 19, Fox Theater

Jose James and Jef Neve, Nov. 7, Gould Theatre

Klaxons, Oct. 7, Great American Music Hall

Mantles, Oct. 1, Hemlock Tavern

Marina and the Diamonds, Sept. 15, Independent

Mary Wilson, Sept. 22-26, Rrazz Room

Melvins, Sept. 19, Slim’s

Nobunny, Oct. 14, Uptown

Of Montreal, Oct. 29, Warfield

Oneohtrix Point Never, Sept. 3, Cafe du Nord

Panda Bear (with Nite Jewel), Sept. 6, Fox

Pantha Du Prince, Sept. 18, Independent

Perfume Genius, Sept. 27, Bottom of the Hill

Queers, Nov. 27, Bottom of the Hill

Ravi Shankar, Oct. 27, Davies Symphony Hall

Rubinoos, Oct. 23, Great American Music Hall

Ryuichi Sakamoto, Nov. 3, Regency Ballroom

San Francisco Electronic Music Festival, Sept. 8-11, Brava Theatre

School of Seven Bells, Sept. 30, Independent

Screaming Females, Sept. 3, Thee Parkside

Rufus Wainwright, Nov. 11, Davies Symphony Hall

Sleep (with Thrones, Saviours), Sept. 12-13, Regency

Stereo Total, Sept. 2, Slim’s

Taj Mahal, Oct. 23, Paramount Theatre

Tallest Man on Earth, Sept. 13. Fillmore

Teenage Fanclub, Oct. 12, Fillmore

Tom Tom Club, Oct. 8, Great American Music Hall

Treasure Island Music Festival, Oct. 16-17, Treasure Island

Trey Songz (with Monica), Warfield

Unkle, Oct. 28, Regency Ballroom

Vampire Weekend (with Beach House, Very Best), Sept. 25, Greek Theatre

Van Morrison, Oct. 8, Nob Hill Masonic Center

Vaselines (with Dum Dum Girls), Oct. 20, Great American Music Hall

Vetiver (with Fresh & Onlys), Sept. 5, Independent

Weekend, Oct. 30, Hemlock Tavern

xx (with Zola Jesus), Sept. 23, Fox

Yusef Lateef, Oct. 22, Grace Cathedral

ZZ Top, Sept. 3, Shoreline Amphitheatre

Magic 8-Ball

Jesse Hawthorne Ficks
-
0
Magic 8-Ball

superego@sfbg.com

FALL ARTS/ SUPER EGO What does the immediate future of nightlife hold? “Cloud” DJs, quantum trannies, Hovaround races, de-friending parties, cocktail holography, xylophones? Honey. I just rolled in from a night at Aunt Charlie’s in the TL. Answer hazy, ask again later — maybe after I score some hot hangover grits from Eddie’s on Diviz. In the meanwhile, here’s all tomorrow’s parties I want to see your pretty game face at.

 

LOVETECH

A recent tipsy visit to the California Academy of Science’s Thursday Nightlife party confirmed that it’s still one of the most consistently intriguing events on the scene. (It’s also full of gorgeous, smart women — hint, hint all you lonely geeks). Appropriately for its “Inventors Month” theme, this week will see nonstop live electronic music performances from the likes of Edison, Scuzzy, Seventh Swami, Moldover, Spit Brothers, and the Evolution Control Committee. Will the penguins dance? Yes. Yes, they will dance.

Thurs/26, 6 p.m.–10 p.m., $12. California Academy of Sciences, 55 Music Concourse Drive, Golden Gate Park, SF. www.calacademy.org/nightlife

 

THE BEAT ELECTRIC DANCE SHOW

Kind of freaking out about this. Mezzanine is getting done up like 1982 Detroit cable dance show The Scene (think Soul Train but with early techno and house) — tinsel curtains, dance runway, platforms, and all. Party Effects, BT Magnum, Black Shag, and more keep you popping and locking — and it’ll all be filmed VHS-style. Jihaari T. hosts, and the Miss Honey children, including Terry T and Manicure Versace, preside.

Fri/27, 9 p.m., $5. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

OSUNLADE

Very deep, very spiritual, very fantastic global house grooves from the busy Yoruba Soul artist. Carlos Mena of Oakland’s lovely Yoruba Dance Sessions weekly and hometown funkologist J-Boogie support, with live drum troupe Loco Bloco.

Fri/27, 10 p.m.–late, $20. Mighty, 119 Utah, SF. www.mighty119.com

 

TRANNYSHACK BJÖRK TRIBUTE

Koo-koo queens once again take on the Icelandic idol in true Trannyshack fashion. With Cousin Wonderlette, Miss Rahni, Elijah Minnelli, Jupiter, Fruitbomb, Suppositori Spelling, Raya Light, Ambrosia Salad (who was born to Björk out), and of course Heklina herself, the queen of creamed salmon. Ever-stylish DJ Omar tickles your medulla.

Fri/27, 10 p.m.–3 a.m., $12. DNA Lounge, 375 11th St., SF. www.trannyshack.com

 

GIRL UNIT

Intensely funky, forward-thinking Night Slugs artist brings the future grime with a side of early Chicago spooky house feel. He’ll be at the quite nice Icee Hot monthly with Disco Shawn, Rollie Fingers, and Ghosts on Tape.

Sat/28, 10 p.m., $5. 222 Hyde, SF. www.222hyde.com

 

GO BANG!

So, what’s the retro-disco scene like in Omaha, Neb.? Find out when cutie Omahanian DJ Brent Crampton heats up the tables at one of my favorite monthly parties. Headliners funky Cole Medina and Sergio V from L.A. join residents Steve Fabus and Sergio Fedasz, plus newcomers Tres Lingerie, to call down the spirits.

Sat/28, 9 p.m.-late, $5. Deco Lounge, 510 Larkin, SF. www.decosf.com

 

BIG TOP THIRD ANNIVERSARY

Promoter Joshua J’s parties are curious mélanges of disparate nightlife flavors, dizzying yet fun. His monthly circus-themed extravaganza Big Top certainly operates under the big tent principle: this anniversary gig includes electro-indie DJ Jeffrey Paradise, fab photog Ava Berlin, drag-vogue shenanigans by the Miss Honey Children and Hoku Mama Swamp, a “lights out” makeout lounge, clothing optional Twister, go-go boys, and a fortune teller. Whew!

Sat/28, 9 p.m.–3 a.m., $5 advance. Club Eight, 1151 Folsom, SF., www.joshuajpresents.com

 

DJ CAM

The dreamy French hip-hopiste comes bearing surreal stoner grooves. (His new album Seven includes an appearance by reclusive house legend Nicolette!) Sway along with local bass-twister Mophono of mind-bending weekly Change the Beat and Carey Kopp.

Sat., Sept. 4,10 p.m.–late, $10 advance. Mighty, 119 Utah, SF. www.mighty119.com

 

DUB MISSION 14TH ANNIVERSARY

San Francisco’s original dub haven, this weekly joint always makes me smile while turning my head all spacey. Mission maestro DJ Sep welcomes Dr. Israel, Patch Dub, Katrina Blackstone, Turbo Sonidero Futuristico, and MC Mex Tape for a global-eared night of true vibes.

Sun., Sept. 5, 9 p.m., $10 advance. Elbo Room, 647 Valencia, SF. www.elbo.com

 

THE FUTURE 06

The sixth installment of this amazing party brings Brainfeeder knob-god Flying Lotus back from L.A. (via space). Trust, you will not know what hit you when he’s done. Also on deck: dubstep slayer Caspa, who radiates a classic bonkers feel.

Fri., Sept. 24, 9 p.m.–late, $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

DESIGNER DRUGS

I caught this tireless NYC banger duo a few years back when they opened at a Blow Up party — they seemed far too sweet for the face-melting (yet strangely melodic) set they went on to unleash. It was madness! They’re a lot more well-known now, but their funhouse-electro sound still causes heart murmurs and panty drops.

Sat., Sept. 25, 9 p.m.–late, $12 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

DEVIANTS

Thanks to some canny programming, the Folsom Street Fair is turning into a major music festival in its own right — this year’s performers include Nitzer Ebb, Dragonette, FM Attack, and HOTTUB. Folsom 2010 also sees the launch of a crazy-sounding new after-party, Deviants, with an ear toward extending the pervy deliciousness for hip omnisexuals. House-y thrill The Juan Maclean performs, with DJs Zach Moore of Space Cowboys and Johnny Seymour of Stereogamous opening the floodgates.

Sun., Sept. 26, 6 p.m., $30 advance. 525 Harrison, SF. www.flsomstreetfair.org/deviants

 

LOVEVOLUTION

Change is in the air for this fantastic mega dance festival, formerly known as Lovefest. The party has outgrown its Civic Center location, and a new one is soon to be announced. What hasn’t changed is that the Bay Area is home to several kinds of electronic music, and it would be a shame if we couldn’t all celebrate once a year outdoors, safely and peacefully.

Sat., Oct. 2. Check website for times, location, and price. www.sflovevolution.org

 

NEW WAVE CITY 18TH ANNIVERSARY

Ain’t nothing wrong with a little straight-up, nonironic New Wave nostalgia, especially if venerable 1980s-obsessed DJs Skip and Shindog are serving. Of course, the fun part about this being NWC’s 18th is that the ’80s were barely over before the nostalgia began. Also of course, you won’t be able to not sing and dance along.

Sat., Oct. 2, 9 p.m.–3.am., $12. DNA Lounge, 375 11th St., SF. www.newwavecity.com

 

TREASURE ISLAND MUSIC FESTIVAL

My fondest wishes for this fab four-year-old? More local talent and a DJ tent playing continuous tunes for dancing. Still, it’s hard to argue with a lineup that includes Four Tet, Die Antwoord, Wallpaper, Little Dragon, and more undergroundish acts.

Sat., Oct. 17 and Sun., Oct. 18, $67.50 single day, $119.50 advance two-day package. Treasure Island, www.treasureislandfestival.com

 

PUBLIC WORKS OPENING

I’ve been dying to sing the praises of the awesome crew of DJs and artists involved in this new club and gallery space, located on a nifty street called Erie and marked by a Banksy mural. Now that they’ve set an opening date, I can gush: if all goes well, this should be another hot spot to make the city proud. The launch should be a dance dream.

Wed., Oct. 20, 9 p.m.–4 a.m., price tba. Public Works, 161 Erie, SF.

Listen to the animals

Jesse Hawthorne Ficks
-
0
Listen to the animals

MUSIC Moira Scar is from the Bay Area, but it would be better to put it this way: from a time and space at the edge of one of Jack Smith’s 15-hour performances in a crustacean imaginative nethersphere, the musical entity that is Moira Scar has arrived. The duo’s self-released vinyl debut Slink to Intensity is made up of seven songs. Some manifest in frenetic outer space garage sounds. Others conjure sprawling free-jazz fantasy lands just beyond the negative space of a film frame. Slink to Intensity also features three photos of the group’s LuLu Gamma Ray and Roxy Monoxide in nakedly wild attire. The spirit of Mary Daly would approve. I recently asked Moira Scar about itself.

SFBG Moira Scar moves, but not in a typical running or walking way. it meanders or sallies forth, wiggles like a wildebeest, dances or slinks to intensity. What kind of human or animal actions do you find inspiring, and what reactions do you want people to have to your music?

Roxy Monoxide To become your own mystical beast. Still influenced by the made-up animal friends of childhood, along with the ideal that we can somehow stand up with the wild animals of the world and learn to coexist as animals again. But then again, stuck between predator and prey, the tiger mouth chews on her own zebra hinds, kind of like ouroboros.

LuLu Gamma Ray Haunting tones of the waddell seals inspire, along with loud boomings of the Lyrebird, which has two sound sources and can produce a far greater variety of sounds than human beings. Animals and plants have wide ranges of emotions, vast intelligence, and can impart important information if only we’d listen.

SFBG Can you tell me a bit about the vintage-horror film analog sounds in "You Make Me Scream" and how you made them?

LLGR The eerie entrancing sounds are made with a CAT SRM2 70’s analog synth’s pulse width modulation. I play electronic music and musique concrete in the lineage of Delia Derbyshire, Ruth White, Sun Ra, and David Tudor, as well as other courageous musical astronauts.

SFBG What is Moira Scar’s favorite Nino Rota score? For me, you also bring to mind the organ sounds in the movie Carnival of Souls.

LLGR Nina Rota’s cut-up method in Juliette of the Spirits is influential, and also the camp and beauty of organists Korla Pandit and Anton LaVey. Many spirits passed and future possess the vessel’s Pelvis and Saphoid, and are warped and distorted through our lens to create the Muse-ick

SFBG What do you like about Jean Vigo’s L’Atalante?

RM The bittersweet realism with poetic montage, the slacker anarchy and feebleness of our lives expressed through human and cat coexistence aboard barge on 1930s Seine and Paris backdrops, with antagonistic relationships and the wise drunken fool; Moira Scar can’t help but being romantic in spite of our psycho-depressive tendencies, or maybe because of them.

SFBG What drug is most recommended for listening to Moira Scar?

RM Moira is the drug. We have been told that we are like watching Forbidden Zone on acid, and some fans enjoy their lubricants while dancing to Scar. But for us the muse possession is the best high.

SFBG What is Moira Scar’s vision of the future?

RM A show with Bambi Lake, M. Lamar, the Deepthroats, and Omnivourous Sinsillium; and us as vegan witches in a world of cannibal zombies.

LLGR To wake the audience from corporate hypnosis with insect and alien soundscapes. Realign nutrinos and journey through the wormhole with us!

RM and LLGR Transmogrify!

MOIRA SCAR

With Tongue and Teeth, Deep Teens

Aug. 26, 9 p.m., 21 and over

The Stud Bar

399 Ninth St., SF

www.studsf.com


Aug. 31, 10 p.m., all ages

SubMission

2183 Mission, SF

www.sf-submission.com

Chaos channel

Jesse Hawthorne Ficks
-
0
Chaos channel

arts@sfbg.com

MUSIC The first song on Crystal Castles’ new LP, “Fainting Spells,” is a test, a real Indiana Jones-style booby-trap, to ward off unwitting tourists. It opens with a high-pitched squeal, then a driving drum beat — if it came on in the car while your iPod was on shuffle, you’d probably leap out of your seat. The screeching and squealing continues for about two minutes, then plateaus for a breath, and when they return it’s like hearing them for the first time. In the context of a new back-beat, they make you nod your head a bit and notice they’ve been harnessed into a pattern.

Crystal Castles’ sounds are harsh, but they are a band keenly aware of what a difference a little context can make. I’m reminded of that old Jim Thompson quote: “A weed is a plant out of place. I find a hollyhock in my cornfield, it’s a weed. I find it in my yard, and it’s a flower.” Crystal Castles has made a career out of understanding the difference.

Crystal Castles their began their musical career as a lo-fi electronic outfit in Toronto made up of producer Ethan Kath and vocalist Alice Glass. Although they claim the name came from She-Ra’s sky fortress and not the 1983 Atari game, their sound has a catchy MIDI game soundtrack feel to it that makes you wonder if it wasn’t the other way around. When the band first started out, it was Glass’ ferocious voice and raucous stage show that claimed most of the attention. But on the duo’s second self-titled album released earlier this year, Glass’ fierce vocals and Kath’s exploratory coarseness are focused, so they stay harsh while coloring within the lines.

Make no mistake, although the duo’s sound has cleaned up, it’s still not the kind of music you want to spin at your grandparents’ anniversary get-together. The punk-rock attitude suits Kath and Glass just fine, and they return the favor tenfold, first with those aforementioned booby-traps. The albums’ initial single “Doe Deer” headlines a blazing guitar riff under Glass’ chaotic screaming, and has a structure not unlike “Fainting Spells,” where Kath builds on chaos then channels it. But songs like these recall the patchy design of the band’s 2008 debut. Much more surprising are the quieter moments, which see the band embracing the fact that no matter how punk its aesthetic, people are still dancing to this stuff.

Kath continues to experiment with vocal sounds, using repeated syllables that move to the beat and a wide array of samples. I thought “Year of Silence” had Glass singing either in German or backward; a little Googling revealed it not to be Glass at all, but a Sigur Rós sample. Crystal Castles’ 14 little experiments are tighter and slicker than on previous releases, a shift that was hinted at with last year’s “Baptism” single. The song returns here, retooled with additional beats and a quickened tempo that suggests Kath and Glass have more than a passing interest in real rave-style trance.

I don’t know, maybe aloof indie kids are afraid of the words “trance” and “rave-music,” envisioning a sea of candy bracelets and pacifiers. But in taking a punk music approach to electronic music, Crystal Castles is making it easier to convert the suspicious. Kath’s consistently imaginative use of crude noises and familiar-but-disassociated vocals makes Crystal Castles at once a profoundly jarring and catchy album. In an electronic landscape largely still populated by house and ambient, it’s nice to have a band that can churn out such beautiful flowers where other artists see pesky weeds.

CRYSTAL CASTLES

With Rusko, Sinden, and Proxy

Aug. 6, 7 p.m., $35

The Fox Theatre

1807 Telegraph, Oakl.

(800) 745-3000

www.thefoxoakland.com

Cloudbustin’

Jesse Hawthorne Ficks
-
0
Cloudbustin’

What the HTML will happen when “cloud computing” renders our desktop monoliths obsolete? I drool at the thought, while thoughts are still my own, of the coming retro fashion movement, enshrining the clumsy keyboards and monstrous monitors of yesteryear: boxy eggshell skirts, CPU tower heels, flat-screen kneepads, air can earrings, novelty glasses of scratched and sneezed-on anti-glare shields, flash drive panties, Ethernet cologne, USBriefs, “laptop ass,” “modem face,” brominated flame retardant blush, tantium base, phthalate plasticizer mascara … Alt+F fashions are freakin’ toxic in 2k17.

For now we’ve only gaseous intimations of the handheld, continuously updating future. And I’ve become addicted to the free Soundcloud.com (product placement!), on/at/in which I can listen to tens of thousands of DJ sets via my Stone Age Mac.

In fact, the unrefudiatedly dirty little secret of my dance music knowledge lately has been superstar Soundcloud user R_co (www.soundcloud.com/r_co), current online master of the techno-and-house nexus, who posts up to a dozen sets a day nabbed from famous and not-yet-famous DJs, from clubs like Berlin’s Berghain and Detroit’s Oslo (and our own Temple), from as far back as the 1980s to just last night. Soundcloud’s crouching trainspotters are quick to identify tracklists, relieving me of that whole, embarrassing “whistle it into Shazam and hope” thingy.

“I’m just a regular guy with a passion for electronic music,” R_co, a.k.a. Rico Passerini told me over e-mail. “I frequented the clubs in Manchester, Leeds, and London for most of my adult life. But I needed more, so I moved to Berlin a year and a half ago for the music scene. If I told you how I got the sets I post, I’d have to kill you. Nah, to be honest I had a big collection of music that I picked up over the years, and more recently I’ve been lucky enough to get sent music from DJs, record labels, and various club nights across the globe.”

Mike Huckaby – Long Track Radiocafé, Budapest – 16-05-2009 by R_co

So, Guru Rico, what do you love? “Mike Huckaby plays the best deep house. Sven Weisemann too. I love Peter Van Hoesen’s techno right now, and of course you’ve gotta love Ricardo Villalobos. Clubs? Berlin’s Suicide Circus is my latest favorite.”

With everyone’s sets immediately available on the Internet, and musicmakers being able to respond instantly to each others’ work, is there a danger that dance music is melting into one giant stew of similar-sounding mush?

“The Internet is definitely changing how DJs and producers hear and make music,” Rico replied. “It’s a lot easier to get samples, for one thing. I do understand how all the old school DJs are saying that music is getting worse because it’s too easy to produce it now. However, if you’re a 16-year-old kid, it’s not likely you’ve got the cash to spend on hardware, more likely you have access to a laptop and some software. So in a sense it’s a good thing, it gives new artists of all capabilities the chance to experiment from home.

“But in terms of all the music out there at the moment, everyone hearing and being influenced by each other more and more, it’s probably harder to make a unique sound. I guess we’ll never see another acid house. At the end of the day, though, we don’t write the future, so there’s no point in fighting it. There will always be good music and there’ll always be shit music. I like the good shit!”

 

TRANNYSHACK SIOUXSIE TRIBUTE

Jeepers creepers, twisted drag queens will seize the red light and leave your city in dust as they genuflect before the goth goddess.

Fri/23, 10 p.m.–3 a.m., $12. DNA Lounge, 375 11th St., SF. www.trannyshack.com

 

TODD EDWARDS

Todd Edwards is the right hand of the house god. The New Jerseyite pioneered the prophetic cutup vocal sound that’s influenced everyone from Burial to Justice, and takes the spiritual aspect of dance music very seriously. Get lifted when he joins the Icee Hot crew.

Sat/24, 10 p.m., $10. 222 Hyde, SF. www.222hyde.com

 

SMACK!

Detroit takes over SF for a kicky house and techno reunion. DJs Gay Marvine and Jason Kendig handle the decks, clubkid Nathan Rapport accepts birthday wishes, and Juanita More oversees it all.

Sat/24, 10 p.m., $5. UndergroundSF, 424 Haight, SF.

 

OUT SIDE ART: A BLOCK PARTY BENEFIT

I have to keep mum for now, but this awesome-sounding block party is the start of something big on the SF nightlife scene. A huge posse of street artists pumping up a Banksy mural and a host of bigtime DJs including Richie Panic, J-Boogie, and Chris Orr join to benefit Root Division’s youth program.

Aug. 1, 11 a.m.–6 p.m., $5. 161 Erie, SF. www.rootdivision.org

1...567...11Page 6 of 11

48hills.org is the official publication of the non-profit San Francisco Progressive Media Center.
Contact us: info@48hills.org