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Dapper down

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caitlin@sfbg.com

CAREERS AND ED When Ford Models announced that its newest menswear model was a woman — Olympic swimmer and New York artist Casey Legler — in the same month that Yves Saint Laurent chose Saskia de Brauw as the face of its spring-summer 2013 menswear collection, it became clear that men’s fashion was opening itself to the fact that not all people who wear suits and sport rugged looks are male-identified.

But not every butch looking for a fly three-piece has the gamine, broad-shouldered physique of Legler and de Brauw. What’s a dapper gent to do?

Enter the new wave of menswear (or, “masculine of center,” as we’ve seen the look defined on some style blogs) brands specifically tailored to the female-born or identified. Happily, downtown San Francisco’s Crocker Galleria will be the site of the first permanent menswear store to cater to the genderqueer.

“My mother started teaching me [to sew] when I was eight,” Tomboy Tailors’ 48-year-old, butch-identified owner Zel Anders writes me in an email interview. Anders has long been a fan of suits over dresses when it came to formal occasions, but was frustrated that she could never find a well-fitting outfit — even here in the Bay Area, where she’s lived since she was 17. She says the process of suit shopping grew painful, and found it necessary to steel herself before hitting the dressing rooms.

No such toughening up will be necessary at the new shop, which has already garnered a loyal Internet following despite the fact that it won’t open its doors until February 2nd. Tomboy Tailors’ staff will help customers find suits that fit right across the chest, hips, thighs, and seat, customizing them so that each garment fits its new owner.

The store will stock not only its in-house line (Anders especially touts its three-button, notch lapel suit for heavier clientele), but items from other brands selected for a pangender crowd — including a selection of men’s shoes in smaller sizes, like a Dalton wing-tip lace-up Oxford and saddle shoes from Carlos Santos and Walk-Over.

“I am having so much fun just watching people ponder and choose from the several hundred fabrics that they have as options,” Anders says about her Tomboy Tailors experience to date. ” Not only do they have to think about what color they want their suit to be, but they have to decide if they want a solid, herringbone, pinstripe, chalk stripe, plaid, or even a bird’s eye, nail’s head, or houndstooth check pattern to the fabric.” Finally, options.

Tomboy Tailors is hardly the only option for fly transpeople, dapper dames, and other genderqueers — transgressive men’s fashion site dapperQ (www.dapperq.com) recently published a list of fab online labels like Marimacho (www.marimachobk.com), The Original Tomboy (www.theoriginaltomboy.com), Saint Harridan (www.saintharridan.com), and Androgynous (www.androgynousfashion.com) that all have a mission to provide fashion for all points on the gender-fashion spectrum.

TOMBOY TAILORS OPENING PARTY

Feb. 2, 2-6pm, free

Tomboy Tailors

Crocker Galleria

50 Post, first floor, SF

www.tomboytailors.com

 

Nudi pics to brighten your day

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It really doesn’t matter that this National Geographic slideshow is from 2008. The relevancy of the nudibranches featured therein defy space and time and will easily be the most uplifting and forward-thinking thing you see on the Internet today. 

Our Weekly Picks

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WEDNESDAY 26

San Francisco Kwanzaa Celebration

The celebration of Nguzo Saba (“The Seven Principles”) was created by Dr. Maulana Karenga in 1966 as a way for the African American community to reaffirm its values. Accordingly, concepts that we all should live by are the focus of each day’s worth of Kwanzaa events at City Hall this year. Today’s candle-lighting, feast, and live entertainment pay homage to unity — in the days following, self determination, collective responsibility, cooperative economics, purpose, creativity, and faith will be the program’s focus. (Caitlin Donohue)

Events through Jan. 1

Unity celebration: noon, free

City Hall

1 Dr. Carlton B. Goodlett Place, SF

www.kwanzaasanfrancisco.com

 

THURSDAY 27

Sepalcure

In 2011, producers Machinedrum (a.k.a. Travis Stewart) and Braille (a.k.a. Praveen Sharma) teamed up for the self-titled Sepalcure, a genre cross-stepping album that brought together past and present sounds of house, garage, and dubstep. Take standout track “Pencil Pimp,” where solemn keys progress with gospel moans that share space against hyped “heys” and light, energizing percussive beats. It’s an evocative emotional balance that puts them in league with contemporaries Tomas Barfod and Shlohmo — the latter providing support for this show, which will feature live visuals created by designer Sougwen Chung (a.k.a. Sharma’s girlfriend) for the 2011 MUTEK festival in Mexico City. (Ryan Prendiville)

9pm, $25 Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

 

FRIDAY 28

We are Legion: The Story of the Hacktivists

When Israel threatened to shut down all Internet communication into and out of Gaza, Anonymous responded by taking down Israeli sites and providing instructional “care packages” for the case of outages. When Westboro Baptist Church announced plans to protest Connecticut’s legalization of gay marriage at vigils for the Sandy Hook Elementary School victims, Anonymous responded by shutting down the church’s site, godhatesfags.com, and the releasing names and information of church leaders. The group is relatively new but has had a huge impact with over a hundred raids in the last few years. This is the Story of the Hacktivists. The film’s director, Brian Knappenberger, interviews members of the online community in order to spark conversations about tactics, motives, and whether these illegal activities are the work of vigilantes, power-trippers, or just what we needed. (Molly Champlin)

7pm, $10

Roxie

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

Cherub

Do we need another electro-pop, falsetto-laden act to follow the likes of Passion Pit and MGMT? Listening to Cherub, the answer is a resounding, “absolutely.” For one thing, this band is a bit sexier than the others (aspiring towards that pan-sexual prowess of Prince.) The duo — made up of Jason Huber and Jordan Kelley — is from Nashville, Tenn., but a respect for mac’n’cheese as a vegetable is about as far as their Southern roots extend. There’s no twang found here. Huber and Kelley’s layered, upbeat guitar, vocals, and synth meld in an energetic show that will demand you dance. (Champlin)

With Battlehooch and Rappers

9:30pm, $12

Bottom of the Hill

1233 17th St., SF (415) 626-4455

www.bottomofthehill.com

 

 

X

Legendary Los Angeles punk act X has always distinguished itself from other bands of its time and genre, with the rock solid drumming of DJ Bonebrake, the guitar virtuosity of Billy Zoom, and the poetic lyrics and intimate vocal interplay of John Doe and Exene Cervenka. Currently celebrating its 35th anniversary — which is hard to believe, considering X’s material sounds as fresh as ever, and it sounds better than ever live — the iconic group is traveling up the West Coast on a mini “X-mas 2012” tour where fans are sure to hear all of their favorite tunes, as well as a couple of revved-up holiday favorites thrown in for good measure. (Sean McCourt)

Also Sat/29, 9pm, $32

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Wintersalt 2012

It took us a few head-scratching minutes to get the pun on sommersault (I think we get it?), but the two-night Wintersalt festival is sure to bring a little tumble of sunshine into our nightlives. Headliners include that tropical beat-appropriating genius, Diplo; our own atmospheric vinyl cut-up legend DJ Shadow, fresh from infamously getting booted off the decks at Miami douche palace the Mansion for being “too future”; a wee hip-hop rainbow of local adored MCs — Lyrics Born and Lateef, K.Flay, and Goldenchyld. Oh yes, there will also be EDM of the pop monster kind from Zedd and Dillon Francis — ensuring that at least the first night of this 18+ event will be flooded with fun-loving, neon-Raybanned, un-shirted younger brothers and sisters. Travis Barker and Mixmaster Mike will also be there, pumping the retro-’90s live drum-turntable alchemy they’re experts at. (Marke B.)

Also Sat/29

7pm-2am, $50-$160

Fort Mason Festival Pavillion

Marina Blvd, SF

www.wintersaltsf.com

 

SATURDAY 29

Lee Burridge

On “Lost in a Moment,” the 2012 track by Matthew Dekay and Lee Burridge, a snake-charming synth befitting of Vangelis winds around a hazy, beguiling vocalist who seems thoroughly entranced by the beat. The result is hypnotically effective and typical of Burridge, a much loved globe-trotting DJ who has created a dedicated following by transforming sets into moments to remember. Just Youtube his rapturous sunrise performances atop Robot Heart, or ask anyone who caught the last time he came through Public Works, and reportedly kept things going until 5am. (Prendiville)

With Rooz, Bo, Ben Seagren, Atish, and Brian Bejarano

9:30pm, $18–$25

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SUNDAY 30

PRIMUS

Got plans for New Year’s Eve? Want to go Sailing The Seas Of Cheese? Do you plan on serving up some Frizzle Fry? Imbibing some Pork Soda? Any way you look at it, the two club shows this week by musical boundary-busting Bay Area rock favorites Primus are a rare treat for local fans to see the band up close and personal. You can party with Les Claypool and company on Sunday night, or ring in the New Year with them on Monday, either way, you’re guaranteed quite a night as these special “Frankenstein’s Masquerade” shows are part of Primus’ new 3D Tour, complete with stereoscopic visuals and quad surround sound. (McCourt)

Also Mon/31, 9pm, $47.50–$75

Warfield

982 Market St., SF

www.thewarfieldtheater.com

 

MONDAY 31

Sea of Dreams NYE 2013: LunaSea

The biggest pain about NYE is coordinating all your friends, not to mention their inseparable dates. The annual SOD event is a big tent experience, with wide-ranging musical choices and live, body-warping spectacles to please just about everyone. (Okay, maybe not your roommate’s boyfriend — he should just stay home.) Best of all, it’s broken up into distinct areas to prevent the oppressing, cramped feel of a “massive.” Check out the headliners, with the added bonus of having both Opulent Temple and Dirtybird DJs under one roof. (Prendiville)

With Gogol Bordello, Shpongle’s Quixotic Masquerade, The Glitch Mob (DJ set), Trentemoller (DJ Set), Diego’s Umbrella, Pumpkin, Robert Delong, and more 8pm-4am, $79–$145 SF Concourse Exhibition Center 635 8th St., SF www.seaofdreamsnye.com

 

Remones

Dec. 31 generally cost a lot of money. It’s just this weird, ingrained fact of the day that with the slow, chilly shifting of years comes the jacking up of prices. Hey, here’s an additional $20–$40 tacked on for a glass of bubbly! Sure, some of those crazy pricey shows are probably worth it — the big-name bands, the packed lineups with sparklers, dancers, and holiday accoutrement. But if you’re just in it for the basic, primal fun of fun, here’s a show that’s totally free: the Remones, a Ramones cover band (duh) playing the Riptide. Because really, all you want to do on NYE is gather with friends in a warm, Bay Area environment, drink copious amounts of liquor, and watch live, sing-along punk songs. Hey ho, let’s go. (Emily Savage)

9:30pm, free

Riptide

3639 Taraval, SF (415) 681-8433

www.riptidesf.com

 

 

The New Parish: The People NYE Ball

The People Party was started in 2007 by a group of artists who thought that the East Bay was being overlooked by Bay Area taste-makers (wow, how time flies). Though Oakland has been saturated in attention in the last few years, the event still stands out in the area’s nightlife scene. The multidimensional dance party attracts a creative group of people. It’s a chance for local artists to show their work in a fun environment, and from samples of organic tea to dripping, bright acrylic paint, there is plenty to see. Headlining to celebrate the end of the year will be poet, DJ, and producer, Rich Medina, livening up the evening with his unique connections between spoken word, hip-hop, afrobeat, and jazz. (Champlin)

New Parish

9pm, $20

579 18th St., Oakl.

(510) 444-7474

www.thenewparish.com

 

TUESDAY 1

 

No Way Back New Years Day Disco

There’s a few places to head if you went all night long and want to keep going all day strong. But to start the year off with a certain fresh feeling (and avoid an entire crowd of socket-eyed, gurning zombies), head over to Monarch. With No Ways Back’s reputation of infallible parties and quality music — in this case including Brooklyn’s Justin Vandervolgen (responsible for a double set on Beats in Space earlier this year) and local disco veteran James Glass — there are likely to be a fair number of people skipping the night altogether, and setting their clocks and krups for this one. (Prendiville) With Justin Vandervolgen, Sunny Side Up, Solar, Conor, 40 Thieves, and James Glass 6am, $15–$20 Monarch 101 Sixth St., SF (415) 284-9774 www.monarchsf.com

 

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Last-minute gifts

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culture@sfbg.com

SHOPPING Dearest Christian and Christian-adjacent reader: it’s too late for the Internet. Unless you want to shell out Santa-sized bucks for overnight delivery, you’re gonna have to fill those loved-ones’ stocking IRL, with a good ol’ fashioned brick-and-mortar dash through the metaphorical snow.

We mean you’re going to have to go shopping, duh. And your flight leaves on Saturday, or their flight lands on Friday, or you’re actually on your way to a holiday house party tonight! You can do better than a gift card. Yet even though you seem surrounded by retail options every moment of your life, when you’re forced to suddenly think about what to get tea party maven Aunt Tilly or your nine-year-old second cousin who you think is named Erica (Caitlin? Amy? Danica?) or your drunk sort-of-friends, the mind blanks and the plan nogs.

So some of the options below may seem obvious any other time of year, but here they are to help kickstart your Christmas consumer creativity motors. get ready to fill your sack with goodies! (Don’t forget to bring your own sack.)

 

GREEN APPLE BOOKS AND MUSIC

Calendars, calendars, calendars! No gift crisis cannot be solved by a glossy 2013 calendar featuring soft-focus lighthouses of Nova Scotia, baby baboons smearing ice cream in their hair, or various memes of yesteryear, repackaged helpfully for the Web-tardy. Oh, by the way, Green Apple is the largest bookstore in California, so there are books — and extremely helpful staff recommendations! — for everyone on your listicle.

506 Clement, SF. (415) 387-2272, www.greenapplebooks.com

 

HEARTFELT

Heartfelt is the very definition of a last-minute gift emporium, a place filled with low-cost creative items for all ages. Italian cookware, spandex log pillows, a hanging mobile you can customize with your own art … it’s an affordable world of creativity at your fingertips in Bernal Heights! Joke gifts (really creative ones), retro gifts, classic gifts, cool stuff you won’t see anywhere else .. you can cover almost everyone on your list in one heartfelt stop.

436 Cortland, SF. (415) 648-1380, www.heartfeltsf.com

 

22ND ANNUAL TELEGRAPH AVENUE HOLIDAY STREET FAIR

OK, more than 200 artists are showing off their goods all weekend in Berkeley — pottery, jewelry, t-shirts, hats, wall art, candles, leatherwork — surely you can find something for your dad while enjoying all the colorful characters, groovy tunes, and interesting eats that Berkeley can bring? It’s a bargain bonanza.

Dec 22-24, 11am-6pm, free. Between Dwight Way and Bancroft Way, Berk. www.telegraphfair.com

 

THE CANDY STORE

There are handmade smores. There are marshmallows made of vanilla and Maker’s Mark. Adorable candy-filled Christmas tree ornaments? Yes ma’am. A cornucopia of season-perfect foil-wrapped chocolates; pre-wrapped “round of four” gift packs featuring four kinds of house made candy; large jars of gianduja, chocolate-hazelnut spread that puts Nutella to shame? What were we talking about again?

1507 Vallejo, SF. (415) 921-8000, www.thecandystoresf.com

 

RARE DEVICE

Put a bird on them! Everyone needs a little twee under the tree, and this store — recently relocated to Divisadero in the place of our former butcher store — has lovely trinkets for all, in that naïve-sophisticate hipster style so popular with the kids these days. Everyone’s koo-koo for Rare’s impeccable jewelry collection and neato home decor and kitchenware collections — there are actually coffee mugs with birds on them, yasss. Unique kaleidoscopic printed blocks by Lisa Congdon will brighten anyone’s season, while festive Leah Duncan pillows add punch to every couch.

600 Divisadero, SF. (415) 863-3969, www.raredevice.net

 

POT AND PANTRY

What says love more than an exquisite aluminum egg timer, or cheer more than a fanciful cutting board shaped like a chicken? You’ll be ladling out the love (ladles available) and satisfying every cook and non-cook’s desire for kitchen accessories at this supercute Mission cupboard of culinary delights. This year, stick a whisk in their stocking and whip up some fun! (Sorry.) Or simply gift a unique recipe zine from P+P’s neat library. Great for everyone? Sparq stones — soapstone cubes you can use in hot or cold drinks to maintain temperature — and kicky colored salt cellars.

593 Guerrero, SF. (415) 206-1134, www.potandpantry.com

 

SUCCULENCE

The venerable and much-loved Four Star Video rental shop in Bernal Heights found that its business model had run its course, so it morphed into Succulence, a yummy boutique plant store that features (of course) succulents but also a wide range of gardening supplies and cute classes for kids of all ages. Creative and artsy plants and planters, terrariums, hanging plants — plenty here for anyone who likes to fill their home with greenery. Plus: Really cool hand-carved ballpoint pens, which, in the $50 range, are cheap for one-of-a-kind writing instruments.

402 Cortland, SF. (415) 282-2212, www.thesucculence.com

 

GREEN ARCADE

We’ll take any gift you’d like to gift us from this liberal bastion of bookery on Market Street. A wonderfully curated selection of tomes focuses on history and social and environmental issues, with a generous sprinkling of poetry, theory, and California-centric items. (While researching for this article, we were compelled by joy to snag a set of dish towels with old-time maps of the Golden State printed on them.) You’ll find great stuff for out-of-towners, armchair prophets, and new San Francisco arrivals here, or anyone who loves this kooky-beautiful land of ours.

1680 Market, SF. (415) 431-6800. www.thegreenarcade.com

 

UPPER PLAYGROUND

We have teenage boys in our life! Possibly you do in yours. They like to dress cool. Upper Playground has so many uniquely SF cool and boyish t-shirts, hats, hoodies, and related items that shopping for our cool teenage friends was so easy we began to suspect the whole enterprise. Is this reality? (There are also tasty items for women and walls as well.)

220 Fillmore, SF. (415) 861-1960, www.upperplayground.com

 

CHOCOLATE COVERED

This Noe Valley treasure is billed as “San Francisco’s Original Chocolate Boutique” — but we call it Dr Coacoa-nassus’ Chocolatarium of Head-Explosion and Wonderment. There is every kind of fantasy chocolate bar combination to be found within its charming bounds — maple-coconut chocolate, blueberry chocolate, gingerbread chocolate, luscious vegan chocolate truffles, tiny bon bons with the face of Mrs. Claus sculpted upon them! People, they had Obama chocolates here during the election. The walls are lined with mystery cabinets labeled with street signs indicating the theme of the candy within, making for an adventurous shopping experience as well.

4069 24th St., SF. (415) 641-8123, www.chocolatecoveredsf.com

 

ALL OF JAPANTOWN CENTER

Seriously, there is so much of interest here you can’t go wrong. Insanely detailed, completely untranslatable magazines devoted to singular cats and manga insanity at Kinokuniya Books; novelty fruit and animal eraser sets at Mai Do Fine Stationery so full of squee you want to eat them; scary-good replica samurai swords at Katachi; exquisitely wrapped boxes of chocolate strawberry mochi at Nippon Ya … spend a couple hours wandering this mall and you’ll come out with some really unique presents. Plus you’ll be full of delicious sushi and hot tea.

www.sfjapantown.com

 

Art Basel diary: Why some people never enter a gallery

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“My favorite part about Basel is that I haven’t seen a single piece of art,” the 20-something gentleman said through giggles, pleased with himself. His statement was indicative of a simple fact regarding the last week in Miami: a lot of people came during Art Basel not to cruise the 20-plus art fairs, but to party.

>>IF YOU ARE INTO THE ART (YAWN) CHECK OUT CAITLIN DONOHUE’S EPIC JOURNEY THROUGH SIX OF THIS YEAR’S BEST FAIRS AND HAPPENINGS 

His quote was delivered on Sunday, the last day of the madness, and though countless individuals were trying to squeeze in one last look at a Mapplethorpe, Moore, or Kahlo, the two of us had found ourselves poolside at the Standard Hotel, sipping chilled white wine with new-found aquaintances who like me, preferred the works of art not found on canvas. They were more into the moments when the art fair doors were closed, when the Internet celebrities, socialites, and party-goers strapped on their heels to attend the high fashion soirees South Beach.  

Here’s the highlights of my Art Basel nightlife experience: 

Thursday, December 6: I landed in the evening with just enough time to put down my bags and hop in a cab to Lords South Beach Hotel. The building had been transformed by artist Desi Santiago into “The Black Lords.” A giant inflatable black dog engulfed the hotel with glowing, hovering eyes. To celebrate Desi’s creation the Lords threw a private party. 

Once you made it passed the several girls blocking the entrance with iPads containing the evening’s guest list (Miami’s accessory of the season, apparently), you were welcomed into a night with free designer water and an open bar hosted by a tequila brand. In attendance was the coolest of the cool, including San Francisco’s very own drag celebrity, performer, and chef Juanita More and New York-based model Shaun Ross.

Friday, December 7th: After a very long day of attending some of the biggest art fairs in South Beach, I managed to put together a cute look and head to a private party being hosted by DJ Mike Q and artist Matthew Stone. My RSVP included details of where to be picked up by yacht, but since I was running a bit behind, I decided to forgo the boat and zip straight to the party. 

I arrived in front of large gates framed by equally large manicured shrubs. Once the gates opened and I was greeted by a man holding yet another iPad. Once cleared, I was led into an extravagant Moroccan-style riad which included another open bar followed by an amazing Paris is Burning-style ballroom performance by MC Gregg Evisu and dancers Ricco Allure, Kassandra Ebony, and Tamara Prodigy. 

In attendance was San Francisco’s very own performance artists boychild and Dia Dear. I also ran into Shaun Ross again and snapped a quick photograph of him living for the evening’s ball.

Saturday, December 8: My nightlife highlights actually occurred during the day at the NADA Friends and Family pool party, hosted by New York-via-San Francisco performer Alexis Blair Penney of the House of Chez Deep. 

The afternoon started with a spectacular lip sync and performance of Rihanna’s “Diamonds” by Sam Banks, another New York-via-San-Francisco-based drag persona from the House of Chez Deep.

The day’s artists were absolutely captivating and led the audience on a visual journey that occupied the entire of the Deauville Beach Resort‘s majestic outdoor pool area. The day ended with a stunning performance from San Francisco-based performance artist Dia Dear, who had stripped nude and spray-painted herself a very Miami pastel pink. 

Sunday, December 9th: Dehydrated, heat-struck, and exhausted, I found myself cabbing it to the Standard Hotel’s end-of-Basel pool party where this story began. I was determined to take the day easy and nourish myself back to health, but first I had to check out this last event. 

In attendance was San Francisco’s very own drag performer Ben Woozy, LA-based Internet celebrity and fashion icon Niki Takesh, and photographer-model Angela Pham, from the reality TV show Gallery Girls.

I left the pool party early that evening in need of some serious rest and relaxation. I returned to my hotel and had a burger at the local tiki bar and grill by the pool, and spent my last evening at the Russian Turkish Baths’ Amythyst Room. I’m pretty sure though, you’ll never sweat the party out of this boy. 

YEAR IN MUSIC 2012: Top 10s Galore

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YEAR IN MUSIC Local musicians, rappers, producers, and music writers sound off on the year’s best songs, album releases, shows, personal triumphs, and local acts.

 

 

HANNAH LEW, GRASS WIDOW

 

TOP 10 OF 2012

1. Starting our own label HLR and releasing our own record (Internal Logic)

2. Total Control’s LP

3. Touring with the Raincoats and singing “Lola” with them every night

4. Getting obsessed with Silver Apples

5. Hollywood Nails

6. Wymond Miles LP

7. Scrapers (band)

8. Sacred Paws (band)

9. Making eight music videos and losing my mind

10. Wet Hair’s LP

 

ANTWON, RAPPER

 

TOP 10 2012 RAP JAMZ

1. DJ Nate, “Gucci Gogglez” 2. Chief Keef, “Ballin” 3. French Montana, “Shot Coller” 4. Chippy Nonstop, “Money Dance” DJ Two Stacks remix 5. Cash Out, “Cashin’ Out” 6. Future, “Turn on the Lights” 7. Gucci Mane, “Bussin Juggs” 8. Juicy J, “Drugged Out” 9. Lil Mouse, “Don’t Get Smoked” 10. Lil Reese, “Traffic” feat. Chief Keef

 

MICHAEL KRIMPER, GUARDIAN

 

THE ENDLESS DESIRE LIST

 

(IN NO PARTICULAR ORDER, OR, OUT OF ORDER)

1. Les Sins/”Fetch”/12″ (Jiaolong)

Run, fall, catch your desire.

2. The Soft Moon/”Want”/Zeros (Captured Tracks)

Infinite want, can’t have it. O, ye of bad faith.

3. Frank Ocean/”Pyramids”/channel ORANGE (Def Jam)

Pimping Cleopatra, whoring the pyramids.

4. Daphni aka Caribou/”Ye ye”/Jiaolong (Jiaolong)

Affirmation on repeat.

5. Grimes/”Genesis”/Visions (4AD)

Whatever, you know you like it.

6. Todd Terje/”Inspector Norse”/It’s the Arps (Olsen/Smalltown Supersound)

Inspecting never felt so good.

7. Burial/”Kindred”/Kindred (Hyperdub)

Kindred outcasts, jealously desiring their solitude.

8.John Talabot/”Estiu”/Fin (Permanent Vacation)

If a permanent vacation wasn’t hell, this might be its soundtrack.

9. Purity Ring/”Obedear”/Shrines (4AD)

Nothing pure in this abject need.

10. Kendrick Lamar/”A.D.H.D.”/good kid m.A.A.d city (Interscope)

Crack babies: she says, distracted, endless desire.

 

TYCHO, AKA SCOTT HANSEN

 

FAVORITE BAY AREA AND BAY AREA-AFFILIATED MUSIC ACTS

1. Toro Y Moi 2. Christopher Willits 3. Blackbird Blackbird 4. Jessica Pratt 5. Sam Flax 6. Ty Segall 7. Yalls 8. Doombird 9. Little Foxes 10. Dusty Brown

 

BEN RICHARDSON, GUARDIAN

 

BEST METAL ALBUMS OF 2012

1. Dawnbringer, Into the Lair of the Sun God (Profound Lore)

2. Asphyx, Deathhammer (Century Media)

3. Woods of Ypres, V: Grey Skies & Electric Light (Earache)

4. Uncle Acid and The Deadbeats, Blood Lust (Metal Blade)

5. Pallbearer, Sorrow And Extinction (Profound Lore)

6. Windhand, Windhand (Forcefield Records)

7. Omens EP

8. Hour of 13, 333 (Earache)

9. Gojira, L’enfant Sauvage (Roadrunner)

10. Lord Dying, Demo

 

CALEB NICHOLS, CHURCHES

 

TOP 10 VINYL PURCHASED IN 2012, AND WHERE I PURCHASED THEM

1. The Shins, Port Of Morrow (Amazon — forgive me, I had a gift card.)

2. The Walkmen, Heaven (Urban Outfitters clearance — yeah, I know, but you can’t beat brand-new vinyl for $10.)

3. Various Artists, Death Might Be Your Santa Claus (Boo Boo Records, San Luis Obispo. My hometown record store.)

4. Ella Fitzgerald, Live at Montreaux (Boo Boo Records, San Luis Obispo)

5. Mahalia Jackson, Christmas With Mahalia (Abbot’s Thrift, Felton, CA — Great thrift store in the Santa Cruz Mountains.)

6. Benjamin Britten/Copenhagen Boys Choir, A Ceremony Of Carols (Abbot’s Thrift, Felton, Calif.)

7. Thurston Moore, Demolished Thoughts (Urban Outfitters clearance)

8. The Hunches, Exit Dreams (1234Go! Records, Oakland)

9. Various Artists/Angelo Badalamenti, Wild At Heart OST (Streetlight Records, Santa Cruz)

10. Tijuana Panthers, “Crew Cut” seven-inch (Picked up at show — Brick and Mortar Music Hall, San Francisco)

 

KACEY JOHANSING, SINGER-SONGERWRITER

 

TOP 10 FAVORITE SONGWRITERS IN THE BAY AREA

1. Sleepy Todd

2. Tommy McDonald of The Range of Light Wilderness

3. Emily Ritz of Yesway and DRMS (biased opinion, I know)

4. Kyle Field of Little Wings

5. Alexi Glickman of Sandy’s

6. Michael Musika

7. Bart Davenport

8. Indianna Hale

9. Jeffrey Manson

10. Sonya Cotton

 

HALEY ZAREMBA, GUARDIAN

 

TOP TEN CONCERTS OF 2012

1. El Ten Eleven at the New Parish

2. Good Old War at Slim’s

3. Girls at Bimbo’s

4. St Vincent and Tune-Yards at The Fox

5. Bomb the Music Industry! at Bottom of the Hill

6. Fucked Up at Slim’s

7. Amanda Palmer and the Grand Theft Orchestra at the Fillmore

8. Ariel Pink at Bimbo’s

9. Conor Oberst at the Fillmore

10. Titus Andronicus at the Great American Music Hall

 

CARLETTA SUE KAY, SINGER-SONGWRITER

 

BEST OF 2012

1. “See All Knows All,” A Thing By Sonny Smith at The Lost Church.

2. “Silent Music” music ephemera show at Vacation (651 Larkin) curated by Lee Reymore, opening party set by the Fresh and Onlys, after -party pot cookie monsters invade the Gangway.

3. Dusty Stax & The Bold Italic Present: “Summer Soul Friday Night”.

4. Wax Idol’s Hether Fortune fronting the Birthday Party cover band at Vacation.

5. Jessica Pratt’s debut LP (Birth Records).

6. Bambi Lake at the Museum of Living Art.

7. Pruno Truman, aka Heidi Alexander from the Sandwitches “Sleeping with the TV on” b/w Carletta Sue Kay “No, no” (Weird World).

8. Opening for Baby Dee at Brick & Mortar Music Hall.

9. Kelley Stoltz’s cover of “Sunday Morning” on Velvet Underground and Nico by Castle Face & Friends (Castle Face).

10. Christopher Owens premiers Lysandre live at the Lodge.

11. Mark Eitzel’s Don’t Be A Stranger (Merge) and its accompanying promo video series. Featuring Grace Zabriskie, Neil Hamburger, Parker Gibbs et al.

 

EMILY JANE WHITE, MUSICIAN

 

TOP 10 SONGS OF 2012 BY FEMALE ARTISTS

1. “Spinning Centers” Chelsea Wolfe: Unknown Rooms

2. “Who Needs Who” Dark Dark Dark: Who Needs Who

3. “Oblivion,” Grimes: Visions

4. “Old Magic” Mariee Sioux: Gift for the End

5. “Apostle” Marissa Nadler: The Sister

6. “In Your Nature” Zola Jesus: seven-inch (w/ David Lynch Re-Mix)

7. “Silent Machine” Cat Power: Sun

8. “Moon in My Mind,” Frankie Rose: Interstellar

9. “Serpents,” Sharon Van Etten: Tramp

10. “Video Games,” Lana Del Rey: Born to Die

 

MORNIN’ OLD SPORT

 

FAVORITE ARTISTS/ALBUMS

1.Moons, Bloody Mouth

2.Patti Smith, Banga

3.Mykki Blanco, Cosmic Angel: The Illuminati Prince/ss Mixtape

4.ABADABAD, The Wild EP

5.Kendrick Lamar, Good Kid m.A.A.d city

6.Shady Hawkins, Dead to Me

7.Howth, Newkirk

8. Bikini Kill EP (reissue)

9. Sharky Coast, Pizza Dreamz demo

10. FIDLAR, No Waves/No Ass seven-inch

 

ROSS PEACOCK AND NATHAN TILTON, MWAHAHA

 

ALMOST TOP 10 ALBUMS (IN NO PARTICULAR ORDER)

1. Air, Le voyage dans la lune

2. Naytronix, Dirty Glow

3. I Come To Shanghai, Eternal Life Vol. 2

4. Beak, >>

5. Steve Moore and Majeure, Brainstorm

6. Clipd Beaks, Wake

7. Brian Eno, LUX

8. Neurosis, Honor Found in Decay

ALMOST TOP 10 SHOW (IN NO PARTICULAR ORDER)

1. Pulp at the Warfield: Think that was this year. Cocker sings sexy

2. Red Red Red: just saw this guy play at a warehouse in Oakland…live house music made with actual hardware!

3. Flying Lotus at the Fox was pretty epic….. insane visuals.

5. Lumerians at the Uptown

6. Neurosis at the Fox: Fuck!

7. Deerhoof at SXSW ….. maybe the best live band in the universe

8. Indian Jewelry at the Terminal …. strobe light universe

 

EMILY SAVAGE, GUARDIAN

 

LIVE SHOWS THAT CREATED THE MOST POSI MEMORIES IN 2012

1. Feb. 14: Black Cobra, Walken, Yob at New Parish

2. Feb. 23: Budos Band and Allah-Lahs at the Independent

3. March 30: Hot Snakes at Bottom of the Hill

4. April 10: Jeff Mangum at the Fox Theater,

5. July 21: Fresh and Onlys and La Sera at Phono Del Sol Music Fest

6. July 28: Total Trash BBQ Weekend at the Continental Club

7. Aug. 11: Metallica at Outside Lands

8. Aug. 31: Eyehategod at Oakland Metro

9. Oct. 9: Saint Vitus at the Independent

10. Oct. 27: Coachwhips and Traditional Fools at Verdi Club

 

NEW ALBUMS I LISTENED TO ENDLESSLY IN 2012

1. Grass Widow, Internal Logic (HLR)

2. Cloud Nothings, Attack on Memory (Carpark)

3. Ty Segall, Slaughterhouse (In the Red)

4. Dum Dum Girls, End of Daze EP (Sub Pop)

5. Frankie Rose, Interstellar (Slumberland)

6. Godspeed You! Black Emperor, Alleluja! Don’t Bend! Ascend! (Constellation)

7. The Fresh and Onlys, Long Slow Dance (Mexican Summer)

8. THEESatisfaction, awE naturalE (Sub Pop)

9. Terry Malts, Killing Time (Slumberland)

10. Guantanamo Baywatch, Chest Crawl (Dirtnap Records)

 

TAYLOR KAPLAN, GUARDIAN

 

TOP 10 ALBUMS OF 2012

1. Hiatus Kaiyote: Tawk Tomahawk (self-released) I could tell you that a bunch of white Australians somehow merged the sound-worlds of Erykah Badu, J Dilla, and Thundercat into a 30-minute, self-released debut LP that rivals the best work of any of those musicians, but you just might have to hear for yourself: hiatuskaiyote.bandcamp.com.

2. Lone: Galaxy Garden (R&S) This is the Lone album we’ve been waiting for. The British laptop producer’s past efforts, while exquisitely lush, were inhibited by a sense of hollow simplicity; Galaxy Garden, his danciest effort yet, shows improvement on nearly every front, from generously layered percussion, to a nuanced, bittersweet take on melody and harmony. A gorgeous fulfillment of Lone’s hedonistic vision.

3. Scott Walker: Bish Bosch (4AD) Difficult as it is to proclaim Bish Bosch 2012’s best album, (its hulking weight and unyielding grimness renders casual listening a difficult proposition) no LP this year has matched its gutsiness and sonic adventurousness, or consolidated so many ideas into a singular space. An array of musical possibilities as dense, thorny, and encyclopedic as a Pynchon novel, with Walker’s quivering, operatic baritone as its sole, anchoring force.

4. Zammuto: s/t (Temporary Residence) Former Books member Nick Zammuto’s solo debut impresses with its vitality and strength of purpose. Despite the heightened emphasis on conventional songwriting this time around, Zammuto strikes that divine balance between bewildering sound-collage and pop approachability that made the Books such an endearing project in the first place.

5. Tame Impala: Lonerism (Modular) Kevin Parker’s first LP as a lone, multitracking solo artist under the Tame Impala moniker, is a bubbly, golden pop album, despite its pervasive theme of existential dread. Its hooks achieve a weird form of transcendence, befitting the Beatles and Britney Spears in equal measure.

6. Laurel Halo: Quarantine (Hyperdub) Much like Oneohtrix Point Never’s Replica (2011), Quarantine is ideal soundtrack material for those late-night, marathon web-surfing sessions that seem to transcend time and space. Halo’s cold, glassy electronics are anchored by dry, straightforward vocals on an album that occupies a mysterious void between vocal pop and ambient electronica.

7. Field Music: Plumb (Memphis Industries) Less a song-cycle than a series of hooks, Field Music’s latest is the work of a band with a hundred wonderful ideas up its sleeve, and only 35 minutes to communicate them. Channeling the impulsive energy of Abbey Road‘s second half with proggy dexterity, Plumb cements this vastly underrated British outfit as one of the most visionary songwriting duos around.

8. THEESatisfaction: awE naturalE (Sub Pop) Splitting the difference between progressive hip-hop and neo-soul, this Seattle duo’s breakthrough record zips through its 30-minute run-time with remarkable tenacity and economy. Bearing the exhilarating energy of J Dilla’s rip-roaring beat-tapes, and shrewd lyricism that effortlessly balances the political, the personal, and the cosmic, awE naturalE feels urgently, confrontationally NOW.

9. Nik Bärtsch’s Ronin: Live (ECM) Not quite nu-jazz, math-rock, or classical minimalism, Swiss ensemble Nik Bärtsch’s Ronin is as compelling, and innovative, as any live band around, tackling Reichian time signatures with the borderline robotic technical ability of Juilliard grads, and the undeniable groove of an airtight funk band.

10. d’Eon: LP (Hippos In Tanks) Approaching the tongue-in-cheek meta-pop of James Ferraro’s Far Side Virtual with a twisted mythology of Christianity and Islam vs. iPhones and the Internet, and a bizarrely heavy dose of Phil Collins’ influence, d’Eon’s LP‘s totally dubious backstory is redeemed by solid songwriting, lush synths, killer keyboard solos, and a ’70s big-time art-rock sensibility. The most convoluted release to date from the prankish Hippos In Tanks imprint.

Honorable mention: Farrah Abraham: My Teenage Dream Ended (self-released) You can’t make this shit up: the year’s weirdest, most haunted and terrifying album wasn’t brought to us by Swans or Scott Walker, but the star of MTV’s Teen Mom. Trapped between the real world, and a web-based alter-reality, it’s the sound of an All American girl, brought up on The Notebook and Titanic, finding herself imprisoned in a Lynchian nightmare.

 

YEAR IN MUSIC 2012: Digital scraps and analog curiosities

3

arts@sfbg.com

YEAR IN MUSIC Are we being punked? Is this all some kind of stupid joke?

Upon first listen, the sound-world of Berlin-London duo Hype Williams (not the music-video director, mind you) is practically guaranteed to provoke a bewildered response. Incorporating half-baked hooks, brutishly cut-and-pasted samples, apathetic vocals, inept musicianship, crude effects, and grainy production into a gnarled, genreless mishmash, its approach gives off a superficial whiff of laziness and inconsequence.

After further inspection, however, Hype Williams reveals itself as a vital, innovative force in modern music, paving the way for a new form of artistic synthesis in an age when information flows like unchecked tap water.

The impulse to pillage the art-world for scraps and fragments, and reassemble them within a new framework, (see: postmodernism) has a diverse history, from The White Album to the writings of Thomas Pynchon; yet, it was once widely perceived as a snooty, elitist activity reserved for outsider artists, avant-gardists, and other seemingly unreachable, black turtleneck-wearers.

Hype Williams operates at the forefront of what I like to call “new postmodernism,” recycling musical idioms as a kneejerk response to the Internet’s constant outpouring of accessible information. Whereas pre-Internet postmodernism required relative effort, calculation, and resources to connect the dots between musical forms, anyone in 2012 with a laptop, a WiFi connection, a pirated copy of Ableton or Logic, and a Bandcamp account, was a legitimate artist, granted easy access to an infinite sea of musical possibilities.

http://www.youtube.com/watch?v=4ZK7SVm8hvE

You know how Brian Eno said his instrument of choice is the recording studio? In 2012, the people’s instrument was the iTunes library/MIDI keyboard combo: easier, and cheaper, to learn than the guitar, with a wider sonic range, to boot.

Given the declining relevance of record labels, studios, expensive gear, marketing campaigns, and other barriers preventing would-be artists from crafting and distributing their work, it was easier and cheaper to be a recording artist/collagist in 2012 than ever before. Hype Williams explored the potential of this new musical landscape more relentlessly, and enthusiastically, than perhaps anyone else this past year, rendering it, in my view, 2012’s most essential musical entity.

Within the context of new postmodernism, Hype Williams’ 2012 output sounds less like goofy amateurism than an unfiltered current of creative energy. On this year’s Black is Beautiful LP, released by Hyperdub under the pseudonym Dean Blunt and Inga Copeland (which may, or may not, be their real names), haphazard beats and keyboard melodies are seemingly recorded in one take, prioritizing creative flow and forward movement over the refinement of previously committed ideas.

The tracks are generically titled (“Track 2,” “Track 8”), opting to skip ahead to the next project in lieu of assigning an identity to the last one. Each of the album’s 15 pieces is a non sequitur to the one before it, evoking the scatterbrained impatience brought on by the Internet age.

“Venice Dreamway” (the only properly titled track of the bunch) slaps a rollicking, free-jazz drum solo over an ominous synth drone, while “Track 8” strongly resembles an underwater level from Super Mario Bros.; “Track 10” is an extended, weed-addled dub workout, spilling over the 9-minute mark, while the 35-second “Track 6” consists of little more than a shambolic MIDI flute melody. “Track 5” is a reckless, sloppily executed take on an otherwise competent vocal pop song; and, interestingly enough, “Track 2” is a cover of Bobby and Joe Emerson’s “Baby,” a ’70s R&B obscurity that Ariel Pink’s Haunted Graffiti also reinterpreted on this year’s Mature Themes.

Highly regarded among DIY enthusiasts, Ariel Pink is often credited for rescuing postmodernism from the artistic elite, and thus providing the roadmap to Hype Williams’ aesthetic. In an interview this past September, I asked Pink to rattle off a list of favorite books, albums, films, and visual artists: a request he (politely) declined. “Favorites? No,” he explained. “My aesthetic is too all-inclusive. That’s the best part, and the worst part about it. It doesn’t make me a very loyal fan of any one thing in particular. But, at the same time, I love everything.”

Aside from fuzzy, queasy texture, this “all-inclusive” philosophy is the primary link between Hype Williams’ and Ariel Pink’s output. Just as Pink’s kaleidoscopic lo-fi pop makes no judgments between “good” and “bad” musical influences, forcing the entire art-world through his sonic meat grinder, one can picture Hype Williams hoarding digital scraps and analog curiosities, recycling them indiscriminately into new forms.

United by a simultaneous love for, and indifference to, all forms of art, both Pink and Hype Williams seem motivated not by ironic detachment or hipster posturing, (see: Hippos In Tanks, Not Not Fun) but by the pure joy and freedom of using everything available.

Another proponent of the all-inclusive strategy, SF party curator Marco de la Vega, orchestrated a club night at Public Works this past April, headlined by Hype Williams, with additional sets by Gatekeeper, Teengirl Fantasy, and Total Accomplishment.

De la Vega described his aesthetic to the Guardian as “the embodiment of this idea that there is such a huge cross-section between various musical genres, and particular production styles of music, so rap, electronic… post-dubstep, post-anything. There’s this huge intersection between all these scenes that doesn’t actually have, strangely, its own outlet.”

Named “Public Access,” the event set an ideal context for Hype Williams’ art, recognizing its position at the crossroads of musical approaches. The duo’s performance (its second US appearance, ever) was a wild success, the most engaging “laptop set” I’ve ever witnessed, and perhaps the best live show I saw in all of 2012.

With strobe lights flashing, and the stage enshrouded in fog, Blunt and Copeland were rendered completely invisible, reinforcing their mysterious public image, and keeping the specifics of their musical process under wraps.

Making full use of the club environment, and its thumping, punishing sonic capabilities, they delivered a seamless, hour-long barrage of heavy, industrial beats, cavernous drones, mysterious field recordings, and characteristically skewed melodies, with the occasional, approachable pop hook thrown in to provide a grounding influence.

With all too many live bands churning out unimaginative replications of their own studio output, Hype Williams’ set was striking, immersive, and wholly refreshing. Ear-splittingly loud, and physically exhausting, it exposed the dark underbelly of the post-everything, all-inclusive approach, daring the audience to submit to its overwhelming, cacophonous potential.

If Black is Beautiful exhibited the joyful liberation of new postmodernism, Blunt and Copeland’s live set was the equivalent of a system overload: inclusive to the point of devastation.

Between an LP for Hyperdub, a handful of web-only mixtapes, and a live SF performance for the ages, Hype Williams spent 2012 re-evaluating the significance, and egalitarian capacity, of postmodernism, in an age when anyone with a WiFi connection can go digital-dumpster-diving for musical scraps to quilt together as they please. As long as casual musicians keep on harnessing the vast creative potential at their fingertips, and “professionals” like Blunt and Copeland continue to expose the waning relevance of the art-world’s precious institutions, our culture of musicianship is bound to inch closer and closer towards democracy.

 

 

TAYLOR KAPLAN’S TOP 10 ALBUMS OF 2012

1. Hiatus Kaiyote: Tawk Tomahawk (self-released)

2. Lone: Galaxy Garden (R&S)

3. Scott Walker: Bish Bosch (4AD)

4. Zammuto: s/t (Temporary Residence)

5. Tame Impala: Lonerism (Modular)

6. Laurel Halo: Quarantine (Hyperdub)

7. Field Music: Plumb (Memphis Industries)

8. THEESatisfaction: awE naturalE (Sub Pop)

9. Nik Bärtsch’s Ronin: Live (ECM) 10. d’Eon: LP (Hippos In Tanks)

London diary

0

arts@sfbg.com

THEATER Tom Cruise, clad in military drag, descended last week by RAF helicopter into Trafalgar Square in what is best described as forced entertainment but was in fact a time-wasting scene from his upcoming blockbuster All You Need Is Kill. Not quite simultaneously but with considerably more stealth, I advanced into South London’s Battersea area, in a completely uncoordinated foray, to see the latest from famed Sheffield-based pomo theater artists Forced Entertainment.

Battersea Arts Centre, a bright red and white 1893 former town hall, is midway through a restoration process called “playgrounding” (putting artists and audiences at the center of the architectural redesign), and its many arches, rococo balustrades, and mosaic tile floors thrive amid an attractive combination of new paint and weathered surfaces. The place is an enviable model for an arts organization: a warm and bustling hub of community activity that is also a serious arts incubator and presenter, boasting 72 performance-tested spaces and a live-in residency program geared to the truly experimental and exceptional.

A nice place for Forced Entertainment to land, enthused artistic director Tim Etchells in a short interview before the evening’s program. He said FE was in fact lucky to find itself there, space in London being at a premium. This is apparently true for even so internationally successful and storied a group as Forced Entertainment.

And speaking of stories, audiences would be up to their ears and eyes in them that night — or rather the loose ends of stories, volleys, and nose-dives from a meta-narrative barrage that manifested itself across a series of readings, performances, and neon. The sign aglow in the Café Bar, where I spoke with Etchells, said simply, “end of story.” Another one said, “Shouting Your Demands from the Rooftop Should Be Considered a Last Resort.”

(All the variously colored neon phrases spread throughout the foyer and adjoining bar were by Etchells, whose many projects outside FE include visual art and writing. The evening kicked off with a book launch of his Vacuum Days, a large hospital-green compendium of daily headlines and announcements — the result of a 2011 internet-based project in which Etchells riffed on the news of the moment in dada-esque fashion. Flipping through the pages was an instant reminder of two things: it had been a hell of a year, and headlines are always loaded.)

The centerpiece of the evening was The Coming Storm. Forced Entertainment’s latest piece (in an unbroken line of group-devised work going back to the company’s founding in 1984) begins unassumingly, with the six performers in their street clothes lined up onstage facing the audience. One of them holds a microphone, and begins by slowly articulating the necessary ingredients of a “good story.” Soon the other performers grow visibly dubious and restless, until one snatches the microphone away and weighs in with a whopper of a tale, never completed, because also interrupted by another greedy storyteller.

And so on through aggressive, sly, and puerile mic-swipings and gradual, unexpected permutations — as those without the microphone do any manner of things to create their own counter-narratives or merely sabotage the one dominating at the moment. It’s a confluence of fractured accounts arranged like a 20-car pile-up, or a game of keep away, or a gentle dance of despair, with occasional live score, random costume changes, and a cluster of branches embraced (and debunked) as a soothing shelter of forest.

The Coming Storm ends up an exercise in failure and resilience at once, since even if no one completes a tale, the audience rushes to fill the void —our minds trained to shape every squiggle into a recognizable human form, however personal or outlandish the starting point. In that rowdy mutual tangle comes quiet reflection from the interstices of language and history.

It left one in just the right frame of mind to receive the last performance of the night, Sight Is the Sense that Dying People Tend to Lose First, Etchells’ monologue for New York actor Jim Fletcher (lately of the title role in Elevator Repair Service’s acclaimed production, Gatz).

Sight proved no return to narrative but rather a concatenation of eccentric observations and pronouncements, undertaken by a nameless po-faced character standing center stage and meeting the audience’s gaze in a free-associative unburdening of “meaning,” desultory definitions that went along the lines of “Socks are gloves for the feet. Snow is cold. Water is the same thing as ice. In America things are bigger. America is a country. Korea is also a country.” Then, some time later, “Cats are afraid of dogs. Dogs like to chase cats. Some dogs like to bite the tire of a passing car.” Throughout this eccentric cataloguing and its naïve reverie, the audience again acts to complete the work wordlessly. Subtle suggestions come, vistas briefly open, demurring exceptions and musings flicker by, as the audience is tossed one wry bone after another, and a slow vague pathos accumulates.

Phantasms

1

marke@sfbg.com

SUPER EGO Scene: Midnight, Tiara Sensation drag pageant, Rickshaw Stop, September. A naked, enormously white-and-purple-bewigged figure in two-foot-high Plexiglass heels, laid across three raised Plexiglass pillars, faces away from us. The pitched down strains of Frank Ocean’s “Pyramid,” his voice syrupped into a slo-mo Judy Garland phantasmagoria, drown us in waves of bass. Sheee’s wooorkiiing at the Pyyyramid toniiiight.

Awkwardly, riskily the figure rises almost to the rafters, its back still to us, spreads its legs, and begins to pull a tangled string of multicolored Christmas lights from her crotch. It performs this deliberately, turning the Rickshaw stage into a pressure cooker of strobe lights, sexual horror, and incipient danger — a strip club where no one can hear you scream. The atmosphere is so tense that when the figure finally turns around to reveal her eyeless, bloody-mouthed, death-pale self, as Ocean’s voice tweaks a level higher, shivers and gasps run right through the audience. Shiva the Great Destroyer, her tits bound with duct tape, a makeshift pouch at her crotch the source of her glittering lights.

It’s an out-of-body look that works. And it’s emblematic of a new glitchy-nightmare drag style (or the reboot of one) that’s bewitching clubgoers.

DIA DEAR

The performer was the amazing Dia Dear, one of a number of recent young arrivals who’ve zapped nightlife to another level by unselfconsciously — and quite organically — raiding the shelves of performance art, horror films, contemporary R&B, club kid history, and the Walgreen’s down the street to create striking personae for themselves, and electrify the city’s drag stages. They’re also so freaking smart it scares me, no Christmas crotch lights required.

Drag as confrontational, sometimes blood-spilling performance art has a long history here, of course, from the Cockettes in the 1970s, through the Popstitute and Club Uranus scenes in the early ’90s, through Trannyshack into the ’00s. It’s currently found a home at the Some Thing party every Friday at the Stud, High Fantasy every Tuesday at Aunt Charlie’s, and the Dark Room monthly party at Hot Spot. Iconic, sensibility-scrambling club kid styles like those of Michael Alig, Desi Monster, James St. James, our own Phatima Rude and Ggreg Taylor, and the ultimate drag inverter-perverter Leigh Bowery are all the rage in this retro-minded, post-Gaga moment. But something about this fresh wave, something about how it’s coming from people with no nightlife background at all, is different. Drag stages have become the affordable breeding ground for committed performance artists, expressing essential truths about our moment. Mere lipsyncing is so last century.

boychild

“I never even knew who Leigh Bowery was until people started mentioning his name this summer,” boychild, another of this new tribe, told me over the phone. (I live next door to boychild, and it’s not rare to find a neon-yellow spray-painted birdcage, a chandelier made of wigs, or an entire store display case sitting outside, waiting to become part of a perspective-shattering outfit or brandished onstage in a cyber-Wiccan, dystopian android ritual.) Like Dia, boychild just started going out to clubs very recently — pretty much arriving out of nowhere, both of them declining to share their pasts — and when she did she was almost fully formed as a stage presence, with a genius sense of makeup and a cerebral agenda.

http://www.vimeo.com/49244470

“Everything I do is a reaction to being categorized: as a person of color, as a female-bodied queer,” she said. “It’s really bad right now, because it’s so hip to be black, “urban culture” is being fetishized to an enormous extent. I feel I encounter so much that makes me angry just existing in this world as a queer creature. My performance and look ties everything to my experience through my body. That’s where I express myself most fluidly, more acutely and vividly than through language.”

“Horror is where I’m coming from and where I exist,” Vain Hein, another performer, told me. Unlike Boy Child and Dia Dear, Vain Hein is open about his past: raised as a Born Again Christian in both Puget Sound and Phoenix, Arizona — “My childhood consisted of traveling between extremes” — he eventually found his way to the San Francisco Art Institute to study New Genres (this is actually a program there!) Vain Hein, who also performs to music he chops and screws at home, most explicitly ties sex to horror in his work — it’s chockful of surprise lactations, menstrual blood, live births, prosthetic triple breasts, and weird asses.

VAIN HEIN (Photo by Eric Harvieux)

“I think a lot about the apocalypse, it’s how I filter and understand the world. Decay, destruction — everything I wear is just what’s at hand around my house, held together with scotch tape and nail glue, the shitty, shitty, shittest things ever that just fall apart during the night, even when I’m not performing. I literally shed my skin.”

Yet even as a queer art student in San Francisco, liberated from fundamentalism, he never went out until last year. “I just had preconceived notions about what going to a gay club involved. Then my friend dragged me to a drag show in the spring, and I was like, ‘I can do this.’ I had studied mostly performance art and video so it was a good fit.”

Being a young queer and not going to the clubs is incomprehensible to me — but of course these 20-somethings grew up with the Internet, where you can be gay by yourself, and which looms like a Poltergeist vortex over their work.

“Oh, the vast blessing of the Internet,” boychild half-laughs. “I wish I was better at it. We’re so bombarded with information and images, just so much shit. That can be great because my generation has all of the past available. But we’ve been drowning in this stream of complete crap, too. I can define myself as a freaky-freak just by how I navigate it. But the power of live performance is channeling all that into immediate emotion, a moment when everyone’s together, something that can’t and should never be documented as just images.”

The charming and soft-spoken Dia Dear, who has become kind of a mother the nascent phantasmic drag scene — even though she, like boychild and Vain Hein, operates mostly outside traditional drag house family structures — says, “I haven’t quite figured out my relationship to the Internet. I feel like it’s a positive tool because it can connect us to the spirit of people who are dead. But it’s also this kind of dark rectangle in the corner that can suck out all your energy. It exists for its own sake. But to be on the Internet now, you have to have a certain level of narcissism and self-interest. A lot like you have to have as a performer. Performance and the Internet should be natural lovers, in a sense. Twisted together …entwined.”

 

DISQUIET NIGHT

This live experimental music concert at the Luggage Store Gallery is the brainchild of one of the brainiest yet approachable people I know, Marc Weidenbaum, who started his fascinating daily music site, Disquiet.com, 15 years ago — way before blogs were invented. His project Disquiet Junto challenges Soundcloud members to respond to a prompt with unique compositions. This round: field recordings of Hurricane Sandy, with Cullen Miller, Subnaught, Jared Smith, and more.

Thu/6, 8pm-10pm, $6–$10 sliding scale. Luggage Store Gallery, 1007 Market, SF. www.luggagestoregallery.org

 

DEE-TOY

Over the past year we’ve been treated to some tasty South African contemporary dance music flavor, from Black Coffee to Die Antewoord. (Somebody please get the Tshetsha Boys out here!) DJ Dee-toy, of Sebokeng Township continues this great microtrend with deep, deep house vibes and off-your-seat Afrofunk jams.

Fri/7, 10pm-4am, $15–$20. Mighty, 119 Utah, SF. afrofunk.eventbrite.com

 

GIGAMESH

Yeah, yeah, the phenomenally successful Minneapolitan remixes pop hits into slick little machines of hummable electro-disco bliss. He is also very, very fun.

Fri/7, 10pm-3am, $15–$20. Monarch, 101 Sixth St., SF. www.monarchsf.com

 

TORMENTA TROPICAL 5-YEAR ANNIVERSARY

This monthly party launched the nu-cumbia sound in SF, splashing some much-needed Latin electronica onto our shores, while introducing global bass to a new generation of underground-minded clubgoers. Some major players have stomped the floor here, and quite a few sonic permutations of TT’s sound have found more mainstream success — but founders Shawn Reynaldo and oro11, who brought their inspiration directly from Argentina, are keeping it crazy and real with a marathon tag-team set in celebration.

Sat/8, 10pm, $5 before 10pm, $10 after. Elbo Room, 647 Valencia, SF. www.elbo.com

 

ACCIDENTAL BEAR!

Gay people won’t stop rapping and blogging, and that’s OK! Our favorite local blogger (and perpetual crush) Mike “Accidental Bear” Enders covers way too much ground online. Now the super-enthusiastic cutie is celebrating two years of cybergossip by hosting a cartoon-colored gay rapstravaganza with Big Dipper, Rica Shay, and MC Crumbsnatcher, plus singer Tim Carr and DJs Medic and Dav-O of Double Duchess. There’ll be a lot of cute gay guys with beards.

Sat/8, 9pm, $3. Truck, 1900 Folsom, SF. www.accidentalbear.com

 

ATTACK OF THE TYPEWRITERS

Writer, drinker, arts-minded political activist, and bon vivant Hiya Swanhuyser is combining her interests in this neato, monthly, potentially wonderfully absurd thingie. Come to the Makeout Room, grab a drink, and then bang out a letter to any politician you have beef with. “One letter = 100 votes,” she says. Cocktails and truth to power, yasss. She’ll bring the actual, clickety-clackety typewriters! You bring the drink-fueled rage!

Tue/11, 6pm-8pm, free. Makeout Room, 3225 22nd St., SF. www.tinyurl.com/typeattack

 

Ethics Commission wants to hide its own flaws

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The Ethics Commission has serious problems. A detailed report by Board of Supervisors Budget Analyst Harvey Rose, comparing SF’s ethics rules and enfocement to that of Los Angeles, found a long list of ways that this city is falling short. The supervisors asked the commission to have a robust discussion of the findings and propose reforms.

Now Friends of Ethics, made up of a number of former commissioners, activists, and campaign-finance watchdogs, says that the commission is trying to hold a quick hearing that will gloss over much of the criticism of the Rose report. The group wants the hearing delayed until there’s a lot more time to bring a lot more people into the process.

Here’s the letter FOE sent over:

To the Ethics Commission and Staff:

Friends of Ethics is writing with objections and protests regarding the upcoming “Interested Persons” meetings scheduled for December 4 and 10, 2012.

The Commission notified “Candidates, Treasurers and Interested Persons” of meetings “to discuss recommendations of the Budget Analyst report (also known as the Harvey Rose report) comparing programs of the San Francisco Ethics Commission with those of the Los Angeles Ethics Commission.”

The notice was dated November 28, providing only three business days before the first meeting will take place.

The Friends of Ethics bases its protest and objections on the following facts, and by this memo, formally requests that Ethics postpone these meetings until February.

     The proposed Interested Persons meetings do not mention inclusion of a representative from the Board Budget Analyst office to present their report and to discuss its findings. Without their direct involvement, as well as the invited presence of Supervisor Campos who requested the Rose report, the Interested Persons meeting will have only the staff’s views of the report as a basis for discussion. We believe this fails to provide the direct interaction and communication that should be part of this process.

    Ethics was requested by the Board of Supervisors to conduct robust and inclusive outreach to all participants in San Francisco’s political life. Ethics provided Friends of Ethics with the list used to contact Interested Persons about this meeting. We believe the list provided is not an adequate outreach, includes no community-based organizations active in electoral politics, any of the chartered Democratic clubs or other partisan political organizations, or special focus organizations active in San Francisco elections. We believe the lack of an inclusive outreach as evidenced by this list denies the Commission of a full discussion of the issues and is weighted toward the regulated community. We are puzzled by the fact that many people who do receive the Interested Persons notices are not on the list provided by Ethics, and seek a clarification on whether additional lists were used that were not disclosed to us. We also note that the late Joe Lynn, while the Campaign Finance Officer for Ethics, not only conducted extensive outreaches for IP meetings, including contacting past treasurers and press and posting notices on local political blogs and chat boards, but also later informed Director St. Croix in writing about those practices for the purpose of encouraging the continuation of such outreach.

    Ethics provided insufficient time for a review and analysis of recommendations that are significant and meaningful for the operation and success of the Ethics Commission mission. We believe that Ethics has done the bare minimum of notice of a public meeting and failed to take a serious approach to this important issue. Providing notice three days before the meeting, particularly in the holiday period between Thanksgiving and the first of December, means that no organization has an opportunity to place this issue on their agenda for a discussion or to endorse comments to be provided to the Ethics Commission.

    Ethics prepared an agenda that omitted significant and critically important comparisons between the Los Angeles and San Francisco Ethics Commissions that were included in the Rose report. While Ethics did list specific recommendations from the Rose report, the report itself detailed a number of additional differences that are significant to the San Francisco political community as we know it, and that should be part of a discussion of the Rose report.

Among the omitted points are:

    Los Angeles has a private right of action for citizens to act when Ethics does not; in Los Angeles this can include penalties under a civil action. San Francisco has no such provision. We believe this is essential to meaningfully empower citizens to directly seek compliance with our laws.

    Los Angeles requires disclosure of contributors of $100 or more to groups making “third party” expenditures. San Francisco does not require public disclosure of this money stream. Disclosure of donors to third party committees would add transparency, particularly if this has become a strategy to allow city contractors to influence elections.

    Los Angeles prohibits contributions from those seeking permits, while San Francisco does not. Friends of Ethics has determined that over 90 percent of all City Hall lobbying involves permit decisions.

    Los Angeles prohibits commissioners from fundraising for candidates, while San Francisco does not. This is the heart of pay-to-play politics that infects city appointments as commissioners are often the first stop for fundraising on behalf of city elected officials. We note a recent case where a city commissioner hosted a fundraiser that included contributions from city employees from the same department. The candidate returned the contributions, recognizing that commissioners are prohibited from seeking contributions from city employees. However, this demonstrates the potential abuse and underscores that Los Angeles’ policy is a stronger and more easily enforced prohibition. We recommend it.

    Los Angeles prohibits fundraising from city contractors and those seeking city actions. San Francisco allows contractors to fundraise and serve on candidate finance committees, although they may not contribute their own funds. Currently San Francisco also does not require candidates to disclose the names of their Finance Committee members. However, we strongly prefer closing the loophole, as Los Angeles has done, by prohibiting city contractors and permit seekers from fundraising.

    Los Angeles requires a more robust disclosure of “paid by” notification on telephone messages when 200 or more people are called. San Francisco sets the threshold at 500 people. Therefore, “paid by” calls to members of political clubs during the endorsement process would be missed under San Francisco’s standard but included under LA’s standard.

    Los Angeles provides a “Guide for Contributors” that educates donors and reduces confusion on such issues as aggregate contribution limits, prohibitions on officers of organizations receiving city funds, and so forth. This is done at minimal cost and made available on the Internet with no printing or mailing costs. San Francisco does not provide a Guide. Instead, the Ethics staff has recommended that the Commission rewrite the law to overturn specific prohibitions, stating that contributors are confused about the rules. The best approach is Los Angeles, where an educational outreach to contributors is part of their program. We note that San Francisco provides guides and outreach to most others involved in political activities, including committee treasurers, candidates and others but does not include an educational outreach to donors.

    Los Angeles prohibits political contributions from being made at City Hall or other city offices, including offices rented with city funds. San Francisco allows contributions to take place in the mayor’s own office, supervisor’s offices, at Redevelopment, Planning, Port or other offices – in short, anywhere that a donor chooses to make a contribution. We believe allowing contributions to be made in the workplace of city officials undermines public confidence and is inconsistent with other restrictions on the use of city resources for political purposes.

    Los Angeles has a more robust view of what constitutes lobbying and includes attorneys who offer strategic advice even if they do not directly contact a city official. San Francisco does not require registering or disclosing clients from such attorneys involved in orchestrating a favorable result for a paying client. Attorneys who serve as committee treasurers also do not face the same level of public disclosure as lobbyists.

We believe this list of omitted topics, coupled with the unacceptable short timeframe provided for analysis and review by the political community, and the failure to provide adequate outreach, raises serious concerns that Ethics is not engaged in a serious effort to obtain the public’s views on its operations and policies based on the Harvey Rose report.

We further note that Ethics has not provided a public schedule of when it will complete a summary of the Interested Persons meeting and comments, or a schedule for consideration by the full Commission of any recommendations.

In addition, Friends of Ethics requests that the San Francisco Ethics Commission audio record the IP meetings regarding the Rose report and post the recordings on its website, as is done by the Los Angeles City Ethics Commission.  In the past, the San Francisco Ethics Commission made audio recordings of its IP meetings, though they were not posted online.  The Commission’s Directors later discontinued the audio recording altogether, which may have been motivated by valuing the privacy of attendees over public transparency.  Given that the Rose report IP meetings are about comparing San Francisco’s good government laws with Los Angeles’ to consider adopting improvements offered by Los Angeles, Friends of Ethics believes that the first improvement that San Francisco should adopt is the Los Angele set of standard practices for conducting IP meetings.  When it comes to the development of good government law and policy, the public’s right to know is paramount.  Therefore, Friends of Ethics requests that all future IP meetings held by the San Francisco Ethics Commission be audio recorded and the recordings promptly posted online.”

Our reasons for requesting a specific timetable for next steps is based on our observation of lengthy delays in staff action on issues even when raised by the Commission itself. We believe the political community will be unlikely to participate in a process that has no specific and public timetable for action but that could take more than a year to reappear.

For example:

    In July 2011, the Ethics Commission requested that staff draft proposals to close the loophole that allows committees seeking to draft a candidate to fall outside the normal reporting and disclosure requirements. However, staff did not produce a proposal until November 2012, 16 months later, and did so without an Interested Persons meeting to discuss their proposal.

    Also at the July 2011 meeting, the Ethics Commission requested that staff examine the loophole that prevented the Commission from acting in cases of Official Misconduct by a commissioner. Ethics staff still has not produced a proposal to close that loophole.

    Also in 2011, a Superior Court judge suggested that San Francisco adopt a policy prohibiting commissioners from recommending a specific lobbyist to parties seeking a contract or other decision from that commission. Ethics has not prepared any response to that suggestion.

    In June 2012, Rules Committee Chair Jane Kim requested that the Ethics Commission provide some information on the city’s Ethics laws in languages other than English, noting that the rules are as important to donors and committees as they are to the public. The Ethics Commission has taken no steps, including in the election just concluded.

Given this record, we believe that any public process to examine the Harvey Rose Report and build new recommendations must include proposed timelines for action if there is to be public confidence that this process is meaningful.

We also strongly recommend that the Ethics Commission set aside time to allow a full discussion before the Commission itself. We believe that such a discussion should not place a two-minute limit on public members making comments.

For the above reasons and cited facts, Friends of Ethics requests that the Interested Persons meeting on the Harvey Rose Report be postponed until February when the political community will have an opportunity to evaluate the proposals and endorse changes, that the Commission immediately engage in a more robust outreach effort that extends beyond the list provided by Ethics to us, that the conversation be broadened to include all topics of comparison between Los Angeles and San Francisco, and that a proposed timeline for a record of the Interested Persons meeting and action by the Commission be provided.

We submit this protest respectfully and with support for the work of the Commission and specifically for the thorough review of any steps that can improve the Commission and public confidence in our political process.

Signed:

Eileen Hansen, former Ethics Commissioner
Bob Planthold, former Ethics Commissioner
Paul Melbostad, former Ethics Commissioner
Sharyn Saslafsky, former Ethics Commissioner
Bob Dockendorff, former Ethics Commissioner
Joe Julian, former Ethics Commissioner
Oliver Luby, former Ethics Commission staffer
Aaron Peskin, past President, Board of Supervisors
Charles Marsteller, former SF Coordinator, Common Cause
Karen Babbitt, community advocate
Marc Saloman, community advocate
Larry Bush, Publisher, CitiReport

 

FAIR: The press turns its back on Private Bradley Manning

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FAIR, the national media watchdog organization, has written an excellent critique of the coverage of the Bradley Manning case, one of the more shameful episodes in U.S.military and journalism history.  KPFA’s “Democracy Now” radio program headed by Amy Goodman  (9-10 weekdays) has also  done regular superlative coverage.  Here is FAIR’s report (B3):

Turning Their Back on Bradley Manning: Whistleblower speaks but press doesn’t listen

As the alleged source of many of the most vital WikiLeaks reports of the past several years, U.S. Army Private Bradley Manning shed considerable light on how the United States has prosecuted the Iraq and Afghan wars. Other State Department cables reportedly leaked by Manning conveyed vital information about U.S. foreign policy.

Manning has, in other words, been connected to a lot of news (FAIR Media Advisories, 4/7/10, 12/16/10, 7/30/10): the video of a 2007 U.S. helicopter attack in Baghdad that killed several civilians (two Reuters journalists died in the attack); the revelation that hundreds of U.S. attacks on civilians in Afghanistan had been recorded by the military– but were unreported elsewhere; the cache of diplomatic cables that uncovered U.S. efforts to stymie legal investigations into torture, U.S. involvement in airstrikes in Yemen; and much more.
But the developments at his trial last week–including the first time Manning has spoken about his treatment–are evidently not newsworthy.

Manning has been held in conditions that have been criticized as psychological torture, including long periods of solitary confinement in a tiny cell, forced nudity and sleep deprivation.

Last week, the military trial at Fort Meade centered on the question of whether these pre-trial conditions were unlawful. Arrested in May 2010, Manning faces 22 counts associated with the leaks of classified material–including the government argument that Manning’s leaks constitute aiding the enemy, apparently because some of the materials he leaked made their way onto the computers of Al-Qaeda figures.

The government maintained that Manning’s treatment was based on a judgment that he was a suicide risk. But the court proceedings included testimony from military psychiatrists who disagreed, and recommended against holding Manning under such “clinically inappropriate” conditions–recommendations that were ignored at the Quantico military facility where Manning was confined (Guardian, 11/28/12).

These dramatic developments, in particular the testimony from Manning (11/29/12), were mostly unreported in corporate media. The New York Times ran a brief Associated Press wire story (11/30/12). Manning’s story was mentioned by just one of the three big network newscasts (CBS Evening News, 11/29/12). There was a brief mention on the PBS NewsHour (11/30/12), mostly about suicide risk.

CNN did regular reporting on the trial throughout the week. According to the Nexis news database, Manning’s trial last week was not mentioned on the liberal MSNBC channel until a discussion on Up With Chris Hayes (12/1/12). Democracy Now!, which has closely followed the Manning case for the past two years, featured thorough analysis of the trial.

It is not hard, on any level, to see the relevance of the Manning trial. As the Guardian’s Ed Pilkington argued on Up With Chris Hayes (12/1/12), the government’s argument in the case will have a chilling effect, which should obviously concern journalists:

You have to bear in mind that the main charge, charge No. 1 against him, is aiding the enemy. Now this is a massively chilling thing. What he’s being accused of is by posting something via WikiLeaks on the Internet, that by doing so he effectively gave it to Osama bin Laden. They don’t have to show–in the prosecution’s mind, the government’s mind–they don’t have to show that he intended to do that. They’re just saying by the sheer act of putting it on the Internet, it was available to Al-Qaeda.

Indeed, the notion that such trials constitute a threat to freedom of the press was part of the reason that the leak investigation of New York Times reporter Judith Miller was so closely followed by corporate media. Many outlets and editorial pages proclaimed the proceedings an attack on journalism itself–even though in that case,  the reporter in question was seeking to protect a government source who was peddling information intended to diminish a government critic (Extra!, 9-10/05).

In the Manning case, the whistleblower apparently responsible for releasing documents that formed the basis for literally thousands of reports of incredible international significance is challenging government mistreatment. The questions about the case have been longstanding. As NPR’s All Things Considered noted (11/26/12), the secrecy around the proceedings has been “so intense that reporters and human rights groups have sued to get access to information.”

All that in mind, the minimal attention to Manning’s trial last week tells us how little corporate media care about the mistreatment of a government whistleblower. The revelations about U.S. foreign policy Manning allegedly made possible were news; the military’s abusive retaliation against him apparently is not.

FAIR,  the national  media watchdog organization, has written an excellent critique of the Bradley Manning case,  one of the more shameful episodes in military and journalism history. Here is its report (B3):
Turning Their Back on Bradley Manning
Whistleblower speaks–but press doesn’t listen

As the alleged source of many of the most vital WikiLeaks reports of the past several years, U.S. Army Private Bradley Manning shed considerable light on how the United States has prosecuted the Iraq and Afghan wars. Other State Department cables reportedly leaked by Manning conveyed vital information about U.S. foreign policy.

Manning has, in other words, been connected to a lot of news (FAIR Media Advisories, 4/7/10, 12/16/10, 7/30/10): the video of a 2007 U.S. helicopter attack in Baghdad that killed several civilians (two Reuters journalists died in the attack); the revelation that hundreds of U.S. attacks on civilians in Afghanistan had been recorded by the military– but were unreported elsewhere; the cache of diplomatic cables that uncovered U.S. efforts to stymie legal investigations into torture, U.S. involvement in airstrikes in Yemen; and much more.

But the developments at his trial last week–including the first time Manning has spoken about his treatment–are evidently not newsworthy.

Manning has been held in conditions that have been criticized as psychological torture, including long periods of solitary confinement in a tiny cell, forced nudity and sleep deprivation.

Last week, the military trial at Fort Meade centered on the question of whether these pre-trial conditions were unlawful. Arrested in May 2010, Manning faces 22 counts associated with the leaks of classified material–including the government argument that Manning’s leaks constitute aiding the enemy, apparently because some of the materials he leaked made their way onto the computers of Al-Qaeda figures.

The government maintained that Manning’s treatment was based on a judgment that he was a suicide risk. But the court proceedings included testimony from military psychiatrists who disagreed, and recommended against holding Manning under such “clinically inappropriate” conditions–recommendations that were ignored at the Quantico military facility where Manning was confined (Guardian, 11/28/12).

These dramatic developments, in particular the testimony from Manning (11/29/12), were mostly unreported in corporate media. The New York Times ran a brief Associated Press wire story (11/30/12). Manning’s story was mentioned by just one of the three big network newscasts (CBS Evening News, 11/29/12). There was a brief mention on the PBS NewsHour (11/30/12), mostly about suicide risk.

CNN did regular reporting on the trial throughout the week. According to the Nexis news database, Manning’s trial last week was not mentioned on the liberal MSNBC channel until a discussion on Up With Chris Hayes (12/1/12). Democracy Now!, which has closely followed the Manning case for the past two years, featured thorough analysis of the trial.

It is not hard, on any level, to see the relevance of the Manning trial. As the Guardian’s Ed Pilkington argued on Up With Chris Hayes (12/1/12), the government’s argument in the case will have a chilling effect, which should obviously concern journalists:

You have to bear in mind that the main charge, charge No. 1 against him, is aiding the enemy. Now this is a massively chilling thing. What he’s being accused of is by posting something via WikiLeaks on the Internet, that by doing so he effectively gave it to Osama bin Laden. They don’t have to show–in the prosecution’s mind, the government’s mind–they don’t have to show that he intended to do that. They’re just saying by the sheer act of putting it on the Internet, it was available to Al-Qaeda.

Indeed, the notion that such trials constitute a threat to freedom of the press was part of the reason that the leak investigation of New York Times reporter Judith Miller was so closely followed by corporate media. Many outlets and editorial pages proclaimed the proceedings an attack on journalism itself–even though in that case,  the reporter in question was seeking to protect a government source who was peddling information intended to diminish a government critic (Extra!, 9-10/05).

In the Manning case, the whistleblower apparently responsible for releasing documents that formed the basis for literally thousands of reports of incredible international significance is challenging government mistreatment. The questions about the case have been longstanding. As NPR’s All Things Considered noted (11/26/12), the secrecy around the proceedings has been “so intense that reporters and human rights groups have sued to get access to information.”

All that in mind, the minimal attention to Manning’s trial last week tells us how little corporate media care about the mistreatment of a government whistleblower. The revelations about U.S. foreign policy Manning allegedly made possible were news; the military’s abusive retaliation against him apparently is not.

     

W. Kamau Bell returns triumphant to the Bay, needs burrito

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Attention burrito vendors of the Mission, there is a sale to be made at the arrivals gate of SFO this weekend when newly-minted TV star W. Kamau Bell makes his triumphant return to the city in which he spent 15 years honing his comedic chops. He is aching for a Mission burrito like this city is aching for a more efficient MUNI system.

Culinary yearnings aside, this Sunday Bell headlines a standup show at the Fillmore as part of his “Kamau Mau Uprising” tour. The tour’s moniker should come as no surprise to those who are familiar with Bell’s politically progressive, acerbic wit.

These days, that category includes more people than ever. Earlier this year Bell ditched left our lovely 49-square-mile patch for Gotham when he was offered his own TV show on FX (Thursdays at 11:30pm). And it looks like he’ll be spending more time back east — said show Totally Biased with W. Kamau Bell just got picked up for a second season that will start January 17.

In the inaugural season of Totally Biased, Bell and his crew of writers have covered a lot of ground, exploring the differences between Sikhs and Sheiks, sweet potato and pumpkin pies. They’ve made a fake PSA telling men to stay home and watch porn on Election Day instead of vote, and watched presidential election returns with the Brooklyn Young Republicans (some of whom are not, it turns out, are not so young.)

Now that both he and President Obama will be back in 2013, Bell looks forward to holding our Commander in Chief to task. Right before the Thanksgiving Break, and just hours after finding out his show got renewed, the self-proclaimed “billionth most famous person in the history of New York” took some time to chat with the Guardian about his homecoming, and on what makes a San Francisco comedian different from those from NY, LA, or Boston. Plus, on whether he’ll ever drop a “hella” on Totally Biased.

SFBG: In the past you’ve referred to Totally Biased executive producer Chris Rock as the “foul-mouthed Yoda.” How far along have you come in your Jedi training?

Assuming that this is the original prequel, I would say I’m probably halfway through the first movie. Although Yoda wasn’t in the first movie, so I’m screwing up my nerd status, but I’m at the very beginning of the Jedi training, if it’s Empire Strikes Back, I’m at the point where I lifted the thing out and then I got scared.

SFBG: What’s Mr. Rock’s involvement in the show? Is he more hands-on or hands-off?

WKB: I just talked to him and he literally said, “I’m around if you need me, call me.” He’s as available as we need him and he jokes that’s he’s on sabbatical from show business because he has no projects right now. He comes to all the tapings, but then again he also wants this to be my show so he allows me to use him as much or as little as I want to. Overall, I’ve used him a lot less than people thought I would.

SFBG: Would you say that your show is in competition with The Colbert Report and Daily Show?

WKB: Not really, but I would say that they’re a standard that we’re measuring ourselves against. You know, I’m just the new guy who likes “Hey guys can I hang out!” We’re certainly aiming for a lot of the same people, but I think that by the nature of Totally Biased we’re also reaching a group of way different people.

SFBG: Do you ever plan on saying hella during the show?

WKB: Here’s the thing, by the time I moved to San Francisco, I knew if I started saying hella, people from Chicago would think I had lost my mind. On the back of the set, we have these designs and there are a couple of Bay Area shout-outs and that’s the closest I’ll get to saying hella on air.

SFBG: How did your stand-up show Ending Racism in a Hour prep you for Totally Biased?

WKB: When I wrote that show, the idea behind it was: what kind of show would I write if I was famous? I would have a screen, I would have a computer, I would talk about the world, I would talk about racism all the time, and I would be very topical.

So I did Ending Racism the way I would do it if I had a TV show and through lots of luck and hard work I ended up with Totally Biased. I know for sure that I would not have gotten Totally Biased if I had just done stand up. And by the time Chris saw me at the UCB (Upright Citizens Brigade) Theatre in New York, I had already been doing for about three or four years.

SFBG: Do you have writers from the Bay?

WKB: Janine Brito, Kevin Avery, Kevin Kataoka, and Nato Green.

SFBG: What’s the history of your relationships with them?

WKB: I used to do “Siskel & Negro” with Kevin Avery, who’s from San Jose, on Live 105 back in the day and I met him right when I moved out to San Francisco. We did a lot of shows together, we were writing partners and almost got hired to do a D.L. Hughley show for CNN.

Kevin Kataoka is originally from Oakland and I met him when I first moved to San Francisco, in the SF comedy scene. He actually introduced me to Chuck Scolar who’s an executive producer of the show, and he’s the guy who introduced me to Chris Rock.

I’ve said many times that Janine is my comedy daughter, who’s this little hipster, half Cuban, all lesbian. I met Nato on the scene about six or seven years ago, so I had already been on the scene by the time I had met Nato and Janine.

Myself, Nato, Janine, and at one point Hari Kondabolu (fellow TB writer) had a three-headed standup comedy monster called “Laughter Against the Machine” that we started in the Bay Area and the New Parish in Oakland was the home base for that show. We’re currently working on a documentary about going on the road last year to various political hotspots in America.

SFBG: What’s your take on the SF comedy scene?

WKB: The thing about San Francisco is that it always has had a good reputation as a good comedy city. Ever since Mort Sahl stepped on stage at The Hungry i in the ‘50s San Francisco has had a great reputation as a comedy town. Even though we’re not the biggest city, all the greats come through San Francisco.

I remember seeing [Dave] Chappelle when I moved to town, and he was already packing the club despite not being nationally famous. This is was big because this was before the Internet took hold. He was already a legend and I remember one night when he was stage and he said yeah I just finished filming this movie and it’s all about weed! I saw him go to the next level when he got his own show, and so San Francisco is a great city for developing comedic talent.

If you come up in the San Francisco comedy scene, clubs like The Punchline and Cobb’s are loyal to local talent if you show loyalty to them. You will work with the best in the business. I’ve heard that New York comics say that San Francisco comics know more headliners and have more personal relationships with headliners than New York comics do because San Francisco comics hang out a lot before and after shows, whereas in New York everyone is always running to the next thing. The city is known for having good comedians but there’s not a style called “San Francisco comedian.” You can pick out a Boston, New York, or LA comedian but you can’t really pick out a San Francisco comedian.

SFBG: How does it feel to headline a show at The Fillmore?

WKB: In some sense that’s bigger than getting a TV show [laughs] when they said that I was going to play The Fillmore, I thought “wait a minute! It’s too soon!” And time will tell if it is too soon. It’s just weird to me that it’s happening now. I think a lot of it is because I’ve built up a name in the Bay Area.

SFBG: Will you have time to stop by your old spots?

WKB: I’ll have a chance to visit my old spots and look at the “did that really happen?!” look on people’s faces.

SFBG: What are places and things you miss the most about the Bay Area?

WKB: The one thing overall that both my wife — who’s from Monterrey — and I miss most is that the style of living in Northern California is so easy. When I think about my time in San Francisco, even walking outside my house, it feels like a baby bird being born. When I think about New York, every time I walk out of my house, I feel like a paratrooper jumping out of a plane. And there are definitely five or six Mission burritos in my future because New York does not understand how burritos work.

I also want to go back to The Punchline on a Sunday night where all of it really started for me. That place is my mecca. I just need to go there and walk around the stage seven times and really reflect on all that is happening. And oh! I’ll be probably ride the N-Judah and visit my old block of Ninth and Irving.

SFBG: I know you just found out about the second season but now that the election is over and your boy is back for a second term what direction do you think the show will be taking?

WKB: My career and act has followed Obama’s presidency and a lot of comics say it would have been better if Mitt Romney had won and I’m like noooooo this black president thing has worked out for me nicely. And the great thing about Romney being gone is that now we can actually talk about Obama from a more critical angle. Now we can talk about how Obama is not a great president, we can talk about Guantanamo and immigration. I don’t just want to be a cheerleader.

The Kamau Mau Uprising

Sun/9, 8pm, $29.50

The Fillmore 

1805 Geary, SF

www.thefillmore.com

2012: Beginning of the End or a New Beginning

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In recent months, I’ve been exploring the rabbit hole of 2012 prophecy and possibility, a beguiling mixture of myth, spirituality, and hope that humans will finally awaken to the global ecological and economic catastrophes we’re creating and make a fundamental shift in our approach, whether that’s sparked by cosmic energies or our own earthly intention.

When the Mayan calendar ends on Dec. 21 – a date that also marks the Winter Solstice and the peak of our alignment with the galactic center (Earth, sun, and the dark center of the Milky Way lining up for the first time in recorded human history) – it will be a day anticipated by millions of people around the world. Thanks to the modern amplification by pop culture and the Internet, it will be an unprecedented and potentially auspicious astrological, energetic, and cultural moment.

“The earth is being flooded with energies from the galactic center,” San Francisco Astrological Society President Linea Van Horn, who has been giving presentations for eight years on the significance of a cosmic alignment that occurs once every 26,000 years, told us. “That was the alignment that the Mayans were marking on their calendars.”

It isn’t just the Mayan Long Count calendar that indicates the current age is ending and a new one dawning. Some Aztec, Toltec, Indian, and Egyptian scholars and writer Terence McKenna (who used the I Ching to make the revelation in his book The Invisible Landscape) and various New Age authors have predicted we’re entering a new era, one many believe will be marked by enhanced human consciousness.

But one needn’t believe any of this to understand the pressing need for humans to wake the fuck up and start working together on issues ranging from global warming and the alarming decrease in the planet’s biodiversity to the many shortcomings of global capitalism and the escalating social unrest it’s creating. So why not use this grand mystical moment to spark that discussion, as many progressive activists and conscious community advocates have suggested.

“It allows us to have a stage for the question, a frame for the question. We have to ask very basic questions about our survival,” said Rev. Billy Talen, an artist/activist whose latest book, The End of the World, delves into the earth’s ecosystems reaching their tipping points. “We have the uncanny, mythic, prophetic calendar ending and beginning. And then we have scientists saying the same thing, so where does that leave you?”

There will be many epicenters and gathering points on Dec. 21, both real and virtual. Personally, I’m headed down into the heart of the Mayan empire to Chichen Itza, Mexico, where I’ll be attending the Synthesis Festival and doing daily dispatches through this website. Daniel Pinchbeck, author 2012: The Return of Quetzacoatl, will be in Egypt at The Great Convergence “celebrating the dawning of a new era.”

“Basically, we are going to have to have a rapid shift in global consciousness,” Pinchbeck told me, arguing that shift has already begun, as seen in movements from Arab Spring to Occupy Wall Street. “It is happening in terms of horizontal, peer-to-peer, cooperative movements with no top down hierarchy…We can make a much more rapid transition than most people realize.”

Both festivals, and many others around the world, will be heavily attended by people from the Bay Area, where many of the concepts behind transformational possibilities and alternative organizing models have incubated and evolved for decades. The organizers of Synthesis have also set up a World Unity 2012 online hub where people can participate with livestreams from where they are and join in conversation about what’s next.

“It’s probably one of the most pointed to and significant times ever,” said Synthesis Executive Producer Michael DiMartino, who has been leading tours of Mayan sites for almost 20 years, establishing a close working relationship with the Mayan community in Piste Pueblo adjacent to the pyramids at Chichen Itza that he’s tapping for this event. “We’re at a crossroads in human history – and the crossroads are self-preservation or self-destruction…We create the future. As we make our decisions, we create the future now.”

While DiMartino and other festival organizers believe in the spiritual and energetic possibilities of this moment, they emphasize that it is an opportunity to bring together people with a variety of worldviews and belief systems and have a conversation about how the global community of people can work together on solutions.

“Obviously, the planet has been getting out of balance and there is a need to go back to basics,” said Debra Giusti, founder of the Harmony Festival and author of Transforming Through 2012. “We need to get back to the values of the indigenous people, but in the modern context making use of our technology.”

As I’ve interviewed people about 2012, from true believers to skeptics, mystics to scientists, a common theme has been that nobody knows what this intriguing moment portends. They have their hopes and their fears, their doubts and their desires. I’ll be looking at the 2012 question from a variety of perspectives in my upcoming coverage, and I’m open to your suggestions and observations as well.

But for now, for me, I’m maintaining an open heart and an open mind. “There are more things in heaven and earth, Horatio, that are dreamt up in your philosophy,” Shakespeare’s Hamlet said, a statement for ages that our modern minds, so rational and cynical, too often forget.

Maybe this metaphysical moment will be the anticlimactic New Age equivalent of Y2K, or maybe it will be an important signpost on the road to global transformation in consciousness, or something in between. Whatever happens, it’s bound to be interesting, and I hope you’ll join me on this journey.

Event Listings

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Listings compiled by George McIntire. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 28

The Guardian presents: GOLDIES Afterparty 111 Minna, SF. www.sfbg.com. 9pm, free. Perhaps you caught the paper a couple weeks ago — you know, the one with all the mega-talented rising art stars? That’d be the Goldies. Tonight, our honorees get their actual awards and to celebrate, we’re throwing a totally free, totally amazing afterparty featuring DJ Bus Station John and performances by Kat Marie Yoas, Mad Noise, and Dr. Zebrovski. Gold attire is encouraged, as are winter formal looks.

Grant 121: The Best of Young Brazilian Novelists Green Apple Books, 506 Clement Street, SF. (415) 387-2272, . 7pm, free. Brazil well on its way to becoming an economic super power, and it’s going to need some adept writers to chronicle its ascent. Scratch that, it already has plenty: Cristhiano Aguiar and Vinicius Jatoba are among their number. The two will be reading about modern Brazilian society from the latest issue of Granta Magazine.

Ferocious Reality Tosca Café, 242 Columbus, SF. (415) 986-9651, . 7-9pm, free. Eric Ames penned Ferocious Reality: Documentary according to Werner Herzog, an examination of more than 25 of Werner Herzog’s films. If you’re a Herzog head or simply curious about his work, come for a conversation and Q&A at this book-signing with Professor Ames.

THURSDAY 29

Collecting 2.0 Contemporary Jewish Museum, 736 Mission, SF. (415) 655-7800, . 6:30-8pm, free–$5. Does the Internet enhance or detract from experiencing art? How has the Internet affected our ability to collect art? These questions and others like them will be at the center of the discourse at this event where curators, gallerists, collectors, and other art world denizens will come together to expound on the Internet’s influence on modern creativity.

FRIDAY 30

SCRAP Art Fair Arc Gallery, 1246 Folsom, SF. (415) 298-7969, . Through January/9. Opening reception: 6:30-9pm, free. One person’s trash is another person’s art supply. Arc Gallery presents its fourth exhibition of creatively-used pieces of scrap taken from landfills and used as tools for art. The show’s purpose, however, isn’t just to say, “hey you can make art out of trash!” Rather, it expands our notion of where art can come from, and promotes reuse.

Call Me Home Gallery Carte Blanche, 973 Valencia, SF. (415) 821-1055, . Through Jan. 23. Opening reception: 6-9pm, free. If you’re a proud San Franciscan, check out this event to make your chest swell and tears surface. “Call Me Home: A Photographic Journey in San Francisco” is presented by the one-year old Carte Blanche Gallery and features the works of five photographers

SATURDAY 1

Paxton Gate Anniversary Party Paxton Gate, 824 Valencia, SF. (415) 824-1872, . 8-10pm, free. The eccentric shop will be celebrating two decades at its Valencia location in carnival-like fashion. Among the fanfare will be contortionists, stilt walkers, and the sounds of “Shovelman” in addition to an open bar of courtesy of Hendrick’s Gin.

Palestinian Gifts Bazaar Middle East Children’s Alliance, 1101 Eighth St., Berk. (510) 548-0542, . Also Sun/2, 10am-5pm, free. Come peruse this superb emporium of elegantly fashioned items from across the Middle East. If you got someone special in your life who lives from things like pure olive oil soap, exotic scarves & shawls, and hand-blown glassware, make sure you circle this event for your holiday shopping to-do list.

SUNDAY 2

Psychotherapy Institute Art Show and Sale Psychotherapy Institute, 2322 Carleton, Berk. (510) 548-2250, . Noon-5pm, free. Support local artists and the advancement of the study of psychotherapy at this art sale benefiting the Psychotherapy Institute of Berkeley. The event, which also celebrates the 40th anniversary of the institute, features work from artists like Joan Alexander, Jim Fishman, and Jane Reynolds.

Readings on Cinema: The Truman Show Pacific Film Archive Theater, 2575 Bancroft, Berk. (510) 642-1124, . 5:20pm, $5.50-13.50. I’m sure we’ve all had the feeling that each one of us is the star of our very own “Truman Show” because if someone else had his or her own Truman show, you’d know about it right? Well this feeling of screens staring at you is what motivated Bay Area film historian David Thomson to pen his latest book, The Big Screen: The Story of the Movies—and What They Have Done to US. In this book event Thomson plans to illustrate the concepts of his book via the existential comedy The Truman Show.

TUESDAY 4

Wood Shoppe Free Concert Series Brick and Mortar Music Hall, 1710 Mission, SF. (415) 371-1631, . 8pm, free. A free concert is like a 72 degree day in the city — you’ve just gotta take advantage. Participating in this free concert series occurring on the first Tuesday of every month is Oakland DIY pop outfit Trails and Ways, music theorist Cayucas, and garage psych-poppers The Tambo Rays.

Our Weekly Picks: November 28-December 4

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WEDNESDAY 28

World Party

While The Cure and R.E.M. were soaking up all the mainstream recognition, British singer-songwriter Karl Wallinger quietly churned out some of the most infectiously jangly pop of the 1980s and ’90s under the World Party moniker. Since the release of his magnum opus, Goodbye Jumbo (1990), Wallinger has gone on hiatus numerous times, coming out of the woodwork with a new set of songs, and a fresh cast of supporting musicians, whenever inspiration strikes. It’s been 12 years since his last LP, but with a new career-spanning box set on the way, and a rare US tour to support it, we’ll take whatever we can get. (Taylor Kaplan)

With Martin Harley 8pm, $26 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.slimspresents.com


GOLDIES after-party

You read all about the 24th annual Goldie winners — that’s Guardian Outstanding Local Discovery awards! — in the Nov. 14 issue of the paper. Now’s your chance to come celebrate with us and the winners (musicians the Mallard, 5kinandbone5, and WATERS; theater company PianoFight; performers Mica Sigourney and Anna Ishida; filmmaker Jamie Meltzer; visual artist Brett Amory; dance winners Joe Landini and the Garage; and lifetime achievement winners Frank Shawl and Victor Anderson of Berkeley’s veteran Shawl-Anderson Dance Studio. The free party features performers Mad Noise, Kat Marie Yoas, and Dr. Zebrovski, plus tunes by Goldie alumni DJ Bus Station John. Gold attire encouraged! (Cheryl Eddy)

9pm, free

111 Minna Gallery

111 Minna, SF

www.111minnagallery.com

 

THURSDAY 29

Houses

If the 2010 album All Night from Chicago’s Houses seems sunnier and warmer than what you’d expect, given a cliched notion of the windy city, it may be because the album originated while the band was on a sort of idyllic, post-layoff stay in Hawaii. Seemingly lost in a year that was flooded with too many DOA “chillwave” bands, the album — with an air of IDM and standout track “Reds” — deserves a second listen, mainly for the vocal intimacy engendered by Dexter Tortoriello and Megan Messina, partners on and off record who have an immediately apparent rapport that suggests a hybrid sound of Mazzy Star and the xx, with feet on the dancefloor. (Ryan Prendiville)

With D33J, Yalls, Elephant and Castle

8pm, $8–$12

Public Works

161 Erie St., SF

(415) 932-0955

www.publicsf.com

 

Instrument

It’s one of those contradictions that I guess those of us who love live performances are also aware that the minute it happens, it dies. Gone, finished, never to return. It’s what Monique Jenkinson is exploring in her new Instrument, a solo performance piece to which she invited choreographers Miguel Gutierrez, Chris Black and Amy Seiwert — talk about diversity! — to set movement on her, which she then adapted to her own purposes. Somewhere, the late Rudolph Nureyev also entered into the equation. Jenkinson, who lives and breathes live performance, has made the slithery ground of identity a major theme of her dance/theater-making. She is a superb artist and entertainer, with immaculate craft and a fabulous perspective on what it means to be alive today whether as drag queen, fashion maven, opera diva or, perhaps, ballet super star. (Rita Felciano)

Also Nov. 30, Dec. 1-2, Dec. 6-9, 8pm, $20–$30

CounterPULSE

1310 Mission St. SF

$20-30.

www.counterpulse.org

 

FRIDAY 30

 

Rah Rah

“Rah Rah,” is accurately named — even its slower songs have a go-get-em, anthemic feel. At times this comes off as mildly ironic with some nonplussed singing paired with invigorating chord progressions. Our generation does love its irony. Mostly though, Rah Rah is full of wonder and cheer. The Canadian sextet makes good on the team spirit promise with a collaborative effort in which all the band members chip in for songwriting. With everybody switching instruments, singing, and maybe even tossing around balloons (or confetti), the band members bring the mirth wherever they go. (Molly Champlin)

With Travis Hayes

9pm, $10

Thee Parkside

1600 17th, SF

(415) 252-1330

www.theeparkside.com

 

Moodymann

Hailed for his massive influence on the Detroit techno scene he’s contributed to ever since the early ’90s, enigmatic producer Moodymann is that rare EDM artist who milks the album format for all it’s worth. Unlike the majority of his peers, content to churn out standalone tracks for the dancefloor, Moodymann stuffs his propulsive beats with funk and soul flourishes, samples from blaxploitation films, and impossibly lush, glossy synth tones, assembling cohesive LPs that conjure up a seductive, luminous sound-world all their own. Finding common ground between ravers and headphone geeks can be a challenge, but this master makes it look easy. (Kaplan)

With Galen, J-Bird, Solar, Deron

9:30pm, $20

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SATURDAY 1

Come Out and Play Festival Weekend

The SOMArts gallery and grounds will transform into a playground with games that are as fun as they are artistic in the finale to its month-long “Come Out and Play” exhibit. There will be plenty for the kids, such as the parkour-inspired Sloth Chase, which will force the young ones to get creative in navigating everyday spaces. This is all-ages, so keep an eye out for adult games too, including the mind-bending experiment, Out of Body Labyrinth. It includes video goggles that give the player a third person perspective on his or her movements as they navigate a labyrinth. And then there’s Propinquity, which uses neon lights to measure scores in an experience that is equal parts club and Capoeira. Be sure to register in advance to skip the lines. (Champlin)

Also Dec. 2, 11am–5pm, free

SOMArts

934 Brannan, SF

(415) 863-1414

somarts.org/playsf

 

Bay Brewed Rock and Roll Beer Festival

What pairs better with rock and roll bands than beer? And I’m not talking about half-watching the (admittedly, enticing) dad rock band in the back corner of a pub while nursing a warm Pabst. This second annual Bay Brewed event, again hosted by the Bay Bridged blog, will feature performances by bands you actually want to see live: Bear in Haven, Sonny and the Sunsets, Born Gold, Blasted Canyons, James and Evander, and Trails and Ways. Plus, tickets include endless tasting of the frosty, locally-brewed stuff by 13 SF Brewers Guild breweries, including 21st Amendment and Social Kitchen and Brewery. Added bonus: Seoul on Wheels and Adam’s Grub Truck will be standing by to help you soak up your indulgences. (Emily Savage)

12:30-6pm, $60

Public Works

161 Eerie, SF

(415) 932-0955

www.publicsf.com

 

Opal Dust Opening

Casey Watson works graphite and colored pencil like paint to create rich, intricate floral patterns. This isn’t your typical flower power art though, her pieces combine to create abstract forms evocative of microscopic organic life or macrocosmic activity. The process is poetically described as the “sharp-edged task of portraying a soft exterior.” The exhibit will be on display at Johansson Projects, the fine art gallery with the DIY spirit people always remember from Oakland’s Art Murmur. Also showing will be Rachel Kaye, whose abstract work explores the relationship between fashion and fine art through geometric color fields. If you can’t make it to the reception on Saturday, you can always check out the exhibit at the First Fridays event, Dec. 7 this month. (Champlin)

3pm, free

Johansson Projects

2300 Telegraph, Oakl.

(510) 444-9140

www.johanssonprojects.com

 

Wovenhand  (canceled)

Wovenhand might be one of the only folk-rock bands around whose songs can evoke both the cool grandeur of a cathedral arch and the sweaty tent of a traveling preacher man set up beneath a wide-open prairie sky. Even if the band’s lyrics weren’t deeply rooted in the Christian faith of frontperson David Eugene Edwards, its intense, pounding rhythms, tightly-knit instrumentation and otherworldly vocals would be enough to drive even the most committed atheist to their knees. With The Laughing Stalk, Edwards eschews the occasional diversions of earthly delights and goes straight for the marrow, a nine-song cycle of tormented devotion using the Old Testament (and bone-shaking guitar riffs) as points of departure. Known particularly for the ferocity of their live shows, you will not want to miss these passionate Denverites at Bottom of the Hill — or anywhere else, really. (Nicole Gluckstern)

With Yassou Benedict and Yir

10pm, $12–$14

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

 

MONDAY 3

Death Grips

The easiest explanation for the attention and acclaim this band has garnered — including a hot-off-the-presses of SPIN award for Artist of the Year — would be controversy. We are talking about a group that canceled a tour, leaked its second album of the year onto the Internet (complete with the title, No Love Deep Web, scrawled across one member’s turgid member on the cover) and subsequently got dropped from Epic Records. (Epic Records still exists?) But to get past the ceaseless debate surrounding Death Grips and its currently incomparable hybrid of growling, punk infused rap, just see the band live, like some did last year at 103 Harriet, when barking singer Stefan Burnett and frenetic drummer Zach Hill delivered a memorable, aggressive, and beyond sweaty performance. (Prendiville)

With Cities Aviv

8pm, $20

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

TUESDAY 4

“The News”

Have you heard the good “News”? Freshly minted Goldie winner Mica Sigourney (as his unforgettable alter ego, VivvyAnne ForeverMORE!) is guest-curating SOMArts’ popular monthly showcase of queer, experimental debut and in-progress works. With Ms. ForeverMORE! at the helm, the event will be a blend of performance art and nightlight, featuring costume designer, accordionist, and queer-identity explorer DavEnd; interdisciplinary performer Cara Rode DeFabio; drag performers Elliot “Christina Christopher Damnit” Orona and Nathan “Nikki Sixx Mile” Rapport; and more. Space is limited, so get your tickets (a steal at just $5!) in advance. (Eddy)

7:30pm, $5

SOMArts Cultural Center

934 Brannan, SF

thenewsperformance.eventbrite.com

 

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