Independent

Gabba gabba buy

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emilysavage@sfbg.com

TOFU AND WHISKEY’S HOLIDAY GUIDE Before I expound on anything, I’ve got to spit this out: buy local. If you’re going to buy something; in particular, if you’re going to buy actual vinyl records or CDs or books or musical equipment, get them from an independent store in the Bay Area.

Support Aquarius, Amoeba Music, Black Pancake Records, GROOVES, 1-2-3-4 GO!, Recycled Records, Rooky Ricardo’s, Rasputin’s, Streetlight, and the smaller mom-and-significant-other type stores; otherwise, the brick and mortars will slowly die and we’ll be stuck rifling only through the virtual library, which will inevitably lead to a host of other problems (loneliness, fatigue, hive mindedness).

Making it even easier to shop live, Record Store Day has a Black Friday special releases list (Fri/23), which means there will be lots of specialty music and rare editions on the shelves. And yes, some detractors complain of the single-mindedness of asking shoppers to obsess over rare vinyl jewels just one day a year — actual Record Store Day takes place in April — and that most of the items end up online with jacked up prices anyways. I disagree with this mindset, especially around the holidays. That push can make the difference for a struggling independent shop. Keep in mind, this is not advocating for actual Black Friday shopping at Wal-Mart and the like. End rant.

Last year, all I wanted for Chanukah was the Phil Spector box set, each disc enveloped in tiny cardboard sleeves made to replicate the original records in miniature — like dollhouse versions. I got the CDs, and have listened to the Crystals’ “Frankenstein Twist,” on average, once a day for these past 12 months. This year, I’m just not sure what to covet, so I asked around.

From my non-academic study, I found that musicians tend to be of the practical angle when it comes to gifts. They want extra cables, or picks, headphones, or record needles. One mentioned the Fender Champ amp, which is good for thin-walled apartment use, or the $39 Fireye Mini portable headphone amp. Better yet, a gift certificate to a (local) music shop — try spots like Real Guitars (15 Lafayette, SF; www.realguitars.com), SF Guitar Works (323 Potereo, SF; www.sfguitarworks.com) or Starving Musician (2474 Shattuck, Berk; www.starvingmusician.com).

Those one step apart from the musicians, the quintessential music nerds such as myself, on the other hand, tend to desire the ostentatious and/or extraordinary. They want that rare, hard-to-find seven-inch on white vinyl, the oversized coffee table book, or that carefully curated box set.

Or something else entirely: a gift subscription to Turntable Kitchen’s pairing boxes ($25/month, www.turntablekitchen.com) is a particularly cool gift that’s based right here in the Bay. The boxes ship once a month and include dry ingredients, recipes, and limited edition seven-inches, often by local musicians.

Now on to the music shops. The specialty records, box sets, and CDs in general that stuck out to me as great gifts this year — of course dependent on the listener — are Blackbird Blackbird’s covers of Kate Bush on limited edition vinyl with origami, Castle Face Record’s The Velvet Underground and Nico Tribute, and new box sets from the English Beat, and Death Cab for Cutie. That Castle Face Records full album tribute features covers by a who’s-who of revered locals: Kelley Stoltz, Fresh and Onlys, Warm Soda, Ty Segall, the Mallard, and more (www.castlefacerecords.com).

There’s also Record Store Day’s Black Friday exclusives such as the Fat Boys pizza disc — the record looks like a saucy pie and it comes packaged in a cardboard box — Wanda Jackson’s Capitol Rarities, the Asobi Seksu/Boris split seven-inch,”obscure giants of acoustic guitar” trading cards, and a limited deluxe edition of Joey Ramone’s Ya Know?.

For all the Record Store Day Black Friday specials and to check participating Bay Area shops, visit recordstoreday.com/SpecialReleases.

For the Chanukah specific, I’d recommend ‘Twas the Night Before Hannukah: The Musical Battle Between Christmas and the Festival of Lights. It’s another release from the Idelsohn Society for Musical Preservation, generally the best archivists of vintage Yiddish and Jewish-centric music from the past century or so. The 34-track double CD comp includes Chanukah songs by Woody Guthrie, the Klezmatics, and Mickey Katz, along with Christmas tunes performed by Jewish musicians like Lou Reed, Herb Alpert and the Tijuana Brass, and the Ramones.

An added bonus, there will be a ‘Twas the Night Before Hannukah show at Brick and Mortar Music Hall in December (Dec. 15, 9pm, $15–$18, 1710 Mission, SF. www.brickandmortarmusic.com), with live appearance by Luther Dickinson, Sway Machinery, Thao, Steve Berlin, Ethan Miller, and Ceci Bastida.

As for books, there’s a new coffee table beast that I’ve been dying to talk about called The Art of Punk: The Illustrated History of Punk Rock Design (Voyageur Press, 224pp, $40), by Russ Bestley and Alex Ogg. It’s a beautiful hardcover with splashy images showcasing the aesthetics of punk; graphic fliers, posters, album covers, patches, and other imagery from the proto-punk era through the present, including international punk art, hardcore designs, and fringe elements (though aren’t they all?). Interesting, there’s another great book on punk graphics released this fall: Jon Savage’s Punk: An Aesthetic (Rizzoli, 352pp, $55).

As The Art of Punk puts it, “The value of such groundbreaking artwork, which continues to have an impact on music, fashion, design, and media to this day, is even now only becoming fully apparent. The visual legacy of punk is extensive and its graphic codes — symbols of struggle and resistance, but also a complex subcultural visual vocabulary, and more cynically, a means to tap into deeply held antiauthoritarian consumer sentiments by lifestyle branders — still have resonance. “

The books will appeal to anyone that ever spent hours carefully sewing garish back-patches to jackets to represent the music they believed in, or those who stared at album covers so long their eyes crossed, and the imagery has been burned in their brains ever since. Basically, the music nerds we’ve been shopping for here today.

 

SHARON JONES AND THE DAP-KINGS

It’s the swinging, soul-funk group’s first headlining show in San Francisco in more than two years, and in the grand Davies Symphony Hall to boot. The Brooklyn nine-piece Dap-Kings, is of course led by the velvety, luminous Sharon Jones and will likely be belting tracks off 2010’s I Learned the Hard Way LP.

Sat/24, 8pm, $15–$82

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

DICK DALE

Is there anything more exciting than reverb-heavy surf guitar? It warbles through the veins. Last time the King of Surf Guitar, Dick Dale, popped up at the Uptown he roared through all the hits — yes, “Misirilou” was high on the setlist — and then some, rapidly fingering his custom guitar at a blistering speed, his long white hair whipping around him. Trust me, see the 75-year-old maven while you still can.

With Jonny Manek and the Depressives

Sat/24, 9pm, $20

Uptown

1928 Telegraph, Oakl.

(510) 451-8100

www.uptownnightclub.com

 

Music Listings

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Since club life is unpredictable, it’s a good idea to call ahead or check the venue’s website to confirm bookings and hours. Prices are listed when provided to us. Visit www.sfbg.com/venue-guide for venue information. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 21

ROCK/BLUES/HIP-HOP

Be Grateful, Eleven Boom Boom Room. 8pm, $8.

Gold Fields, Electric Youth (DJ set), popscene DJs Rickshaw Stop. 9:30pm, $13-$15.

Jackie Greene Fillmore. 8pm, $28.50.

Hopie, DJ Ry Toast, DJ Cutso Brick and Mortar Music Hall. 9pm, $5-$8.

J. Boog, Hot Rain, Bayonics Mezzanine. 9pm, $30.

Jeremy Jones Band, Chris James and the Showdowns, Jeff Campbell Bottom of the Hill. 9pm, $8.

John Lawton Trio Johnny Foley’s. 9pm, free.

"Rockin Reggae Thanksgiving" DNA Lounge. 5:30pm, $12, all ages. With Clear Conscience, Dewey and the Peoples, Thanks For Leaving, and more.

Solwave, Major Powers and the Lo-Fi Symphony, Resurrection Men Cafe Du Nord. 8pm, $12.

Todd vs Charles Johnny Foley’s Dueling Pianos. 9:30pm, free.

UFO, Points North Independent. 8pm, $25.

White Panda, 2AM Club Slim’s. 9pm, $16-$19.

Witchburn, All Hail the Yeti Hemlock Tavern. 8:30pm, $7.

JAZZ/NEW MUSIC

Dink Dink Dink, Gaucho, Eric Garland’s Jazz Session Amnesia. 7pm, free.

Ricardo Scales Top of the Mark, 999 California, SF; www.topofthemark.com. 6:30pm, $5.

DANCE CLUBS

Sweater Funk Elbo Room. 9pm, $5-$10. Steppers night with two step soul on vinyl.

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita MORE! and Joshua J host this dance party.

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free. With Vinyl Ambassador, DJ Silverback, DJs Green B and Daneekah.

Eats Everything, Ryan Crosson, Bill Patrick Public Works. 10pm, $10.

Hardcore Humpday Happy Hour RKRL, 52 Sixth St, SF; (415) 658-5506. 6pm, $3.

THURSDAY 22

ROCK/BLUES/HIP-HOP.

Dark Sparkle Cafe Du Nord. 9pm, $5.

Todd Dunnigan Johnny Foley’s. 9pm, free.

JAZZ/NEW MUSIC

Stompy Jones Top of the Mark, 999 California, SF; www.topofthemark.com. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $7. Thanksgiving edition with DJ-hosts Pleasuremaker and Senor Oz, DJ Small Change.

All 80s Thursday Cat Club. 9pm, $6 (free before 9:30pm). The best of ’80s mainstream and underground.

FRIDAY 23

ROCK/BLUES/HIP-HOP

As I Lay Dying, Asking Alexandria, Suicide Silence, Memphis Mayfire, Attila Regency Ballroom. 6:30pm, $30.

Body and Soul Johnny Foley’s. 9pm, free.

Charles, Rome Balestrieri, Todd Johnny Foley’s Dueling Pianos. 9pm, free.

Delicate Steve, Dana Buoy, Raleigh Moncrief Rickshaw Stop. 8pm, $10-$12.

Quinn Deveaux and the Blue Beat Review, Brass Menazeri Independent. 9pm, $15.

English Beat, Impalers Bimbo’s. 9pm, $25.

Golden Void, Joel Robinow Band, Phil Manley Hemlock Tavern. 9:30pm, $7.

Jackie Greene Fillmore. 9pm, $28.50.

Katdelic, DJ Fillmore Wax Boom Boom Room. 8pm, $10.

Macarthur, R.O.D., Rossisings, Halley Washington, Skye Green Brick and Mortar Music Hall. 9pm, $10.

Pi Hotel Utah. 9pm, $10.

RNDM feat. Jeff Ament, Joseph Arthur, Richard Stuverud, Line and Circle Great American Music Hall. 9pm, $22.

Wallpaper, Neon Hitch Slim’s. 9pm, $16.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

FOLK/WORLD/COUNTRY

Baxtalo Drom Amnesia. 9pm, $7-$10. Live music, gypsy punk, belly dancing.

Colonel Jimmy and the Blackfish, Misisipi Mike and the Midnight Gamblers, Blank Tapes Cafe Du Nord. 8pm, $13-$15. "Turkey Trot 2012."

Sebastien Giniaux Red Poppy Art House. 8pm, $10-$15.

DANCE CLUBS

Biscuits and Gravy Elbo Room. 10pm, free. With DJs Vinnie Esparza, Asti Spumanti, Johnny Deeper.

Distance, Tunnidge, District, Trap City Mighty. 10pm, $15.

Joe Lookout, 3600 16th St.,SF; www.lookoutsf.com. 9pm. Eight rotating DJs, shirt-off drink specials.

NO-ID Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Old School JAMZ El Rio. 9pm. Fruit Stand DJs spinning old school funk, hip-hop, and R&B.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

Taboo DNA Lounge. 9pm, $20-$25, 18+. With Larry Tee, Brooke Candy, Manics.

SATURDAY 24

ROCK/BLUES/HIP-HOP

American Professionals, Bobbleheads Thee Parkside. 3pm, free.

B-Side Players, LoCura Brick and Mortar Music Hall. 9pm, $9-$15.

"Complete Last Waltz" Warfield. 8pm, $32.50-$55. With members of Dr. Dog, Ween, Gomez, Nada Surf, and more.

Jackie Greene Fillmore. 9pm, $28.50.

Petty Theft, Stung Cafe Du Nord. 9pm, $15.

Richard Cheese and Lounge Against the Machine, Project: Pimento Bimbo’s. 9pm, $45-$65.

New Riders of the Purple Sage, Moonalice Great American Music Hall. 9pm, $25.

Tamaryn, Tropic of Cancer, She’s Independent. 9pm, $15.

Top Secret Band Johnny Foley’s. 9pm, free.

Todd, Charles, Rome Balestrieri, Johnny Foley’s Dueling Pianos. 9pm, free.

Via Coma, Beta State, PK Bottom of the Hill. 9pm, $10.

Vitamin X, Strung Up, Side Effects, Zero Progress Thee Parkside. 9pm, $8.

White Barons, Tiger Honey Pot, Winter Teeth Hemlock Tavern. 9:30pm, $7.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

FOLK/WORLD/COUNTRY

Alexander Abreu and Havana D’Primera Yoshi’s SF. 8 and 10pm, $30.

DANCE CLUBS

Bootie SF: Post-Thanksgiving Madness DNA Lounge. 9pm, $10-$15. With Smash-Up Derby, Lucio K, DJ A Plus D, and more.

Church Rickshaw Stop. 9:30pm, $10. With Rusty Lazer (DJ set), DaveO of Double Duchess (DJ set), Trixxie Carr, Dulce De Leche, Honey Mahogany.

Chris Garcia Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

120 Minutes Elbo Room. 10pm.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

Tiefschwarz, Roos and Bo Public Works. 10pm, $20.

SUNDAY 25

ROCK/BLUES/HIP-HOP

Action Bronson Independent. 9pm, $20.

Enrique Bunbury Fillmore. 8pm, $45.

Killswitch Engage, Shadows Fall, Acaro Slim’s. 8pm, $20-$25

Aaron Leese and the Panhandlers Boom Boom Room. 8pm, $5.

Cass McCombs Amnesia. 9pm, $5.

Nasty Christmas, Black Sparrow Press Hemlock Tavern. 6pm, $6.

JAZZ/NEW MUSIC

Donald Arquilla with Tom Shaw Trio Martuni’s. 7pm, $7.

FOLK/WORLD/COUNTRY

"Twang Sunday" Thee Parkside. 4pm, free. With Rocketship, Rocketship.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, free before 9:30pm; $6 after. With DJs Sep, Vinnie Esparza and DJ Mundi.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2.

MONDAY 26

ROCK/BLUES/HIP-HOP

Creepers, Commissure, Loomers, Permanent Collection Elbo Room. 9pm, $5.

Earl Brothers, Kendl and Joe from Blackbetter Bushes Amnesia. 9pm.

FOLK/WORLD/COUNTRY

Uni and Her Ukelele Rite Spot Cafe. 8:30pm, free.

DANCE CLUBS

Death Guild DNA Lounge. 9:30pm, $3-$5, 18+.

Crazy Mondays Beauty Bar, 2299 Mission, SF; www.thebeautybar.com. 10pm, free. Hip-hop and other stuff.

M.O.M. Madrone Art Bar. 6pm, free. DJs Timoteo Gigante, Gordo Cabeza, and Chris Phlek playing all Motown every Monday.

Soul Cafe John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. R&B, Hip-Hop, Neosoul, reggae, dancehall, and more with DJ Jerry Ross.

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 27

ROCK/BLUES/HIP-HOP

BAUS, Pleasure Gallows, Life Stinks Hemlock Tavern. 8:30pm, $6.

Alice Cooper, Kill Devil Hill Warfield. 8pm, $37.50-$57.50.

Deep Sea Diver, Wild Belle, Showrunners Bottom of the Hill. 9pm, $12.

Sufis Amnesia. 9:30pm.

JAZZ/NEW MUSIC

Jacob Armen Yoshi’s SF. 8pm, $22.

FOLK/WORLD/COUNTRY

Toshio Hirano Rite Spot Cafe. 8:30pm, free.

DANCE CLUBS

Stylus John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. Hip-hop, dancehall, and Bay slaps with DJ Left Lane.

Takin’ Back Tuesdays Double Dutch, 3192 16th St,SF; www.thedoubledutch.com. 10pm. Hip-hop from the 1990s.

A developer’s wet dream

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CORRECTION: This article has been updated to correct a statement from Sup. Scott Wiener about affordable housing.


tredmond@sfbg.com


Sup. Scott Wiener is proposing a dramatic overhaul of the city’s environmental review process that would limit the ability of citizen activists to appeal projects and could ease the path for major developments.


The new rules — some of which are fairly simple and routine, others more far-reaching — cover the city’s interpretation and implementation of the California Environmental Quality Act (CEQA), the state’s venerable land-use and environmental oversight law. The legislation is before the Planning Commission and could reach the supervisors in December.


According to city staff and outside analysts, the Wiener proposals would:


• Eliminate the public’s legal right to appeal a ruling by the Planning Commission if the Board of Supervisors has to approve any part of the project.


• Weaken the standard for environmental review by city planners.


• Weaken the public notice requirements for CEQA exemptions.


• Speed up the process for developments by compacting the time frame for CEQA appeals.


“Generally, the amendments decrease the opportunities for individuals and community groups with serious environmental concerns to provide input and assert influence on development projects as part of the CEQA process,” an analysis by Community Economic Development Clinic at Hastings College of the Law notes. “The amendments arguably would streamline the CEQA process for various projects, but at the cost of significantly curtailing public participation.”


Wiener told us that he wants to eliminate lengthy, sometimes unpredictable appeals. “The goal is to make sure we have a good CEQA process but also a more predictable process,” he said. “Right now it’s so chaotic and loose that we have unnecessary delays.”


Aaron Peskin, a former supervisor and neighborhood activist, calls the proposed legislation “a developer’s wet dream. It shuts off or makes impossible citizens’ ability to participate in the environmental review process.”


WHAT ARE THE ABUSES?


At issue is a critical part of city planning, mandated by state law and sharpened by years of court decisions. Before any project is approved, the city’s environmental review officer (ERO) must either determine that the proposal “could not have a significant impact on the environment” or is exempt by law from CEQA review. If not — if in fact the proposal could have an impact — then the project sponsor has to pay for a full environmental impact report.


If any member of the public thinks that the ERO’s decision is wrong — or believes that an EIR is inadequate — he or she can appeal to the Board of Supervisors. An appeal halts all work on the project until the supervisors resolve it.


If the board rejects the environmental review, it doesn’t kill the project — planners just have to go back and write, or rewrite, an EIR.


On a practical basis, appeals are relatively rare — the city, Peskin told us, makes tens of thousands of CEQA determinations every year, and at most a couple dozen get appealed. “I don’t understand what the abuses are,” Peskin said.


But in some cases, opponents of a project file a CEQA appeal after they’ve lost at all the policy bodies — and that, Wiener argues, just slows things down. “If you’re going to appeal, then appeal, but don’t wait around,” he said.


Wiener said his proposals would benefit not only private developers but also nonprofit affordable housing projects. “This will help prevent unnecessary challenges to affordable housing,” he told us.


But Calvin Welch, a member of the Council of Community Housing Organizations who has been working to build affordable housing for more than 30 years, told us he doesn’t see the problem. “CEQA never gets used to stop affordable housing,” he said. “It just doesn’t happen.”


CONSOLIDATED APPEALS


Perhaps the most profound change would eliminate any CEQA appeal for a project that has to go to the supervisors anyway. Wiener’s idea: if the board already has to sign off on, say, a zoning change or a special use district or any finances of a project, the environmental review can be done at the same time. “It’s as if there’s an automatic appeal,” he said.


But that conflicts with the concept of environmental review, critics say. No member of the public has the legal right to a sustainable or environmentally sound project; planning commissions, city councils, and county supervisors can, and often do, approve horrible projects.


But everyone has the right to a complete and fair environmental review. CEQA mandates that the decision-makers accept and acknowledge the consequences of their decisions — and if an EIR is flawed, those consequences can be understated.


Wiener would do away with the mandate that the supervisors hold a hearing, accept appeal briefs, and address CEQA questions as a distinct and separate part of a project approval. “The public would be denied the right to a hearing before the full elected body on the adequacy of an EIR or other CEQA determination,” a Planning Department staff analysis states. “And if a member of the public introduced new information at the committee hearing, there would be no way for the city to respond to or modify the environmental document.”


Among the projects that this provision would affect — where the public would lose the right to appeal an environmental determination: The America’s Cup, the Central Subway, the Parkmerced rebuild, the 8 Washington project, and the California Pacific Medical Center’s billion-dollar hospital proposal.


The proposal would also change the standard city planners apply when they review projects. The current rules require that the city show there is a “fair argument” that a project would have a significant environmental impact. The new language would mandate the staffers find “substantial evidence” that a full review is needed.


“It is likely more projects would require an EIR under the ‘fair argument’ standard and fewer projects would require an EIR under the ‘substantial evidence’ standard,” the Hastings analysis concludes.


And while the Board of Supervisors now has to certify that an environmental determination is accurate and correct, Wiener would change that to a determination that the city has made “an independent judgment” on the merits of the review. That, the Hastings lawyers state, “is a more discretionary standard that would be used to uphold an EIR certification decision even if the board determines that the conclusions and findings in the EIR are incorrect.”


MORE LAWSUITS?


A lot of the language in the complex package of CEQA changes involves public information and notice. Many of the lawyers and activists who have reviewed the legislation say it limits public notification of some CEQA determinations, particularly when the city concludes that a project is categorically exempt.


“If the ERO determines that a project is exempt from CEQA review, he may or may not be required to provide public notice of this determination,” the Hastings analysis states.


There’s no question that it would add to the complexity and burden of filing an appeal; and shorten the time frame for doing so — in a way that some say would actually encourage more lawsuits.


Kevin Bundy, a lawyer with the Center for Biological Diversity, argues that “The proposed amendments create a situation where appellants will be required to file litigation prior to the board’s decision on appeal.”


It’s a complicated situation, but in essence, the new Wiener rules would set the timeline for project approval at the first stage of policy decision — and if the supervisors overturned an environmental appeal, the clock for the project would be set back to that day.


That could upset the statutory timeline for CEQA lawsuits — and thus lead to more cases.


Wiener acknowledged that there were a lot of technical issues like that one that still need to be resolved. “We will be conferring with the people who have commented on the legislation and making the appropriate changes,” he said.


He added, however, that he sticks by the essential parts of his proposal despite the opposition: “There are a lot of CEQA lawyers out there,” he said. “And they aren’t always right.”

Taking flight with Juan Atkins, co-originator of Detroit techno

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Juan Atkins will perform songs from the Cybotron and Model 500 catalogues with a four-piece electronic group, including “Mad” Mike Banks of Underground Resistance, Mark Taylor, and Milton Baldwin, this Friday at No Way Back’s three-year anniversary party at Mezzanine.

When I first Googled “Model 500” the search results surprised me. I expected to find a clue as to why Juan Atkins named his mid-1980s solo music project after what sounded like a blueprint for a piece of consumer technology, like some sort of hyper-evolution of the Model T.

But the choices between a rotary telephone from the post-war period and a newly minted Smith & Wesson revolver, both model 500s in their own rights, left me wanting. When I ask Atkins whether there was any story behind the name, he suggests another way of reading it: “It was something I used to repudiate ethnic designation. It wasn’t named after any model or any particular piece of equipment.”

A more illuminating answer.

For it’s telling that one of the originators of Detroit techno — who first together with Rik Davis as Cybotron not only exploded what was expected of black American music, but also reinvented the possibilities for machine generated music — would substitute android names for human ones.

https://www.youtube.com/watch?v=KNz01ty-kTQ

Already the word Cybotron contained the material trace of the cyborg, spun into rapid particle acceleration by the cyclotron. “Not that I was hiding my name,” Atkins clarifies. “When I first started making music in the ‘80s, the music industry was still really racially polarized. Even in America it still is that way to a certain degree. It was harder to cross over to certain genres, so I wanted to put more emphasis on the music as opposed to the person behind the music.”

Atkins put emphasis on the music in part by releasing it independently on his own imprints, Deep Space and later Metroplex, which is still operative nearly three decades later. But apart from the prejudices held by the industry, Atkins’ music reminds us that the production, distribution, and consumption of music is already caught up in an artificial network of mass production, even on independent labels.

At the very least, it’s contaminated in advance by the prosthetic apparatus that makes possible recording, listening, and performance. The name Model 500 then uncovers another achievement of techno as a genre: it refuses cheap illusions of authenticity by calling into question any pure separation between human creativity and technology, between feeling and artifice.

It’s strange that the sole contender against Cybotron’s “Alleys of the Mind” for the first techno single is A Number of Names’ “Sharevari.” Apparently they were both released only weeks apart in 1981, and no one has properly settled which came first. Once again, the human name, the proper name of the artist, is put under erasure for the benefit of the machine, this time a number: a number of names.

On the one side, we have the deep recesses of the mind mapped onto the neglected alleys of an otherwise manufactured and pre-programmed city. “Alleys” conjures images and feelings corresponding with a post-industrial wasteland, tempered in the shadow of Motown’s ghost and Detroit’s crumbling automobile industry, or as Ridley Scott’s Bladerunner would come out only one year later, a devastating post-human condition in which all life is gradually but inevitably devoured. On the other side, we have charivari, a word associated with all sorts of discordant music, disarticulated syntax, and mutilated proper names.

Yet, Atkins finds a hint of autonomy in disembodied music, especially in the robotic voice, freed from the social constraints that would root the lyricist in a localized body, and thus delimit its possibilities in a determinate space and time. Working with drum machines and synth keyboards that were made newly available and affordable, Atkins freely allowed the new instruments to guide the course of his music.

“There was no real plan or formula. Even the choice of the words was predicated on how well you can work the software,” he explains. “I used some primitive software — not even a vocoder; it was electronic speech software used for the Commodore 64 computer. The actual delivery of the lyrics was limited by the software, and our vocal skills, to make it work properly; it was really more of a mistake that the lyrics sounded as robotic as they did.”

http://www.youtube.com/watch?v=rRVb47WtINI

Chance encounters between human and machine produced unheard possibilities. In “Clear,” a mechanically fissured voice repeatedly calls for the destruction of old programs in order to make way for the new. But an ambivalence wavers throughout; when the electric speech “tomorrow is a brand new day” emerges over a tremendously explosive rhythm, they invoke an anxious threshold between terror and hope.

As a friend of mine, whose intimacy with “Clear” cannot be overstated, put it: I get the impression that tomorrow has gone dark. Ever hopeful, I still have the impression that this darkness bears the promise of a new dawn.

“There’s a whole ideology that goes hand in hand with techno music, or electronic music,” Atkins says. “My way of thinking is that the ideology comes out in the lyrics. They had to be just as profound as the music.” A recently recovered Cybotron song, “Dreammaker,” depicts at least one of the ideological dimensions of Atkins’ machine-generated music: a cosmic escape.

Over drum sequences snared in delay and worming synth lines, an intoxicated voice addresses the maker of dreams to let him take flight “to the stars.” His appeal repeats, whirls, intoxicates. Punctuating the narrative, sound effects of a spaceship taking liftoff to a distant star culminate the song, calling us to imagine an escape from the disappointments and frustration wrought by planet Earth. For only the workings and unworkings of the imagination are able to resist the pressures of our reality. Perhaps Atkins’ music then becomes the vehicle, an unreal piece of futuristic technology, for the flight of the imagination.

https://www.youtube.com/watch?v=h_Nutr-Mx78

The interconnected thread of speed, flight, and escape is also weaved into the more muscular configuration of sound underwriting the signature of Model 500. In “Night Drive (thru Babylon),” the mechanized refrain of “time, space, transmat” buzzes over speeding sub-bass frequencies, as if the intensified acceleration of the song itself could dematerialize and transmutate our own bodies captured in the web of rhythm.

Kraftwerk’s mark is here unmistakable but calibrated to the propulsive swing of funk. The drums reach such overwhelming claustrophobia in “No UFOs” that it violently increases a growing desire for release. But where could we find this release? When listening, I gather the sense that these injunctions for flight don’t invite the decadent escapism that is so often associated with electronic dance music; rather, they subtly indicate the possibility of the unknown, a world foreign to our own, not yet in being.

Much of Cybotron and Model 500 fuels this desire for the unknown, nourishing a nearly forgotten hope, dim and repressed, for renewal, even for the collective transformation in which proper names would no longer evoke exclusion and carry the weight of injustice. “As long as the theme and the recurring thread is the new, or the future, then basically, the future is what you make it,” Atkins reminds us. “Synthesis means to make something from nothing—almost.” He paused, before qualifying the almost. “I would never put a formula onto what the future is.”

No Way Back with Model 500
Fri/16, $20, 9pm
Mezzanine
444 Jessie St, SF
www.mezzaninesf.com

GOLDIES 2012: Jamie Meltzer

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GOLDIES He may be a filmmaker, but the inspiration for Jamie Meltzer’s first feature-length documentary came while he was flipping through the bins at a record store.

“I found this song-poem compilation,” Meltzer remembers. At the time, he was a San Francisco State University MFA student. “It was such an amazing, undiscovered-to-me subculture that I started making the film that day. It took me two years to go around and meet all of these song poets and musicians, but it really started in the record store.”

The end result morphed from thesis film into 2003’s Off the Charts: The Song-Poem Story, which aired on PBS and earned a cult following. It also opened professional doors for Meltzer; after thanking one of his undergrad professors in the film’s credits, he learned that his alma matter, Vassar College, was hiring in its film department. In 2007, he transitioned to his current teaching gig, at Stanford’s prestigious MFA program in Documentary Film and Video.

“I was happy to come back to San Francisco, of course, but I was also really happy to step into the documentary-centric environment at Stanford,” Meltzer says. “It’s almost like a documentary lab — between the students and other professors, we’re all thinking about documentary films, talking about them, studying them, making them.”

His follow-up to Off the Charts, 2007’s Welcome to Nollywood, takes on another “Who knew?” subject: Nigeria’s vibrant film industry.

“Nollywood is the third-largest film industry in the world, and they have this independent film model that makes a lot more sense than even what we have in the US. That just kind of blew my mind,” Meltzer says.

“But beyond just being a portrait of an industry, the film ended up being a complex story. There’s all sorts of questions of, are these quote-unquote good films, or is the value that they’re being made and consumed as kind of a self-representation? To me, Nollywood and Off the Charts were similar in that way: different people passionately making art, but not sure how well it will be received. The character of the dreamer against all odds, that outsized ambition — I think that’s a big parallel with independent filmmaking in general. You always believe in what you’re doing, but you’re not really expecting other people to believe in what you’re doing.”

Meltzer’s current film, Informant, premiered at the 2012 San Francisco International Film Festival, and has since been on a nonstop festival tour. The doc explores the strange life of Brandon Darby, a lefty activist turned FBI informant who helped send two 2008 Republican National Convention protestors to jail. He’s a polarizing guy, but the film, which is anchored by an extensive interview with Darby, invites the audience to draw their own conclusions. Complexity is once again an important theme.

“The main thing was to try to respect the complexity of Brandon, as a subject, as a person, because he has all these different facets,” Meltzer says. “His story’s very intense, and he was very sincere and conflicted in ways that I found really compelling. It brought up a lot of interesting moral territory and all these moral issues. Then you’d go and talk to Brandon’s activist nemesis, and he had a totally different take, and you’d find yourself agreeing with his story. So, to have that kind of character who can be seen from such different perspectives — that’s totally astounding. I really wanted to get that across in the film.”

Informant, which avoids making any tidy conclusions, reflects Meltzer’s own philosophy on documentary making.

“Some audiences have this idea that documentaries have to make very clear and usually politically-based arguments. And that’s the thing that I set out not to do. I think it’s great that the film creates a dialogue over, ‘What is documentary?’ People question my point of view, they question the point of view of Brandon and the other characters,” he says. “Hopefully they will start questioning other documentaries, too, and the notion of objectivity. Documentary filmmakers know that documentaries aren’t objective in the least. But I think audiences still aren’t entirely clear on that.”

Meltzer credits both the Bay Area filmmaking community (particularly Frazer Bradshaw, Informant‘s director of photography) and his Stanford colleagues (including numerous former students) for helping him make the film. “San Francisco has a lot of people who are committed to working on things that they believe in for little or no money, out of passion. That can’t be overstated,” he says.

So what’s next? Making Informant was so difficult, Meltzer confesses, that he thought it would be his last film. But then he heard about a group of exonerated men in Texas who’ve formed a detective agency to help other innocent people behind bars. “You can’t pass up those kind of ideas,” the filmmaker says. “You have to grab them when they come.”

No doubt it won’t end up being a simple story — but Meltzer will weave all of its threads into a captivating tale.

GOLDIES 2012: Joe Landini and the Garage

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GOLDIES Choreographer, impresario, and arts advocate Joe Landini likes to say yes. “It’s my philosophy to start that way,” the founder and artistic director of the Garage — San Francisco’s most hoppin’ performance venue — explains. “If you say no to something, the conversation is closed. There is nowhere to go.”

Landini is a curious mixture between visionary idealist and pragmatist who has a solid grasp of what it takes to get a job done. As a young jazz dancer, he was told to take ballet to improve his alignment. So he did, until his knees gave out and he switched to modern dance at UC Irvine, where he majored in choreography.

While Landini was in college, master choreographer Donald McKayle suggested that he had talents as an administrator. Landini accepted the observation though he saw himself primarily as a choreographer. He moved back to San Francisco — he grew up in Concord — and waited tables while interning for Mary Alice Fry’s Footloose Dance Company and Shotwell Studios. “I learned to write grants,” he remembers over coffee, near the Garage’s digs at 715 Bryant. “And I got free rehearsal space for my own choreography.” He also learned that per capita, San Francisco funds its dancers reasonably well. “In New York, you might have 200 applicants for one grant. Here, there may be 50 to 60.”

Opening the Garage in 2007 (its original location was on Howard Street) allowed him to offer what he thought artists, particularly young ones, need: an environment where experimentation, learning, and risk-taking are welcome. Artistic failure doesn’t bother Landini; it’s part of the learning process, he says. During the first five years, he estimated that annually around 10,000 people walked through that iconic red door on Howard.

Landini’s major initiative, RAW (Resident Artists’ Workshop), is modeled after AIRspace (AIR standing for “artists in residence”) — which had been set up for queer performers at the Jon Sims Center for the Arts. Landini ran it for a year. When the Sims Center closed, he bought the seats and tech equipment, putting them in storage until needed.

The Garage is run like a time-share in which 30 groups evenly divide up the time slots. While primarily a haven for dancers, theater folks and performance artists are equally welcome. Anybody can apply. True to form, Landini doesn’t tell them no, though “they just may have to wait until a space opens up.”

Wayne Hazzard, executive director of Dancers’ Group, the Bay Area’s dance service organization, considers the Garage a “powerful space where community-building can start. Joe, with his practically 24-hour open-door policy and constant presence, is almost like a neighborhood mom-and-pop store. For first-time young artists, this is particularly valuable.”

All Garage artists get three months of four-hours-a-week rehearsal time that ends with a public performance. Artists can come back — and many do. As for his own choreography, Landini is just getting back into it. During a two-year stint in London for an MA in choreography from the Laban Centre, he immersed himself in the European dance theater tradition. “I learned so much, and I have never been able to use it,” he says — until now: on November 27, he will present his new physical theater piece, Bitter Queen.

As if running the Garage seven days a week was not enough, Landini also started a Summer Performance Festival this year, curated in conjunction with ODC Theater. Again, he couldn’t say no — this time to offering a select group of Garage choreographers a venue more professional than his own modest theater can provide. The event will return in August 2013.

And, of course, Landini couldn’t say no when he heard that the city was interested in keeping another summer event, the 22-year-old West Wave Dance Festival, alive. “Every city needs a yearly independent dance festival, right?” he asks. One guess who will be running it in 2013.

GOLDIES 2012: Anna Ishida

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GOLDIES One of the very first things you’ll notice about Anna Ishida, onstage and off, is an aura of self-possession that simultaneously grounds her and yet sets her ever-so-subtly apart in a crowd. But she also has a chameleon-like quality, a way of blending seamlessly into her surroundings, whether it’s a 49-seat black box theater on Natoma Street, or the hip buzz of Farley’s East in Oakland, where we meet over coffee and sandwiches.

It’s this very quality that helps make her such a compelling actor to watch onstage. No matter what the role, Ishida appears born to it, whether appearing as an allegorical peasant in an imaginary land (in The Forest War at Shotgun Players), a horny Russian aristocrat with a mic (in Beardo, also at Shotgun), or a frustrated former drag queen forced to languish in the glitter-dusted shadow of her employer-lover (in Boxcar Theatre’s Hedwig and the Angry Inch).

Professionally, Ishida appeared first in The Color of Justice at Oakland’s TheatreFIRST in 2002, following up with roles with a miscellany of companies such as Woman’s Will and the San Francisco Shakespeare Festival, plus a long association with Shotgun Players. But this year, after a powerful performance as Tamora, Queen of the Goths, in Impact Theatre’s Titus Andronicus, Ishida’s been working to make herself even better-known as a triple threat: vocalist, actor, and independent film star. Her turn as Yitzhak in Boxcar’s summer production of Hedwig framed her trademark spiky hairdo in black leather and heartbreak, and matched her versatile vocals and formidable stage presence to the dozen glam-rock divas cast in the title role.

Her current show, Christopher Chen’s The Hundred Flowers Project with Crowded Fire Theater, casts her as an actor exploring the sprawling epic of China’s Cultural Revolution via the creative process. Earlier this year, she spent a week basically locked up in a room for 16 hours a day for her cinematic debut in HP Mendoza’s unsettling art house ode to the horror film genre, I Am a Ghost. The film — about a literal lost soul trapped in an unending routine — premiered at the 2012 San Francisco International Asian American Film Festival, and has been getting raves elsewhere on the festival circuit.

Ishida was born in Tokyo; her family moved to the East Bay when she was four, where she first attended a mostly all-black kindergarten followed by an almost all-white Catholic school, which naturally meant she fit into neither. Gravitating towards music at a young age, she narrowly escaped becoming a business major in college and instead attended the Pacific Conservatory of the Performing Arts in Southern California, where she connected on a deeper level to acting, and has mostly stuck with it ever since.

“The grass is always greener,” she confesses with a smile. “If I’m acting, I want to be singing; if I sing, I want to do Shakespeare; if I do Shakespeare, I want to dance. I’m fortunate I can do all three.”

Onstage, no matter what the role, Ishida never lets her focus flag, and her signature watchfulness gives her characters a feral, almost predatory depth. Perhaps most interestingly, in a climate of casting controversies particularly affecting Asian actors (such as a recent production of The Nightingale at La Jolla Playhouse, where a Caucasian actor played the Emperor of China), Ishida has successfully avoided being categorized by her racial makeup. With the exceptions of The Forest War and The Hundred Flowers Project, she’s been seen in roles she has successfully rendered colorblind.

“I’ve demanded that people see me as an actor, rather than as ‘Asian’ — and if I didn’t work, then so be it, but I was not going to be pigeonholed,” she emphasizes.

Then she laughs, considering some of her recent roles: a Russian tsaritsa, Poseidon (in Shotgun’s The Salt Plays, Part Two: Of the Earth), and Tamora. “I may have escaped being typecast as Asian,” she allows, “but now I’m typecast as the angry queen. The angry god-queen!”

Sorting out a strange election

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steve@sfbg.com, tredmond@sfbg.com

The way the San Francisco Chronicle pundits put it, Mayor Ed Lee was the clear winner in a grand San Francisco election. “All his measures on the ballot won hands down,” noted Willie Brown, the high-paid lawyer and political operative who also functions as a Chron columnist. “It was a great day for Ed Lee,” proclaimed columnist C.W. Nevius.

Well, not really.

There are a lot of ways to explain and analyze the inconsistent results of one of the most heavily propagandized elections in recent San Francisco history. But no matter how you look at it, the election was at best a wash for the mayor. Indeed, we’d argue that voters rejected the basic premise of the mayor’s political agenda – that tax cuts and favors for big business are the best economic policy – despite record-breaking outside spending selling that agenda and targeting those who stood in its way.

Let’s take a look at the real facts:

• Every single initiative backed by the mayor, the ones he’s getting credit for – from the City College parcel tax to the housing fund to the business tax – was either a compromise with progressives or a measure that originated on the left. There was nothing the mayor pushed that had any significant progressive opposition; his wins were equally, if not more dramatically, wins for the left.

• Both people the mayor appointed to office were soundly rejected by the voters. Rodrigo Santos, his high-profile appointee to the troubled City College Board of Trustees, spent almost $200,000 and finished a distant sixth. Sup. Christina Olague lost to the candidate Lee had rejected for appointment, London Breed, in a complicated race where the mayor’s actual role was unclear (he never withdrew his endorsement of Olague even as his allies trashed her in nasty ways).

• A million-dollar effort funded by some of the mayor’s allies to oust Sup. Eric Mar was a spectacular failure, suggested some serious problems in the mayor’s political operation, and undermined his emphasis on “civility.”

• The voters made clear on every level that they believe higher taxes on the wealthy and closing tax loopholes on big business are the right approach to the economy and to funding government. From Prop. 30 to Prop. 39 to Prop. A to Prop. E, the message was pretty clear: The tax revolt that started in California in 1978 may be winding down, and the notion of making property owners and the wealthy pay for education and public services is no longer a radical idea.

Robert Cruikshank, who writes for the Calitics blog, argues that the November election signals a major sea change in California. “[The] vote to pass Prop 30 — by a larger margin than most observers expected — does more than just provide $6 billion of badly needed funding to the state’s public school,” he wrote. “It brings to a close a 34-year long tax revolt that came very close to destroying California’s middle class, locking its low income families into permanent poverty, and left the state on the edge of financial ruin.”

That sounds like a progressive message. The agenda put forward by the mayor’s closest allies, including right-wing billionaire Ron Conway, who played a heavy-handed role in this election, not only failed to carry the day; the big-money types may have overplayed their hand in a way that will shape the political narratives going forward.

A LOT OF CONSENSUS

Let’s start with the ballot measures (before we get to the huge and confusing mess that was D5).

Proposition A, the parcel tax for City College, didn’t come out of the Mayor’s Office at all; it came from a City College board whose direction the mayor tried to undermine with the appointment of Santos, a pro-development engineer so conservative that he actually endorsed the Republican opponent of Assembly member Tom Ammiano.

Lee didn’t even endorse Prop. A until a few weeks before the election, and played almost no role in raising money or campaigning for its passage (see “Words and deeds,” 9/11/12). Yet it got a higher percentage of the vote than any of the three measures that Lee actively campaigned for: Props. B, C, and E.

Then there’s Prop. C, the Housing Trust Fund. Lee’s office played a central role in drafting and promoting the measure -– but it wasn’t exactly a Lee initiative. Prop. C came out of the affordable housing community, and Lee, who has strong ties to that community, went along. There were tough negotiations -– the mayor wanted more guarantees and protections for private developers -– and the final product was much more what the progressives who have spent decades on the housing front wanted than what the mayor would have done on his own.

The way the mayor envisioned business-tax reform, the city would have eliminated the payroll tax, which tech firms hate, and replaced it with a gross-receipts tax -– and the result would have been revenue-neutral. It was only after Sup. John Avalos and the progressives demanded that the tax actually bring in more money that the outlines of Prop. E were drafted and it received strong support from groups across the ideological spectrum.

“You had a lot of consensus in the city about these ballot measures,” political consultant David Latterman, who usually works with downtown-backed campaigns, said at SPUR’s post-election round-up.

The supervisorial races were a different story, with unprecedented spending and nasty messaging aimed at tipping the balance in favor of real estate and development interests. Mayor Lee didn’t get directly involved in the District 1 race, but he was clearly not a supporter of incumbent Sup. Eric Mar.

The real-estate and tech folks who are allied with Lee spent more than $800,000 trying to oust Mar — and they failed miserably, with Mar winning by 15 points. While Mar did have the backing of Chinatown powerbroker Rose Pak, who raised money and helped organize ground troops to help, Mar’s victory was primarily the result of a massive outpouring of support from labor and progressive activists, many reacting to the over-the-top effort to oust him.

Mar, who voted to put Lee in office, won’t feel a bit indebted to the mayor for his survival against a huge money onslaught. But in District 5, the story was a whole lot more complicated, and impact more difficult to discern.

THE D5 MESS

Before we get into what happened in D5, let’s dispel some of the simplistic and self-serving stories that circulated in the wake of this election, the most prominent being that Olague’s loss -– the first time an incumbent was defeated in a ranked-choice election –- was payback for crossing Mayor Lee and voting to reinstatement Sheriff Ross Mirkarimi.

It’s certainly true that Lee’s allies went after Olague and supported London Breed, and that they tried to make an issue of domestic violence, but there was much, much more to this district election. Breed is an SF native with a compelling personal story who ran a strong campaign –- and that three strongest progressive candidates in the race each had major flaws that hurt their electability. By most accounts, the Olague campaign was a disaster until the very end. Equally important, the progressive community was divided over D5, leaving room for Breed to slip in.

“It’s hard to unravel what happened here,” Latterman said.

San Francisco Women for Responsibility and an Accountable Supervisor was an independent expenditure group fronted by domestic violence advocates and funded by more than $100,000 from the families of Conway and fellow right-wing billionaire Thomas Coates. It attacked Olague’s Mirkarimi vote as being soft on domestic violence — but it also did a last minute mailer criticizing Olague’s vote for CleanPowerSF, muddling its message of moral outrage.

On election night, Olague told us she believed her split with the Mayor’s Office really had more to do with CleanPowerSF –- which the board approved with a veto-proof majority over the objections of Lee and the business community –- and with her insisting on new revenue from Prop. E than it did with Mirkarimi, whose ouster she dismissed as “a power play” aimed at weakening progressives.

“They don’t want to say it, but it was the whole thing around CleanPowerSF. Do you think PG&E wanted to lose its monopoly?” she said.

Yet Olague said the blame from her loss was also shared by progressives, who were hard on her for supporting Lee, courting his appointment to the D5 seat, and for voting with him on 8 Washington luxury condo project and other high-profile issues. “The left and the right both came at me,” she told us. “From the beginning, people were hypercritical of me in ways that might not be completely fair.”

Fair or not, Olague’s divided loyalties hurt her campaign for the D5 seat, with most prominent progressives only getting behind her at the end of the race after concluding that John Rizzo’s lackluster campaign wasn’t going anywhere, and that Julian Davis, marred as he was by his mishandling of sexual impropriety accusations, couldn’t and shouldn’t win.

Olague told us she “can’t think of anything I would have done differently.” But she later mentioned that she should have raised the threats to renters earlier, worked more closely with other progressive candidates, and relied on grassroots activists more than political consultants connected to the Mayor’s Office.

“The left shouldn’t deal with consultants, we should use steering committees to drive the agenda,” Olague said, noting that her campaign finally found its footing in just the last couple weeks of the race.

Inside sources say Olague’s relations with Lee-connected campaign consultant Enrique Pearce soured months before the campaign finally sidelined him in the final weeks, the result of his wasteful spending on ineffective strategies and divided loyalties once a wedge began to develop between Olague and the Mayor’s Office.

Progressive endorsements were all over the map in the district: The Harvey Milk Club endorsed Davis then declined to withdraw that endorsement. The Tenants Union wasn’t with Olague. The Guardian endorsed Rizzo number one. And none of the leading progressive candidates had a credible ranked-choice voting strategy — Breed got nearly as many second-place votes from Davis and Rizzo supporters as Olague did.

Meanwhile, Breed had a high-profile falling out with Brown, her one-time political ally, after her profanity-laden criticism of Brown appeared in Fog City Journal and then the San Francisco Chronicle, causing US Sen. Dianne Feinstein to withdraw her endorsement of Breed. That incident and Olague’s ties to Lee, Brown, and Pak may have solidified perceptions of Breed’s independence among even progressive voters, which the late attacks on her support from landlords weren’t ever able to overcome.

Ironically, while Breed and some of her prominent supporters, including African American ministers in the district, weren’t happy when Lee bypassed her to appoint Olague, that may have been her key to victory. Latterman noted that while Olague was plagued by having to divide loyalties between Lee and her progressive district and make votes on tough issues like reinstating Mirkarimi –- a vote that could hurt the D5 supervisor in either direction -– Breed was free to run her race and reinforce her independence: “I think Supervisor Breed doesn’t win this race; challenger Breed did.”

But even if Breed lives up to progressive fears, the balance of power on the Board of Supervisors could be up in the air. District 7 soundly rejected Mike Garcia, the hand-picked successor of the conservative outgoing Sup. Sean Elsbernd.

At press time, progressive favorite Norman Yee seemed headed for victory, although FX Crowley was within about 30 votes, making this too close to call. But either way, the once-solid conservative seat will now be a swing vote on many issues, just as Breed will be in the once-solid progressive D5.

“The Board of Supervisors as a whole is becoming a helluva lot more interesting,” was how political consultant Alex Clemens put it at SPUR election wrap-up. “Determining what’s going to happen before it happens just got more difficult.”

GOBS OF MONEY

The other big story of this election was money, gobs of it, and how it can be spent effectively — or used to raise suspicions about hidden agendas.

Third-party spending on D1 loser David Lee’s behalf was $454,921, with another $219,039 to oppose Mar, pushing total spending to defeat Mar up over the $1 million mark, roughly doubling the previous record. Labor groups, meanwhile, spent $72,739 attacking Lee and $91,690 backing Mar. But many political analysts felt that lop-sided spending only served to turn off voters and reinforce the idea that powerful interests were trying to buy the seat.

In District 5, the landlords, Realtors, and tech moguls spent $177,556 in support of Breed, while labor spent $15,067 attacking her as a shill for the landlord lobby. The only other D5 candidate to attract significant spending by outside groups was Olague, who had $104,016 spent against her, mostly by the families of Conway and Coates, and $45,708 spent in support of her by SEIU 1021. Yet ultimately, none of these groups bought very much with their money. Conway, Salesforce CEO Marc Benioff, and San Francisco Association of Realtors each spent hundreds of thousands of dollars of their money, and the most obvious result was to convince San Franciscans that they’re working together to move an agenda in San Francisco. They may have the mayor on their side, but in a politically sophisticated city like San Francisco –- with its cost of living being driven up by the schemes of Lee, Conway, and the Realtors -– they seem to have a long way to go before they achieve they’re stated desire of destroying the progressive movement, particularly with its rising new leaders on the left, including Matt Haney and Sandra Fewer on the school board and Steven Ngo and Rafael Mandelman on the City College board. As Haney said on Election Night, “It was a good night for progressive San Francisco,” which stands for important egalitarian values. “We are the ones about equity and compassion. That’s what this city is about.”

Celebrate National Toy Store Day at some of our fave local shoppes

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There’s perhaps nothing in your life that will ever get you as excited as when you a youngster with a toy trip trip on your schedule. Not even the Giants winning the World Series twice in three years or scoring free VIP tickets to Outside Lands can come close to eliciting that brain-paralyzing gush of euphoria and innocent bliss.

But since you can’t quantum leap back to being eight (get on it science!), the Guardian can offer you the next best thing, and that is the upcoming National Toy Store Day on Sat/10. 

In an effort coordinated by the American Specialty Toy Retailing Association — whose members include over 1400 locally-owned toy shops — over 500 independent centers of child-like joy across our glorious nation will be participating in Toy Store Day.

In the Bay, The Ark, which has locations in Presidio Heights, Noe Valley, and Berkeley, is planning to go all out for the occasion. A veritable carnival will be taking place inside the stores — there’s going to be prizes galore, an “I Spy” contest, and a meet-and-greet with several toy inventors (your mission: find out how to become a toy inventor.)

And definitely check out some of our other favorite independent toy stores: eternal Best of the Bay winner Jeffrey’s, West Portal classic Growing Up, the Mission’s rad place for organic, sustainably made gear Aldea Niños, and Clement Street action figure wonderland Heroes Club/Art of Toys. Should you need inspiration in your quest, totally-not-locally-owned Toys ‘R Us has released its “Fabulous 15” list of top toys for 2012 (we suggest finding the off brand equivalents to avoid having your gift recipients’ holiday hijacked by corporate advertising.) 

Saturday! It’s the perfect excuse to get your holiday shopping done early. Trust, you don’t want to get caught up in the December crush: 

 

Our Weekly Picks: November 7-13

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WEDNESDAY 7

Twin Sister

At times romantic and sultry but also plenty psychedelic, Twin Sister will bring its energetic, upbeat dream-pop back to San Francisco this week. Singer, Andrea Estella, an artist who also works in water color and sculpture, is decidedly nymph-like with her hypnotic voice and pixie features. And if that’s not entrancing enough, she’s backed by a collaboration of Brooklyn musicians who handle their instruments (keyboards, synths, and melodica to name a few) with thoughtful precision. If you’re lucky, they may throw in some acoustic versions, but you’ll have to come and find out for yourself. (Molly Champlin)

With Melted Toys, Some Ember, and Yalls (DJ set)

8pm, $10

Rickshaw Stop

115 Fell, SF

(415) 861-2011

www.rickshawstop.com


THURSDAY 8

San Francisco Transgender Film Festival

With Cloud Atlas co-director Lana Wachowski (and her fab pink hair) all over pop culture media these days, trans filmmakers have never enjoyed a higher profile. But the artists who’ve participated in the San Francisco Transgender Film Festival, now in its 11th year, don’t need Hollywood to assure them of their talent. The 2012 fest is the biggest ever, with three nights of globally-sourced short films (“enticing tales of defiance, bullying, relationships, sex, humor, enchantment, romance, and zombies”), plus a performance spectacular (with Sean Dorsey Dance, Eli Conley and the Transcendence Gospel Choir, and more). Previous fests have sold out lickety-split, so buy your tickets ASAP. (Cheryl Eddy)

Thu-Sat, 8pm; Sun, 7pm, $12–$15

CounterPulse

1310 Mission, SF

www.sftff.org

 

Wet Paint

Contrary to popular belief, the Beats were not just an old boys’ club. Bay Area painter Jay DeFeo stands as a contradiction to the flat female characters you’ll encounter in a Kerouac novel. She pushes boundaries alongside all persuasions of painters. Her work lays the paint thick, looking at light, nature, and the body to find the abstract in the real and vice versa. In conjunction with her retrospective at SFMOMA will be a performance of Wet Paint by Kevin Killian (maybe you know him as a poet, editor, and award-winning author of gay erotic fiction). The play about DeFeo’s life will be performed by the Poets’ Theater and should be a great way to learn the background of her art and ties with the beat movement. (Champlin)

7pm, $10

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

 

Maya Jane Coles

If London producer and DJ Maya Jane Coles has made a statement in her so far short and rapid ascension in the dance music world, it was with the title of her 2011 EP, Don’t Put Me in Your Box. Whether under her own name, dubstep alias Nocturnal Sunshine, or as part of dub duo She Is Danger, Coles has resisted the contrived hooks and familiar samples that promise EDM success, instead forging a path through deep house, delivering independent productions with her personal stamp on everything from vocals to visual design. Noted in the press for being both a breakthrough artist and still quite young, Coles is worth paying attention to as she prepares her eagerly awaited full-length album. (Ryan Prendiville)

With Moniker, Brian Bejarano

9pm, $20

Monarch

101 Sixth St., SF

(415) 284-9774

www.monarchsf.com


FRIDAY 9

“Flamenco en Movimiento”

The emphatic swirl of voluminous skirts, the pounding of heels against the floorboards, the mesmerizing stop-start rhythms, the rose gripped in the teeth, the ache of tight pants … Spanish flamenco dancing and music, bursting with full-throated emotion and thrilling restraint, can be addictive. The Bay Area certainly loves it: flamenco has been eliciting hearty “olé!”s in a new wave of wine bars, beer halls, and Spanish restaurants over the last few years. We’re also home to some incredible flamenco troupes, especially Theatre Flamenco of San Francisco, led by brilliant director Carolyn Zertuche and celebrating its 46th year. Her company’s annual show (this year called “Flamenco in Motion” in English) blew me away last year: the passion, technique, and gorgeous live music emanating from the stage were spellbinding. And I’m no drama queen! If you need a shot of strings-free emotional beauty in these trying times, here’s your best bet. (Marke B.)

8pm (also Sat/10 at 8pm and Sun/11 at 2pm), $20–$40

Cowell Theater, Fort Mason

Marina Blvd, SF.

(415) 826-1305

www.theatreflamenco.org

 

Christopher Owens

It was only in July that with a few tweets Christopher Owens announced the break up of his breezy, garage rock infused pop band Girls. Owens cited personal reasons — as if there were any other kind — but promised that he would continue to make music in some other form. Just as quickly as that news came, the songwriter has turned around and scheduled a solo date, premiering an entirely new road-trip themed album called Lysandre, at an intimate performance above the Regency Ballroom. A special peek at the album due for release in January, this show will also be filmed for a music video. (Prendiville)

9pm, $20

The Lodge at the Regency Ballroom

1300 Van Ness, SF

(800) 745-3000

www.theregencyballroom.com

 

“Forever Natalie Wood”

Natalie Wood was a child star (1947’s Miracle on 34th Street) turned teenage Oscar nominee (1955’s Rebel Without a Cause) turned Hollywood legend (1961’s West Side Story; 1961’s Splendor in the Grass) turned celebrity tragedy (after her mysterious 1981 drowning death at age 43). Marc Huestis curates a special tribute to the gone-but-never-forgotten icon with three days of films (all of the above save Miracle, plus 1966’s This Property is Condemned; 1962’s Gypsy; 1963’s Love With the Proper Stranger; 1969’s Bob & Carol & Ted & Alice; and 1965’s Inside Daisy Clover), including an appearance by Natalie’s sister (and Bond girl) Lana Wood before the Saturday night centerpiece screening of Splendor. (Eddy)

Through Sun/11

Castro Theatre

429 Castro, SF

www.castrotheatre.com


SATURDAY 10

Jon Spencer Blues Explosion

Jon Spencer has been pushing the boundaries of modern rock for nearly 30 years now, first with Pussy Galore, which brought new meaning to the union of the words noise and art, and he has continued to light up stages with his electric live presence with several other projects, notably Boss Hog, Heavy Trash, and the Jon Spencer Blues Explosion. With its first new record in eight years, Meat and Bone, dropping earlier this year, Blues Explosion — which also features Judah Bauer and Russell Simins — is hitting the road once again to testify to the power of rock’n’roll. (Sean McCourt)

With Quasi.

9pm $21–$23

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.slimspresents.com

 

La Sera

These jangly, melancholic pop songs might sound a bit familiar to you. Brooklyn singer-songwriter Katy Goodman, the woman behind La Sera, is also “Kickball Katy,” one third of the indie rock band Vivian Girls. This year’s Sees the Light is Goodman’s second solo release under the La Sera moniker. It’s a rollicking break-up album that leaves you, after many powerfully emotional highs and lows, feeling not downtrodden, but empowered. Layers of distorted sound create a dreamy, escapist pop landscape, at times blurring the lines between pop and punk rock. La Sera is one of the first indie artists to perform at the Chapel, the Mission’s brand new music venue. (Haley Zaremba)

9:30pm, $10

Preservation Hall West at the Chapel

777 Valencia, SF

www.thechapelsf.com


SUNDAY 11

“Animating Dark Dreams: The Films of Jan Svankmajer”

Some of the creatures by Czech animator and puppeteer, Jan Svankmajer, seem like they were plucked out of David Bowie’s Labyrinth. If you were into the flying gremlins in Magic Dance and Escher-world ending, this double feature should be a no-brainer. Svankmajer’s films are a bit more gruesome than stealing someone’s baby, though, and are deepened with inspiration from classic stories. Lunacy (2000), based on several shorts by Edgar Allen Poe, goes for the philosophical horror while Little Otik (2005), based on a Czech folktale, shockingly captures the gore of child-rearing. A few things to look forward to: dancing slabs of meat, hair eating, and a devious tree-stump baby. (Champlin)

2pm, 4:30 p.m., $10 each

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org


MONDAY 12

Titus Andronicus

Titus Andronicus stunned everyone in 2010 when The Monitor, a ridiculously ambitious civil war-themed concept album, turned out not to be meandering celebration of its own complexity, but a powerful, masterfully written opus. Now, with 2012’s Local Business, Titus Andronicus is eschewing high-brow theatrics and multi-instrumental recordings for a simple, down-and-dirty rock album, intended as a marriage of its recorded work and its remarkably energetic, guitar-heavy live sound. In Local Business singer and driving force Patrick Stickles howls about stigmatized subjects relevant to his own life, like deteriorating mental health, and male eating disorders. 2012’s Titus Andronicus may not be grandiose, but it’s definitely badass. (Zaremba)

With Ceremony

8pm, $19

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

Napalm Death

Hailing from Birmingham, England — the same industrial city that gave birth to Black Sabbath — British grindcore pioneer Napalm Death has been pummeling listeners since the mid 1980s. Though the band has gone through a multitude of lineup changes over the years, key members, including Shane Embury and Mark Greenway, continue to lead the group to success. Returning to the US in support of its new album, Utilitarian, its 15th release, the quartet joins local rockers Municipal Waste, Exumed, Attitude Adjustment, and Impaled at what is guaranteed to be a most brutal night of extreme music.(McCourt)

7pm, $12–$16

Oakland Metro

630 Third St., Oakl.

www.oaklandmetro.org

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KCSM and the future of community TV

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OPINION On October 24th, the San Mateo Community College District Board of Trustees voted unanimously to reject the final two bidders (of an original six) for the broadcast license for KCSM television, bringing to an end an 18-month process by the district to try to sell the television broadcast license housed at the College of San Mateo since 1964. KCSM television reaches 10 Bay Area counties and is broadcast on 60 municipal cable systems in Northern California.

The 48-year old TV station was originally established as a broadcast training facility. From 1964 to 1980, the College of San Mateo ran one of the most comprehensive broadcast journalism programs in the country. In 2004, the station converted to a digital-only signal and in 2009, dropped PBS affiliation and became one of the largest independent public televisions stations in the country.

The district, which operates the College of San Mateo, Skyline College and Canada College, has experienced the severe financial pressures affecting California higher education generally and community colleges in particular. Throughout the US, colleges and universities have been shedding non-commercial broadcast licenses at a rapid rate, causing a crisis in independent media that has long had a home at educational facilities. KCSM-TV is the largest Bay Area media asset to go on the chopping block so far.

KCSM currently broadcasts a block of distance learning opportunities and on-line courses that provide a lifeline to many Bay Area residents who for reasons of disability or family obligations can’t participate in campus-based education. It also features a variety of cultural-exchange, craft/hobby, theatrical and informational programs including Ideas in Action, the Miller Center forums and Moyers and Company. The station is also one of the few sources for children’s programs free of commercials and provides 16 hours of week of kids TV.

Educational broadcasters are a bulwark against the commercially-driven broadcast media, whose need to deliver eyes and ears to advertisers compels them to avoid potentially controversial content and pander to the audiences that are most likely to buy large amounts of consumer goods. The freedom to present content that appeals to smaller niche audiences or presents ideas that may be challenging to some aspects of the status quo largely belongs to the independent media. So when a big chunk of it goes up for sale, it affects everyone who values the free exchange of ideas without a corporate blockade.

My organization, democratic communication advocates Media Alliance, filed a public records request with the District to obtain the details of the bids for the broadcast license and the documents are available for review at media-alliance.org.

Unsuccessful bidders for the station included Christian broadcaster Daystar Television Networks, low-power San Jose station KAXT, the Minority Television Project, which operates KMPT, Channel 32, and Belmont’s Locus Point Networks, a startup run by two former telecom executives The final two runners-up were Public Media Company, a division of the Colorado LLC Public Radio Capital, the radio brokers who have been active in scooping up college radio stations, and San Mateo Community Television, a newly established nonprofit connected with Independent Public Media of Colorado.

At the October 24th board meeting, district trustees stated repeatedly that despite the collapse of the process, they were unwavering their determination to sell the television license. This follows previous board meetings at which some trustees referred to the $5 million public asset as the equivalent of a junked car.

A new bid cycle is likely to ensue, which will provide an opportunity for an open and transparent process to find a responsible local operator to serve Bay Area residents and their informational and educational needs. It’s more than time for colleges and universities to stop speculating on broadcast infrastructure like Maui condos and strive to fulfill the public interest obligations inherent in the free gift of a non-commercial license to broadcast.

Tracy Rosenberg is the executive director of Media Alliance, an Oakland-based advocate for community media. They can be found at www.media-alliance.org.

Live Shots: AU at the Independent

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It was my first time seeing Portland’s AU live Saturday night, and I had some important questions I hoped the show would answer. First of all, how does one pronounce AU? Aww? Awe? Oww? Gold? More importantly, how would the band recreate its sound live? I had theories, but as AU began its set at the Independent with its most recent album’s first (and most prominent song) “Epic,” those quickly proved false. There were no guitars.

Drum kit, choir bells, Kord keyboard, Roland sampler, clarinet, glockenspiel, what I believe to be a shekere, and quite a few effects and looping pedal – but no strings at all, which I felt particularly embarrassing, having previewed the show by mentioning that very song and its nonexistent yet “impossibly high rising GY!BE guitars.” This is partly due to my listening abilities,* but also an indication of the current musical landscape, which let’s be honest, can be fairly confusing.

Going relatively blind into a Washed Out show a while back, I remember being surprised to find a full band rather than a guy with a laptop and some other tools. Flying Lotus on another occasion was the reverse experience. The infusion of electronic music and digital production tools across genres has led to a seemingly endless palette, where minimalists can create maximal sounds and vice versa.

With AU, some things were as expected, particularly the base created by drummer Dana Valatka, who plays with a grind that recalls Zach Hill and a exploding control that’s more Buddy Rich. Valatka had a few tricks – playing handbells, for instance, at one point from the back of the room in the merch booth – but is generally rooted in the band’s most traditional role.

On the other extreme was Holland Andrews. On the occasion of her birthday, Andrews alternated between singing and playing the clarinet, a shekere, and at one point, a small handheld glockenspiel. The wide range of sounds she was able to produce was multiplied by the use of a looping pedal. These tools suddenly seemed to be everywhere a few years back, particularly in indie rock, giving individual musicians like Owen Pallett, Merrill Garbus, and Dustin Wong the ability to create a live sound larger than one person. I thought I’d grown tired of their use, but Andrews used it to good effect.

Performing a solo, Bjork-esque song “about going crazy” from her side project, Like a Villain, the singer created a schizophrenic wall of voices that was one of the night’s best moments, after which bandleader Luke Wyland remarked in slight awe, “She’s only 24.”

There’s more to be said about Wyland, the band’s genial center, but it’s largely beyond me at this point. Moving back and forth between solemn intensity and ecstatic excitement, much of the band’s sound – from the orchestral movements on “Crazy Idol” to electronic plotting of “OJ”– is seemingly due to him, behind the Kord, sampler, and whatever else he had up there.

It still left me with questions and reaching for genres, but he did clear one thing up: the name of the band is pronounced similar to a stranger trying to get your attention.

*As a child I’d spent summers at an education camp, where we were only allowed to listen to music (besides the work songs) in guided, “close listening” sessions, tasked with identifying the individual sources of the composition, and understanding both the material conditions/labor that went into each sound. It was a major reason for my escape.

Heads Up: 8 must-see concerts this week

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Kitty Pryde, Maya Jane Coles, Die Antwoord, Tilly and the Wall, La Sera – it’s like a pop culture IRL explosion on the streets of the Bay this week. It’s the acts that shake up your Youtube trolling, the bands that guest star on teen queen dramas, the darlings of Hipster Runoff, all on the calendar during this first full week of November. Oh, and the irrepressible, Mike Watt. Let the fall sweeps begin.

Here are your must-see Bay Area concerts this week/end:

Mike Watt and the Missingmen
What’s new for the post-punk man in the van with the bass in his hand? With his solo career still roaring (third opera Hyphenated Man is on its second US tour with the Missingmen trio), albums from his side project bands (Dos and Spielgusher) released this year, and the book On and Off Bass, it’s easier to ask what isn’t new. That would be the former Minutemen leader’s legendary skills and scruffy persona. He’ll forever jam econo.
With Victory and Associates, Jokes for Feelings
Wed/7, 9pm, $15
Bottom of the Hill
1233 17th St., SF
www.bottomofthehill.com
https://www.youtube.com/watch?v=66HCBt9F8vA

The Glowing Stars
Local pop chiptune duo the Glowing Stars is powering down. For this, its final show, the Game Boy-led 8-bit Stars will play alongside fellow gamers crashfaster, string metalllers Judgement Day and headlining sci-fi garage-punkers the Phenomenauts. Perhaps the breakup is just a kill screen, and we’ll see Glowing Stars again in another life.
Thu/8, 8pm, $15
DNA Lounge
375 11th St., SF
www.dnalounge.com
https://www.youtube.com/watch?v=mbhM45CV0pg

Maya Jane Coles
“If London producer and DJ Maya Jane Coles has made a statement in her so far short and rapid ascension in the dance music world, it was with the title of her 2011 EP, Don’t Put Me in Your Box. Whether under her own name, dubstep alias Nocturnal Sunshine, or as part as dub duo She Is Danger, Coles has resisted the contrived hooks and familiar samples that promise EDM success, instead forging a path through deep house, delivering independent productions with her personal stamp on everything from vocals to visual design. Noted in the press for being both a breakthrough artist and still quite young, Coles is worth paying attention to as she prepares her eagerly awaited full-length album. “ Ryan Prendiville
With Moniker, Brian Bejarano
Thu/8, 9pm, $20
Monarch
101 Sixth St., SF
(415) 284-9774
www.monarchsf.com
https://www.youtube.com/watch?v=m2q7mbbBmSc

Tilly and the Wall
You remember Tilly and the Wall – it has a tap dancer instead of a drummer? Yep, it’s back. A bit wilder, a smidgin darker, but as blissfully adorable as ever with Heavy Mood, its first new album in four years. The Omaha five-piece gained fame at the tail-end of the Saddle Creek bubble with hand-clapping, tap-dancing ballads. And the quintet showed up on the first season of the new 90210, performing at a sparkly party that devolved into cat fights, natch. Live, you’re hands will betray your brain and you’ll be patty-caking back to that tap-tap-tap stomp.
With Icky Blossoms, Il Gato
Thu/8, 8pm, $18
Great American Music Hall
859 O’Farrell, SF
www.slimspresents.com
http://www.youtube.com/watch?v=E7HjBr_QMXI
https://www.youtube.com/watch?v=3UyuGj6ta6A

High Places
Friday’s going to be a tough choice, my friends. Here’s one of a few shows you should seriously consider: truly original, experimental LA electro duo High Places will be doing a live set. Plus, it’s also the official release party for Shock’s new 12-inch, Heaven.
Push The Feeling with YR SKULL, epicsauce DJs
Fri/9, 9pm, $5 (free before 10pm with RSVP)
Underground SF
424 Haight, SF
Facebook: Push the Feeling
https://www.youtube.com/watch?v=5t73J5fIkBg

Kitty Pryde
Live meme/Florida rapper/Riff Raff collaborator/“rap game Taylor Swift”/teen dream. It’s Kitty Pryde, y’all, and the “Okay Cupid” web star is making her first Bay Area appearance tonight at #Y3K. Plus, she shares the spotlight with East Bay hip-hop duo Main Attrakionz, which just released a weed-smoker’s paradise of a new album, Bossalinis & Fooliyones
#Y3K with Hottub, Friendzone, Matrixxman, Marco de la Vega
Fri/9, 10pm, $13, all ages
DNA Lounge
375 11th St., SF
www.dnalounge.com
https://www.youtube.com/watch?v=3SDYus7iKC8

Die Antwoord
Oh those freaky South African rappers, will they ever stop messing with our minds? Would we want them to? What seemed like a weirdo wormhole web-discovered flash on the screen has turned into an endearing live art project, full of eye-popping videos and bouncy, aggressive dance beats laced with tongue-rolling hip-hop flow and manic pixie trills, though Die Antwoord would likely spit on such a suggestion. And by the way, have you seen the video for “Fatty Boom Boom” – Die Antwoord’s response to Lady Gaga asking the trio to open for her on tour?
With Azari & III, Seth Troxler, Paul Kalkbrenner, Nic Fanciulli
Fri/9, 7pm, $49.50
Fox Theater
1807 Telegraph, Oakl.
www.thefoxoakland.com
https://www.youtube.com/watch?v=AIXUgtNC4Kc

La Sera
“These jangly, melancholic pop songs might sound a bit familiar to you. Brooklyn singer-songwriter Katy Goodman, the woman behind La Sera, is also “Kickball Katy,” one third of the indie rock band Vivian Girls. This year’s Sees the Light is Goodman’s second solo release under the La Sera moniker. It’s a rollicking break-up album that leaves you, after many powerfully emotional highs and lows, feeling not downtrodden, but empowered. Layers of distorted sound create a dreamy, escapist pop landscape, at times blurring the lines between pop and punk rock. La Sera is one of the first indie artists to perform at the Chapel, the Mission’s brand new music venue.” — Haley Zaremba
Sat/10, 9:30pm, $10
Preservation Hall West at the Chapel
777 Valencia, SF
www.thechapelsf.com
https://www.youtube.com/watch?v=a70zvIOuxR0

Record-breaking spending floods District 1 with political propaganda

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District 1 supervisorial candidate David Lee and independent expenditure campaigns supporting him have spent nearly $800,000 – shattering previous spending records for a district election – bombarding Richmond District voters with a barrage of mailers and other media pushing a variety of claims and criticisms about incumbent Sup. Eric Mar that sometimes stretch credulity and relevance.

But is it working? Or is the avalanche of arguments – much of it funded by “big money from Realtors, Landlords, and Downtown Special Interests,” as a recent Mar mailer correctly notes – feeding speculation that Lee would do the bidding of these powerful players on the Board of Supervisors?

Mar campaign manager Nicole Derse thinks that’s the case, arguing the Lee campaign would have leaked internal polls to the media if they were favorable, and it wouldn’t be escalating its attacks on so many fronts hoping for traction, such as yesterday’s press conference hitting Mar on the issue of neighborhood schools.

“They’re pretty desperate at this point and throwing anything out there that they can,” Derse told us, later adding, “I feel good, but we really have to keep the fire up.”

Mar and the independent groups supporting him, mostly supported by the San Francisco Labor Council, have together spent about $400,000. Most of the mailers have been positive, but many have highlighted Lee’s political inexperience and his connections to big-money interests, raising questions about his claims to support tenants and rent control.

Lee campaign manager Thomas Li, who has been unwilling to answer our questions throughout the campaign, did take down some Guardian questions this time and said he’d get us answers, but we haven’t heard back. On the issue of why the Realtors and other groups who seek to weaken tenant protections were supporting Lee, Li simply said, “Our position has been steadfast on protecting rent control and strengthening tenant protections.”

The Lee campaign has repeated that on several mailers – possibly indicating it is worried about that issue and the perception that Lee’s election would give landlords another vote on the board, as tenant and other progressive groups have argued – but most of its mailers recently have attacked Mar on a few issues where they must believe he is vulnerable, even when they distort his record.

Several mailers have noted Mar’s support for a city budget that included funding for a third board aide for each of the 11 supervisors – a budget the board unanimously approved – as well as his support for public campaign financing, despite the fact that Lee’s campaign has taken more than $150,000 in public financing in this election, 30 percent more than Mar’s. They have also criticized Mar for supporting the 8 Washington high-end condo project, even though Lee also voted for the project as a member of the Recreation and Parks Commission.

As this Ethics Commission graphic shows, Lee has been by far the biggest recipient of independent expenditures in this election cycle, with hundreds of thousands of dollars coming from the downtown-funded Alliance for Jobs and Sustainable Growth and the Realtor-created Citizens for Responsible Growth.

Mar and his allies have hit back with mailers noting that most of the funding for the Chinese American Voter Education Project, Lee’s main political and communications vehicle in recent years, has simply gone to pay his $90,000-plus annual salary, which he didn’t fully report on financial disclosure forms required of city commissioners. They have also hit Lee for his support for the Recreation and Parks Department’s closure of recreation centers and other cuts while he “consistently supported privatization of our parks.”

At this point, it’s hard to know how this flood of information and back-and-forth attacks will influence District 1 voters, but we’re now days away from finding out.

Olague attacks led by billionaires and a consultant/commissioner with undisclosed income

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Understanding how political activists are being paid is important to understanding what their motivations are. For example, is Andrea Shorter – a mayor-appointed former president of the Commission on the Status of Women – leading the campaigns against Sup. Christina Olague and Sheriff Ross Mirkarimi out of concern for domestic violence, or is it because of their progressive political stands, such as supporting rent control and opposing corporate tax breaks?

As a city commissioner who is required under state law to report her income on annual financial disclosure forms to the city, the public should be able to know who is paying this self-identified “political consultant.” But we can’t, because for each of the last five years, Shorter has claimed under penalty of perjury on Form 700 to have no reportable income, which means less than $500 from any source – an unlikely claim that was the source of complaints filed today with the Ethics Commission and Fair Political Practices Commission.

Shorter led efforts to have her commission support Mayor Ed Lee’s failed effort to remove Mirkarimi from office for official misconduct, and now she’s become one of the main public faces leading an independent expenditure campaign called San Francisco Women for Accountability and a Responsible Supervisor Opposing Christina Olague 2012, funded with more than $100,000 by Lee’s right-wing financial supporters: venture capitalist Ron Conway and Thomas Coates (and his wife), who has also funded statewide efforts to make rent control illegal.

Neither Shorter nor Conway responded to our requests for comment, but tenant advocates and Olague supporters are pushing back with an 11:30am rally at City Hall tomorrow (Thurs/1). Organizers are calling on activists “to beat back the attacks on rent control and workers by billionaires Ron Conway and the Coates family. The 1 Percent Club, Coates and Conway want San Francisco to be a playground for the rich. Take a stand to say that these opportunists CANNOT buy elections!”

The Ethics Commission complaint against Shorter was filed this morning by sunshine activist Bob Planthold, who also filed a similar complaint a couple weeks ago against District 1 supervisorial candidate David Lee, who also appears to have grossly understated his income of the same financial disclosure form during his service on the Recreation and Parks Commission.

“There’s been too little attention by mayor after mayor after mayor in that the people they appoint are allowed to be sloppy, negligent, unresponsive, and under-responsive to these financial disclosure requirements,” Planthold told us.

Although the Ethics Commission doesn’t confirm or deny receiving complaints or launching investigations, Planthold said Ethics investigators have already notified him that they were investigating the Lee complaint, and he expects similar action against Shorter. “Ethics is pursuing my complaint against David Lee. It’s not one of the many that they decided to ignore,” Planthold said.

The FPPC complaint against Shorter is being filed by former Board of Supervisors President Aaron Peskin, who told us, “The complaint speaks for itself.”

Although Shorter claims no income on public forms, the political consulting firm Atlas Leadership Strategies lists Shorter as the CEO of Political Leadership Coaching, which works with political candidates and causes. Atlas also represents PJ Johnston, who was press secretary for then-Mayor Willie Brown and now represents a host of powerful corporate clients.

“Her brand of discreet, highly confidential, political coaching works to equip leaders with tools to exercise more effective, impactful, innovative and – where possible – transformative leadership,” was one way Atlas describes Shorter.

Is she working in a discreet and confidential way to elect moderate London Breed to one of the city’s most progressive districts? Is she being paid for that work by Conway or anyone else? Is she doing the bidding of Mayor Lee and his allies in hopes of greater rewards?

Or should voters just take at face value her claim to really be standing up for “accountability” from public officials? Is this really about the statement Shorter makes in the video prominently displayed on the sfwomenforaccountability.com website: “Christina Olague has lost the trust of victims’ advocates. She has set our cause back. I’m profoundly disappointed in her and I can’t support her anymore.”?

With less than a week until the election, voters can only speculate.

Support the Roxie’s Kickstarter campaign!

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Yeah, I know — at this point, you have your email set up to funnel any messages with the word “Kickstarter” in them to go directly to spam. But for every CD you never receive or artist who seems to misappropriate her crowd-sourced dollars, there’s an honest cause that’s well worth whatever support ($5 minumum) you can toss its way.

For example: the new campaign for San Francisco’s beloved Roxie Theater, the second-oldest theater in the world and the oldest continuously running theater in the US — though I’d venture a guess programming in 1909 looked a little different than it does today. (Speaking of which, check out Dennis Harvey’s review of the mind-blowing Miami Connection, luring Roxie audiences into its cult starting this Friday.) The Roxie‘s eclectic schedule always features a mix of first-run films, one-off special events, local-filmmaker showcases, and film festivals (DocFest starts next week!)

In 2009, after weathering a financial hit when a partnership with the bankrupt New College fell apart, the theater became a non-profit; several successful fundraisers later, it’s almost reached a landmark goal. From the press release:

“The Roxie is launching a Kickstarter campaign to raise $60,000 to support the final phase of its transition to becoming a sustainable 501c3 non-profit. The proceeds will be used to support our 2012-2013 theater programming, events, and institutional upgrades including a redesign of the Roxie website.
 
The Kickstarter campaign features weekly shorts by filmmakers whose work has been impacted by the Roxie’s commitment to supporting independent filmmakers who take risks with non-traditional and experimental projects. Contributing filmmakers include: John Waters, Barry Jenkins, Lynn Hershman Leeson, Valerie Soe, Hima B., IndiFest, Jane Reed, Zachary Booth, Everything is Terrible, Scarlett Shepard, Chip Lord, Mike Ott, Atsuko Okatsuka, and Michael Tully. Dave Eggers will lend words of Roxie support to the campaign as well.”

Bla-zam! Do your part, San Francisco film lover, and kick in some bucks in honor of this valuable local resource. There are some pretty cool premiums for donating, including getting your name painted into one of the Roxie’s lobby murals (!), so head to the Kickstarter page and give whatever you can.

Our Weekly Picks: October 31-November 6

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WEDNESDAY 31

Halloween at Thee Parkside

There was a pretty sizable chunk of paper last week dedicated to the eye-popping range of spooky/trashy/candy-coated Halloween events out there for you to dig into. Though on this night, this favorite holiday of many, I throw my vote to the tribute band. It’s just fun to see local bands dressed as other bands, rocking a catalogue they likely researched on Wikipedia and/or Youtube. That’s why I doff my cat-eared hat to Thee Parkside’s linup: Glitter Wizard as the Seeds, Twin Steps and the Cramps, Meat Market as G.G. and the Jabbers, and the Parmesans as the Kinks. Plus, some monster mashups via DJ Dahmer, MOM’s spook booth, tarot card readings, and (creepy?) silent film projections. (Emily Savage)

8pm, $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

THURSDAY 1

Mr. Kind

Less than a year old, Oakland foursome Mr. Kind is still in its infancy. But when the band formed in March, it hit the ground running, releasing its first EP OK just a few months in. Now, three months later, Mr. Kind is taking on another ambitious project by playing Wilco’s Yankee Hotel Foxtrot in its entirety. The 2002 best-selling, alt-country masterpiece celebrated its 10th anniversary this year. When the band discussed which album they wanted to honor with a tribute show, Yankee Hotel Foxtrot was the unanimous choice, described in the group’s press release as “a classic album that has played a big part in influencing the members of Mr. Kind.” To top off the celebration, Mr. Kind will be joined onstage by various Bay Area musicians, including members of Please Do Not Fight and Finish Ticket. And one more thing: be sure to keep wearing your costume, Halloween’s not over yet. (Haley Zaremba)

With River Shiver, Marquiss

9pm, $10

Bottom of the Hill

1233 17th St, SF

(415) 626-4455

www.bottomofthehill.com

 

When We Were Young and Dumb: the Stranger vs. Believer

You’re currently reading the San Francisco Bay Guardian (thanks!), but if you lived in Seattle, you would probably be scanning Dan Savage’s home paper, the Stranger. As comrades in free-thinking liberal media, we can’t help but support their appearance in a face-off with another great publication, the Believer. One of Dave Eggers many projects, the literary journal lets writers do what they do best: ramble. It started by publishing only rejects from other literary journals and now specialize in longer form interviews and original work. Writers from both publications will be speaking of their younger days, including some key cornerstones: Jesus, LSD, and virginity. (Molly Champlin)

6pm, free

Makeout Room

3225 22 St., SF

(415) 647-2888

www.makeoutroom.com

 

Kirk Von Hammett Presents: Day of the Dead Bash

That guy from Metallica? Stringy-haired lead shredder Kirk (Von) Hammett? He’s also way into horror paraphernalia, and has packed his home with a collection of monster-movie memorabilia, including Bela Lugosi’s Dracula script and original Frankenstein posters. He’s got so much stuff, that he compiled an entire 224-page coffee table book on the subject — Too Much Horror Business — and will fête said tome’s release with zombies, Day of the Dead burlesque by Hubba Hubba Revue, and live performances by veteran Concord metal band Death Angel, and local string-metal trio Judgement Day tonight at Public Works. (Savage)

9pm, $13.99

Public Works

161 Eerie, SF

(415) 932-0955

www.publicsf.com


FRIDAY 2

“Private Life Studies”

Being a soldier and an artist is not a natural fit. But think about it. For both you need dedication, discipline, a willingness to submit your ego to something bigger than yourself and, for dancers, an ability to work with others. So, perhaps, it should be no surprise that Private Freeman, one of ODC/Dance’s most generous, witty, and focused dancers, managed to successfully integrate these two, seemingly contradictory impulses. Deborah Slater’s work-in-progress Private Life Studies is exploring some of these issues as a series of “dance stories”, based on strategies from Sun Tzu’ “The Art of War.” Sun was just one of some of history’s most brilliant minds writing about war; Machiavelli and von Clausewitz were others. Odd, isn’t it? (Rita Felciano)

Also Sat/3, 8pm; Sun/4, 2pm, $15–$25

CounterPULSE

1310 Mission St. SF

(877) 297-6805

privatelife-eorg.eventbrite.com

 

Day of the Dead altars and procession

Although the changing nature of the crowd at the Mission’s annual night of remembrance for those who’ve passed has earned it the affectionate nickname “Dia de los Dead Gringos,” there’s no denying that the community-led, candle-lit procession and park full of homemade altars can be breathtakingly lovely. Arrive early at Garfield Park to tiptoe around meticulously, sometimes even extravagantly decorated tributes to dead family members and public figures. Add a note of your own to the interactive exhibits, and await the arrival of the costumed procession, whose inevitable approximations of La Catrina are a distinctly San Franciscan way of celebrating the holiday. (Caitlin Donohue)

Procession: 6-7pm, free

Starts at Bryant and 22nd St., SF

Festival of Altars: 6-11pm, free

Garfield Park

Harrison and 26th St., SF

www.dayofthedeadsf.org

 

Chilly Gonzales

It’s not hard to come up with a list of catchy things about Chilly Gonzales to entice you to go to his show. And he knows it. While his strongest talents lie in piano, he has made quite a scene on Youtube, adapting his skills to popular demand with his genuine love of rap (and bongos, hula hoops, and pink suits). He has provided compositions for Feist, Drake, and Steve Jobs and then turned the tables to rap with the BBC Philharmonic Orchestra. Now though, like a true artist, he’s returning from his pop adventures and getting serious with his latest work, “Piano Solo II,” which is mostly short piano pieces showcasing serious skill in a still modern, easily digestible format. (Champlin)

8pm, $20

Swedish American Hall

2170 Market, SF

(415) 861-5016

www.cafedunord.com


SATURDAY 3

Informant

No documentary subject in recent memory is as infuriating as Brandon Darby — the radical activist turned FBI informant turned Tea Party chucklehead at the center of Informant, local documentary filmmaker Jamie Meltzer’s most recent work. (Prior to this, Meltzer was probably best-known for 2003’s wonderfully bizarre Off the Charts: The Song-Poem Story.) Scream at the screen (you will want to) at Other Cinema tonight, Informant’s first local showing since its San Francisco International Film Festival bow earlier this year. (Cheryl Eddy)

8:30pm, $6

Artists’ Television Access

992 Valencia, SF

www.othercinema.com

 

SF Symphony Dia de los Muertos community concert

Is a skeleton a xylophone or a marimba? You can bet your sweet sugar skull there’ll be an ocean of chromatic bones, dancing akimbo, at the vibrant annual celebration of the afterlife. The family favorite boasts performances from the SF Symphony Youth Orchestra (playing Aaron Copland’s El Salón México and Jose Pablom Moncayo’s Huapango), dance company Los Lupeños de San José, Mariachi Nuevo Tecalitlán, and more, all narrated by the twinkling Luis Valdez, “father of Chicano theater.” Face painting, paper flower-making, tons of colorful art, and a pre-show by the Mixcoatl Anahuac Aztec dancers, the 30th Street Chorus, and the Solera singers boost the fun — but really they had us at cinnamon-infused Mexican hot chocolate and pan de muerto. (Marke B.)

2pm, $17.50–$68

Davies Symphony Hall

401 Van Ness, SF.

(415) 864-1000

www.sfsymphony.org

 

AU

In my younger and more vulnerable years, certain music videos left definitive scars on my brain. Faith No More’s “Epic” — seemingly an over-the-top ode by Mike Patton to drowning fish and exploding pianos — taught me the meaning of the word in a way that no amount of Greek literature could. Things have largely remained that way until listening to the latest adventurous pop album from Portland’s AU, which opens with another “Epic” — an instrumental soundscape where technical, Hella-tight drumming is joined by impossibly high rising GY!BE guitars as part of a larger Tim-Riggins-winning-the-big-game-triumphant structure. The lexographically challenging track is only the first surprise on the record, and demands a live rendition. (Ryan Prendiville)

With Zammuto

9pm, $15

Independent

628 Divisadero, SF

(415) 771-1421

 www.theindependentsf.com


SUNDAY 4

Kid Koala

It’s been a big year for Eric San, the Montreal turntablist better known as Kid Koala. Not only did he contribute to the revival of Deltron 3030 after a decade-long hiatus; he’s also managed to release 12 Bit Blues, his first solo record in six years. Conceptually inspired and determined, the album utilizes a clunky, old-school sampler, à la Public Enemy, to reconstruct blues music from the ground up, resulting in a man vs. machine sort of tension that makes for a constantly engaging listen. Luckily, for those fans hesitant to watch a dude spin records for two hours, Kid Koala’s “Vinyl Vaudeville Tour” is loaded with bells and whistles to keep things interesting: Puppets! Dancing girls! Parlor games! Robots! If only more electronic acts were bold enough to co-opt these kooky antics of the Flaming Lips variety. (Taylor Kaplan)

With Adira Amram and the Experience

9pm, $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


MONDAY 5

Jens Lekman

“Hey do you want to go see a band? No I hate bands. It’s always packed with men spooning their girlfriends, clutching their hands, as if they let go their feet would lift off the ground and ascend,” Swedish pop master Jens Lekman sings on I Know What Love Isn’t, his first full-length since 2007’s classic Night Falls Over Kortedala. Gone are the enraptured recollections of romantic highs — this is the ever autobiographically charming Lekman, soberly looking at relationships from the outside. But on this “break-up” album, Lekman’s observations on past failures and limitations break through to a melancholic optimism for the future. Recreating the album’s full palette of ’80s balladry, Lekman will be performing with a full band. (Prendiville)

With Taken By Trees, Big Search

8pm, $25–$35

Fillmore

1850 Geary, SF

(415) 346-6000

 www.thefillmore.com

 

TUESDAY 6

Reverend Peyton’s Big Damn Band

Reverend Peyton’s Big Damn Band must be exhausted. Not only does the trio have to live up to its highfalutin’ damn big title, it found time this year to release its eighth full-length album while maintaining its ridiculous, awe-inspiring average of 250 shows per year. The Indiana-based Americana blues band consists of a Reverend Peyton on guitar and vocals, his wife Breezy on washboard, and Peyton’s cousin, Aaron “Cuz” Persinger on drums. For the band’s newest effort Between the Ditches, the Rev. and company slowed down enough to get into a studio and lay out the record instrument by instrument, track by track, instead of recording it live all in one big, enthusiastic rush as usual. The result is a beautifully recorded bit of nostalgia that transports the listener to a big wraparound porch in the Southern summer. And trust me, it’s exactly where you want to be. (Zaremba)

With The Gypsy Moonlight Band, Anju’s Pale Blue Eyes

9pm, $10

Bottom of the Hill

1233 17th St, SF

(415) 626-4455

www.bottomofthehill.com

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Lightning strikes twice

0

emilysavage@sfbg.com

TOFU AND WHISKEY If experimental artist Nick Zammuto was pulling from a storied sample library after all those years with beloved former band the Books, he’s now building from scratch with his new band, Zammuto. The first Zammuto record sprang from a more angsty place, a fear of the unknown after the breakup of the Books. Skyping from a McDonald’s in Springfield, Mass., a humble Zammuto admits to fears about “lightning striking twice,” regarding his musical evolution.

His fears are unwarranted; the Zammuto self-titled debut (Temporary Residence, 2012) is as invigorating as it is multifaceted; mixing classic pop sensibilities with digital burps, buzzy electronics, sampled found objects, and still a more traditional band set-up than the Books, the artist has again found his own creative niche: the mad scientist family man, digging through crates of toys and creating emotional connections with the sounds he squeezes out of them. And he’s kept his humor in tact, with tracks titled “Zebra Butt,” “Groan Man, Don’t Cry,” and “FU C-3PO.”

Zammuto, the band, travels to the Independent this week (Sat/3, 9pm, $15. 628 Divisadero, SF. www.theindependentsf.com) but it’s been to SF once before. It came out west this spring to open for Explosions in the Sky at the Palace of Fine Arts. And after that show, Zammuto met some young Australian rockers. I’ll let him tell the story:

Nick Zammuto I was at the merch table, and this group of Australians comes up and buys everything on the table. I’m like, ‘you guys look like you’re in a band or something.’ And they’re like, ‘oh yeah, we’re Gotye.’ And I’m like, ‘cool, I’ve never heard of you, I’ll check it out.’ Literally, in that moment, they had the number one single in like, eight countries. I felt like a moron. Two weeks later I got a call from Wally [De Backer] to come tour with them, so we ended up playing seven shows with them. I live under a rock, I don’t have time for anything except working in my studio, and playing with my kids.

San Francisco Bay Guardian Has having children has affected your music?

NZ I have all boys, three sons, who are six, three, and one, you can’t help but live vicariously through them, because they experience life in such directness. I think it’s tuned me in to a simpler way of looking at things, and to be around that kind of innocence is inspiring. Just the sense of wonder they have is infectious.

SFBG How has your approach to songwriting shifted with Zammuto, as compared to the Books?

NZ I’ve never really been part of a band, I sort of came to that realization when we started rehearsing the [Zammuto] material. The Books was really a meta-band in a lot of ways, and at the end I was starting to think of it as a sort of glorified karaoke; we’d get up on stage and have all these electronic rhythms going on and we would just kind of play along with it. With the new project I really wanted to make something that was meant to be played live.

Key to that was finding a great drummer, and I think I found just an amazing drummer [in Sean Dixon]. Having a live time keeper on stage has been the biggest difference between the new project and the Books. And for me it’s been the most fun, to play with him, and see what he does. We really connected over this idea of polyrhythms. He helps me find these grooves that are really unusual. And I think the reason why I shied away from drums for so long is that it’s a very kind of genre-fying instrument. It’s hard to do anything out of the ordinary because it all sounds too ubiquitous. But Sean’s the kind of guy who sounds like nobody else. It’s a real balance with Sean between precision and heart.

I have [Dixon, Gene Back, and brother Mike Zammuto] up for sessions and we record things in a very loose way and then I go through those recordings later and pull out the parts that can go beyond expectation and build from those elements, rather than the sample library that the Books were drawing from.

SFBG But you’re still creating your own instruments out of found objects.

NZ It’s such a weird habit, and it’s something I’ve been doing a long time. My interest in music came out of recording these sculptures back in college…I started to make these sculptures that had this sound component, and I needed a way to record those sculptures. So it’s kind of been in the backdrop of everything I’ve done for a long time.

One of the first things I started doing was cutting into vinyl, cutting patterns into the circle at the end of each side of a record, and using that as a percussion. That sound sounds like clicks and pops, but if you take those impulses and put them through various environments you get amazing sounds, so playing them through PVC pipes or through filing cabinets with subwoofers installed in them you get these really strange but kind of naturalistic sounds at the same time, where you can’t put your finger immediately on what they are, and I think that’s why I’m interested in them. They have this mysterious quality.

SFBG What about the thematic elements, lyrically, on the record, it seems like it’s coming from a lot of new beginnings, new experiences, “The Shape of Things to Come” and so forth?

NZ The end of the Books was a harrowing experience, it took a very long time for it to go through its death throes. Lots of frustrations, then finally giving up and being like, ‘OK, what the hell do I do now?’ I’m asking lightning to strike twice, starting another band at this point in my life, so the lyrics are coming out of a very angsty place on this record. And I think I’m getting out of it, finally. Now that the band has come together in such an amazing way. I’m not in such a dark mood anymore [laughs].

I think I was writing about my own experiences, but in the frame of something more universal, for somebody who is frustrated out of their minds and in need of a new beginning. Just a general expression of having this need to move forward, but also going into unexplored territory.

ENDLESS SUMMER

San Francisco’s own Future Twin (soundcloud.com/futuretwin) released the second of its Summer Single series tracks last week. Angular “Sara” is tethered by a driving guitar line, and singer Jean Yaste’s caramel-coated vocals. Lyrically, it’s a testament to Yaste’s personal female heroes, and a call to action to all women to question the status quo and explore alternative experiences.

WOODKID (CANCELLED DUE TO TRAVEL CONDITIONS AFTER THE STORM)

French composer-artist Woodkid (a.k.a Yoann Lemoine) creates sounds that bloom like live-action role-playing background music. Or, video game music using entirely classical orchestration, strings, and Lemoine’s low octave, accented pipes. (You could easily picture Link chasing after Zelda during “Iron.”) Each track builds like a sassy, page-turning epic, which make his two EPs feel like brief odysseys. That’s right, he’s yet to release a full-length, but that record — The Golden Age — is coming. Though you might have seen his stylish videos for Agyness Deyn-featuring “Iron” or “Run Boy Run.” Or hell, you may know him from his other life as a music video director: Katy Perry’s “Teenage Dream,” anyone? With Pacific Air.

Fri/2, 9pm, $20

Bimbo’s

1025 Columbus, SF

www.bimbos365club.com

Music Listings

0

Since club life is unpredictable, it’s a good idea to call ahead or check the venue’s website to confirm bookings and hours. Prices are listed when provided to us. Visit www.sfbg.com/venue-guide for venue information. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 31

ROCK/BLUES/HIP-HOP

Astrozombies Hemlock Tavern. 8:30pm, $5.

Bob Saggeth Amnesia. 10pm, $7-$10.

Boys Like Girls, All American Rejects, Parachute Regency Ballroom. 7:30pm, $27.

Tia Carroll Biscuits and Blues. 8 and 10pm, $15.

First Church of the Sacred Silversexual Boxcar Theatre, 125A Hyde, SF; www.sacredsilversexual.com. 9pm, $7.

Glitter Wizard, Twin Steps, Meat Market, Parmesans Thee Parkside. 8pm, $8.

Greensky Bluegrass, Arann Harris and the Farm Band Independent. 9pm, $17.

Liz O Halloween Show 50 Mason Social House, SF; www.50masonsocialhouse.com 8pm.

"Monster Mash Halloween Party" Rite Spot Cafe. 9pm, free. With the Barneys.

Joel Nelson vs Jason Marion Johnny Foley’s Dueling Pianos. 9:30pm.

Nobunny, Shannon and the Clams, POW!, Eeries Brick and Mortar Music Hall. 9pm, $7-$10.

Planet Booty, Double Duchess Cafe Du Nord. 9pm, $15.

Terry Savastano Johnny Foley’s. 9pm, free.

Skeleton Television, Hate Crime El Rio. 9pm, $8.

Tartufi, Battlehooch Knockout. 10pm, $5.

Trainwreck Riders, Tiny Television, Rare Animals Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Cat’s Corner with Nathan Dias Savanna Jazz. 9pm, $10.

Dink Dink Dink, Gaucho, Eric Garland’s Jazz Session Amnesia. 7pm, free.

Nguyen Le feat. Charged Particles, Vanessa Vo Yoshi’s SF. 8pm, $18.

Ricardo Scales Top of the Mark, 999 California, SF; www.topofthemark.com. 6:30pm, $5.

DANCE CLUBS

All Hallows Eve DNA Lounge. 9pm, $13, 18+. Pop, new wave, dark electronica, gothic, and industrial.

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita MORE! and Joshua J host this dance party.

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free. With Vinyl Ambassador, DJ Silverback, DJs Green B and Daneekah.

Dead Celebrities Wish, 1539 Folsom, SF; www.wishsf.com. 9pm, free. With DJ Shorkut, Carey Kopp, and Fran Boogie.

Full-Step! Tunnel Top. 10pm, free. Hip-hop, reggae, soul, and funk with DJs Kung Fu Chris and Bizzi Wonda.

Icee Hot Elbo Room. 10pm, $5-$10. Halloween edition with Jackmaster, Ghosts on Tape, Shawn Reynaldo, and Rollie Fingers.

Mad Hatters Ball 103 Harriet, SF; www.1015.com. 10pm. With Flosstradamus, Pantha Du Prince, Ana Sia, and more.

Obey the Kitty vs Base: Halloween Special Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $7-$15. With Heidi, Justin Milla.

THURSDAY 1

ROCK/BLUES/HIP-HOP.

Bowerbirds, Strand of Oaks Great American Music Hall. 8pm, $17-$19.

Groundation, Trevor Hall Independent. 9pm, $25.

John Lawton Trio Johnny Foley’s. 9pm, free.

Mochipet Mezzanine. 9pm, $25.

Mr. Kind, River Shiver, Marqiss Bottom of the Hill. 9pm, $10.

New Cassettes, Apollo Run, Amusia Amnesia. 8pm, $10.

Nova Albion, Hyena, Trims, popscene DJs Rickshaw Stop. 9pm, $7-$9.

Prize, Bring the Tiger, Collective W, Comet Empire Rockit Room. 8pm, $7.

Rare Monk, Horrorscopes, Coast Jumper, Roosevelt Radio Brick and Mortar Music Hall. 9pm, $5-$8.

Titan Ups, JL Stiles, Prairie Dog, Nightgown Cafe Du Nord. 7:30pm, $10-$12.

Rags Tuttle vs Jason Marion Johnny Foley’s Dueling Pianos. 9:30pm.

Violent Change, Pandiscordian Necrogenesis, Love Devotion Hemlock Tavern. 8:30pm, $6.

Wacka Flocka Flame, Wooh Da Kid Fillmore. 8pm, $29.50.

Matt Werz Swedish American Hall. 7:30pm, $18-$20.

JAZZ/NEW MUSIC

"A Soulful Night of Keys" Yoshi’s SF. 8pm, $28. With Lonnie Liston Smith, Mark Adams, and Brian Jackson.

Stompy Jones Top of the Mark, 999 California, SF; www.topofthemark.com. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Shareef Ali and the Radical Folksonomy Red Poppy Art House. 6:30pm, $10.

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. With DJ-host Pleasuremaker, and DJ Hannick.

All 80s Thursday Cat Club. 9pm, $6 (free before 9:30pm). The best of ’80s mainstream and underground.

Supersonic Lookout, 3600 16th St., SF; www.lookoutsf.com. 9pm. Global beats paired with food from around the world by Tasty. Resident DJs Jaybee, B-Haul, amd Diagnosis.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more with DJs Don Bustamante, Apocolypto, Sr. Saen, Santero, and Mr. E.

FRIDAY 2

ROCK/BLUES/HIP-HOP

Rome Balestrieri, Randy, Jason Marion Johnny Foley’s Dueling Pianos. 9pm.

Big Mittens, Command Control, When the Broken Bow, Rural Hemlock Tavern. 9pm, $7.

Mark Eitzel, Paula Frazer, Goldring and Thomson Bottom of the Hill. 9:30pm, $15.

Chilly Gonzales Swedish American Hall. 8pm, $17-$20.

Good Gravy, Dead Winter Carpenters Amnesia. 6pm.

Heartsounds, Anchors, Jason Cruz and Howl, Backmaster Thee Parkside. 9pm, $7.

Human Animation Lab, Thieves of Malta, Scarlet Stonic, Hollowell Rockit Room. 8pm, $6.

Kinto Sol Elbo Room.10pm, $25. With Reporte Ilega, DJ Juan Data.

Nneka, Raw-G, Earth Amplified Brick and Mortar Music Hall. 9pm, $12-$15.

Prok and Fitch Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Saint Etienne Fillmore. 9pm, $29.50.

Soft White Sixties, Strange Vine, Taxes Slim’s. 9pm, $13-$15.

Stone Foxes, Silent Comedy, Mahgeetah Great American Music Hall. 8pm, $15.

White Fence, Twerps, Mallard Rickshaw Stop. 9pm, $10.

Woodkid, Pacific Air Bimbo’s. 9pm, $20.

X-Static Johnny Foley’s. 9pm, free.

JAZZ/NEW MUSIC

"A Soulful Night of Keys" Yoshi’s SF. 8pm, $28; 10pm, $22. With Lonnie Liston Smith, Mark Adams, and Brian Jackson.

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Black Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

FOLK/WORLD/COUNTRY

Canyon Johnson Plough and Stars. 9pm, free.

Mike James St. Cyperian’s Episcopal Church, 2097 Turk, SF; www.cyperianscenter.org. 7pm, $6.

La Quilombera, Manicato, DJ Stepwise Rockit Room. 9pm, $12.

Eddy Navia, Chuchito Valdes Pena Pachamama, 1630 Powell, SF; www.penapachamama.com. 7:30 and 9pm, $20.

DANCE CLUBS

Anti-Halloween DNA Lounge. 9pm, $15. Masquerade ball with Russian Solution, DJ Wizard, Henry Pollux, and more.

DJ Harvey Public Works. 10pm, $10-$15.

Joe Lookout, 3600 16th St.,SF; www.lookoutsf.com. 9pm. Eight rotating DJs.

Nickie’s Flashback featuring Cheb i Sabbah Bissap Baobab Village, 3372 19th St, SF; (415) 826-9287. 10pm, $10-$20.

Old School JAMZ El Rio. 9pm. Fruit Stand DJs spinning old school funk, hip-hop, and R&B.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

SATURDAY 3

ROCK/BLUES/HIP-HOP

Big Blu Soul Revue Giordano Bros, 303 Columbus, SF; (415) 397-2767. 9pm, free.

Big Eyes, Switftumz, Bad Liar, Courtney and the Crushers Knockout. 8pm, $7.

Dance Gavin Dance, A Lot Like Birds, I, the Mighty, Orphan, Poet Fillmore. 6:30pm, $20.

Dark Dark Dark, Emily Wells, Little Teeth Bottom of the Hill. 9:30pm, $15.

Donna the Buffalo, David Gans Slim’s. 9pm, $18.

Evolution: Tribute to Journey Regency Ballroom. 9pm, $27.

Guverment, Run Amok, Rocha Thee Parkside. 3pm, free.

Jason Marion, Rome Balestrieri, Guido Johnny Foley’s Dueling Pianos. pm.

Maus Haus, Sister Crayon, Radiation City Rickshaw Stop. 8pm, $10-$12.

Sex with No Hands 50 Mason Social House, SF; www.50masonsocialhouse.com. 8pm, $10.

Sila, Boca Do Rio Brick and Mortar Music Hall. 9:30pm, $7-$10.

Thee Merry Widows Riptide Tavern. 9:30pm, free.

Ticket to Ride Johnny Foley’s. 9pm, free.

Walken, Asada Messiah, Fear the Fiasco Hemlock Tavern. 9:30pm, $7.

Fred Wesley and the New JBs, Lyrics Born Mezzanine. 9pm.

Zammuto, AU Independent. 9pm, $15.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Kindred the Family Soul Yoshi’s SF. 8pm, $32; 10pm, $24.

FOLK/WORLD/COUNTRY

Beth Custer Ensemble Red Poppy Art House. 8pm, $12-$20.

DANCE CLUBS

Bootie SF DNA Lounge. 9pm, $15. Masquerade ball with Russian Solution, DJ Wizard, Henry Pollux, and more.

Cockfight Underground SF, 424 Haight, SF; (415) 864-7386. 9pm, $7. Rowdy dance night for gay boys .

Foundation Som., 2925 16th St, SF; (415) 558-8521. 10pm, $5-$10. DJs Shortkut, Apollo, Mr. E, Fran Boogie spin Hip-Hop, Dancehall, Funk, Salsa.

Go Bang Stud. 9pm, $7; free before 10pm. Atomic dancefloor disco action with Lester Temple, Glenn Rivera, Steve Fabus, and Sergio Fedasz.

Haceteria Deco Lounge, 510 Larkin, SF; www.decosf.com. 9pm, free before 11pm, $3 after.

Mighty Real Mighty. 10pm. With Timmy Regisford and David Harness.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

Saturday Night Soul Party Elbo Room. 10pm, $5-$10. With DJs Lucky, Paul Paul, and Phengren Oswald.

Session Victim (live) Public Works Loft. 10pm, $13-$15.

Swank Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30. With Pheeko Dubfunk, Kada, Lorentzo, and David Paul.

West City Three-Year Anniversary Qi Ultralounge, 917 Folsom, SF; westcity3.eventbrite.com. 9pm, $15-$20. With J Paul Ghetto.

SUNDAY 4

ROCK/BLUES/HIP-HOP

Butlers and Cyril Jordan, Overwhelming Colorfast, Field Trip Bottom of the Hill. 3pm, $10.

Con Bro Chill Cafe Du Nord. 8:30pm, $10.

Deiphago, Ritual Combat, Black Fucking Cancer, Old Coven, Rotten Funeral DNA Lounge. 8pm, $13, all ages.

Devil Makes Three Fillmore. 8pm, $22.50.

Fake Your Own Death, Trims, Spanish Cannons Hemlock Tavern. 6pm, 6.

Justice Warfield. 8pm, $40-$50.

Kid Koala 12 Bit Blues Vinyl Vaudeville, Adira Amram and the Experience Independent. 9pm, $20.

Lecrae, Trip Lee, Tedashii, KB, Pro, Andy Mineo Regency Ballroom. 7:30pm, $23.

Terry Savastano Johnny Foley’s. 9pm, free.

Themes, Not To Reason Why, Survival Guide, Sim Castro Thee Parkside. 8pm, $7.

JAZZ/NEW MUSIC

Ken Berman and Kai Eckhardt Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Kally Price Old Blues and Jazz Band Amnesia. 8pm, $5.

Dwight Trible Yoshi’s SF. 7pm, $18.

FOLK/WORLD/COUNTRY

David Broza Kanbar Hall, JCCSF, 3200 California, SF; www.jccsf.org. 4pm, $30-$50.

"Twang Sunday" Thee Parkside. 3pm, free. With Country Casanovas.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. With DJ Sep, Ludichris, J. Boogie.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2.

MONDAY 5

ROCK/BLUES/HIP-HOP

Damir Johnny Foley’s. 9pm, free.

Dunwells Cafe Du Nord. 7:30pm, $10.

Jens Lekman, Taken By Trees Fillmore. 8pm, $25.

Metz, Tiger High, One Hundred Percent Bottom of the Hill. 9pm, $12.

MV and EE, Vestals Hemlock Tavern. 7pm, $6.

Sea Wolf, Hey Marseilles, Amys Independent. 8pm, $15.

Luke Sweeney and Wet Dreams, Dry Magic, Sea Dramas, Betsy and Beau Brick and Mortar Music Hall. 9pm, $7-$10.

JAZZ/NEW MUSIC

"Hope Uncorked: Lorca Hart Trio and Group Falso Baiano" Yoshi’s SF. 7pm, $55-$65.

FOLK/WORLD/COUNTRY

Belle Monroe and Her Brewglass Boys Amnesia. 9pm.

DANCE CLUBS

Crazy Mondays Beauty Bar, 2299 Mission, SF; www.thebeautybar.com. 10pm, free. Hip-hop and other stuff.

Dub Face Elbo Room. 9pm, $12. With Sleazemore, Ryury.

Death Guild DNA Lounge. 9:30pm, $3-$5. Gothic, industrial, and synthpop.

M.O.M. Madrone Art Bar. 6pm, free. DJs Timoteo Gigante, Gordo Cabeza, and Chris Phlek playing all Motown every Monday.

Soul Cafe John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. R&B, Hip-Hop, Neosoul, reggae, dancehall, and more with DJ Jerry Ross.

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 6

ROCK/BLUES/HIP-HOP

Belgrado, Bellicose Minds, Ruleta Rusa, Die Hard Knockout. 9:30pm, $8.

Brother Pacific, Wilser Maker, BIrdseye Hemlock Tavern. 8:30pm, $6.

Coles Whalen, Mental 99, Bang Bang El Rio. 7pm.

Mr. Gnome, Eighteen Individual Eyes, Bruises Thee Parkside. 8pm, $8.

Murzik, James Apollo and His Sweet Unknown Hotel Utah. 9pm, $8.

Reverend Peyton’s Big Damn Band, Gypsy Moonlight Band, Anju’s Pale Blue Eyes Bottom of the Hill. 9pm, $10.

Stan Erhart Band Johnny Foley’s. 9pm, free.

Kelley Stoltz Amnesia. 9pm, $7-$10.