Nightlife

Clubs vs. condos

30

steve@sfbg.com

The Western South of Market area is ground zero for the city’s War on Fun, a place where nightlife often comes into conflict with residential expectations, particularly on the raucous 300 block of 11th Street and, to a lesser degree, Folsom Street’s old “miracle mile” of predominantly gay bars.

As the city’s Planning Department and its development community looks to accommodate another 4,000 homes for 10,000 new residents on less than 300 acres of Western SoMa — most of it along Folsom Street between 7th and 13th streets — that potential for conflict could grow in the coming years as funky old buildings give way to shiny new stacks of expensive condos.

And efforts to sort it out may hinge on the future of a 105-year old purple building.

After nearly eight years of work by a unique citizen-led task force, the Western SoMa Community Plan is now before the Board of Supervisors, with the Land Use Committee set to hold its first hearing on Feb. 25. Despite dozens of task force meetings seeking to strike the right balance between residential and entertainment interests, the plan is still being tweaked.

When the Planning Commission approved the plan and some related projects on Dec. 6, it followed King Solomon’s approach of cutting the 11th Street baby in half. The commission heeded the recent recommendation of the nightlife community and District 6 Sup. Jane Kim to modify the plan to prohibit new residential development on the 11th Street block where tipsy visitors to Slim’s, DNA Lounge, and other big clubs clog the sidewalks every weekend. But it also voted to grandfather in a 24-unit residential project at 340 11th Street, which everyone now involved in closed-door negotiations simply calls “the purple building,” a two-story masonry structure built in 1907 that is awaiting demolition.

The building houses light industrial businesses and is the former home of Universal Electric, whose owner, Tony Lo, wants to develop the property. Along with architect John Goldman, Lo submitted a residential project application in 2005, only to have it placed on hold pending adoption of the Western SoMa Community Plan.

“It was well along when the Planning Department put the project on hold,” Goldman told us.

City officials and even many of the nightlife advocates say they sympathize with the long wait that Lo and Goldman have endured, even if many oppose housing on the site and have been urging Lo to find another use for the site, such as an office building.

“They would have no idea what they’re getting into until that first Saturday night,” nightlife advocate Terrance Alan said of the would-be residents of the building, envisioning a young couple who had only visited during daytime hours trying push a baby stroller past the throngs of club-goers. Alan took part in recent meetings Kim facilitated with Lo and Goldman, and Alan told us, “There was, for the first time, a very frank discussion about the problems that owners would experience and the pressure they would put on clubs in the area.”

For example, just one neighbor of Slim’s — a popular live music venue on the block owned by singer Boz Scaggs — has waged a relentless campaign that has forced temporary shutdowns and cost the club more than $750,000 in mediation costs, Alan said, despite the club’s sound buffering and general compliance with local codes.

Alan said that it’s simply unthinkable to add more than two dozen new homeowners to that busy block in a condominium building that only allows access on 11th Street. Alan is hopeful for a negotiated compromise with Lo, something that Kim told us she also thinks is likely.

“I’m hoping we can come to a consensus of the property owners and business owners on 11th street, including the purple building,” Kim said, echoing Alan’s point that, “Just one resident can really shut down a business and hurt its financing.”

Goldman said he understands the concern and “my client is considering alternatives to housing.” While he was a little frustrated that it wasn’t until November that they first heard about a proposal to ban residential projects on the block, “We’ve definitely heard the concerns of the nightlife entertainment folks…No decision has been made yet, but it’s the goal of my client to decide fairly soon.”

A ban on housing is just one of the changes that Alan and other members of the California Music And Culture Association (CMAC) are pushing the supervisors to make to the plan, provisions he was unable to get into the plan as a member of the Western SoMa Task Force for four years before resigning in frustration.

“The task force was made up of people primarily interested in residential development,” Alan told us. “The plan is pretty much about protecting residential.”

That perspective irritates task force chair Jim Meko, who said he held about 60 meetings on entertainment and nightlife issues and bent over backward to accommodate that community. “Overall, the Western SoMa Plan is very friendly to the entertainment industry,” Meko said, noting that the plan grandfathers in all existing nightclubs, even after a building is demolished, and requires new residential construction to buffer against street noise. “They’re never satisfied.”

But Meko does concede that accommodating existing residents and new residential development was central to the task force’s work, as it was charged with doing by the Planning Department. “The most important thing was to do no harm to anyone,” Meko said was the guiding philosophy behind the task force’s approach. “We’re the real test case for a mixed use community in the city.”

While Folsom Street has more bars that 11th street, and those bars will be protected under the plan, Meko said the idea was to keep them limited in scale and prevent the proliferation of large clubs that operate into the wee hours.

“Folsom Street is where the residential growth will go,” Meko said. “That’s the area where we want to add the most residential growth and it seems dumb to add more nightclubs there.”

But he also doesn’t think it makes economic sense for many clubs to open there anyway. With allowable height limits in that corridor being increased from 50 feet now up to 65 feet, and with the plan’s approval allowing development projects to move forward, many of what he called the “old junky buildings” where clubs could find cheap rent will likely be demolished.

“With the height increases, those buildings are going to be history in five years,” Meko said.

Kim said she is supportive of both nightlife and the plan’s facilitation of residential development.

“It’s transit-first and a good place to be able to handle the density that’s close to downtown,” Kim said, noting that she’s supportive of even the massive residential project proposed for 801 Brannan Street, mostly because it includes units with up to two and three bedrooms and an elegant design by architect David Baker.

That project would have 432 housing units with a total of 606 bedrooms, 22,124 square feet of retail, and a 422-car parking garage on a site of just over four acres. In many ways, it is typical of the housing density that will begin to crowd into Western SoMa.

Meko was critical of how the entertainment community was able to make changes to the plan after all the hard work of the task force, and he told us, “It was a choice Jane Kim had to make, and she will have to answer to her constituents in the future.”

But Kim said the change on 11th Street made sense and that it’s important to strike a balance. “Entertainment is clearly an important part of Western SoMa and 11th Street is unique in showcasing that community,” Kim said.

Alan and Glendon Hyde — an LGBT activist who, like Meko, ran against Kim for D6 supervisor two years ago — are also pushing for other changes in the rules governing nightlife in SoMa, including who can get the limited live music permits that the city issues and extending the 10pm curfew in those permits.

“I think small businesses throughout the district should be able to use the limited live music permits, and they’re available only on Folsom Street under the plan,” Hyde told us, noting that otherwise he thinks nightlife fares well until the plan, particularly after Kim’s intervention on 11th Street.

Kim said that she in reluctant to start tweaking too many provisions of the plan, which she characterized as a separate discussion that doesn’t have to happen now: “I’m open to further discussions after we get the plan passed.”

The Western SoMa Plan was broken off from the larger Eastern Neighborhoods Plan by then-Sup. Chris Daly in 2005 to let a citizen-based effort tackle this area’s unique challenges, and Kim said the plan is a testament to the diligent efforts of Meko and a diverse set of members.

“I think it was a really good process with lots of stakeholders involved,” Kim said. “I like the balance. I’m happy.”

 

Libertine dream

3

marke@sfbg.com

SUPER EGO One of my supreme happy places, apparently, turned out to be the packed dancefloor of an underground fundraiser for Radical Faerie Burning Man camp Comfort and Joy, right around 3am a couple Fridays ago, when the drag queen DJ dropped “Rock the Casbah” and some behooded elfin rogue’s giant LED rainbow wings lit up and blinded me. Joe Strummer smiles from heaven, surely.

Alas, that drag queen, mi amiga grande Ambrosia Salad, will soon join the current nightlife exodus to Los Angeles, to follow her twinkling star (and cheaper rent) along the path to immortality — or at least an all-night churro cart. Can we get one here please thanks. But just when I despair of the city emptying of its precious idiosyncracies and after-dark characters, someone amazing pops up to charm the hotpants off of me and remind me of both San Francisco’s resilient weirdness and its cyclical subcultural nature.

“Oh, I moved out of the Castro when the drones moved in. Everyone started wanting to look the same, dress the same. It really took the fun out of the gay scene, these marching costumes coming in and stamping out the magic.” That’s twinkle-toned Todd Trexler, poster artist, AIDS nurse, and legendary bon vivant, speaking over the phone — not about about the samey-samey Wienerville the Castro has become, but the Castro clones of the mid-1970s. For all the renewed interest in the workboots, cut-offs, and mustaches of pre-AIDS SF gay culture (see local director Travis Mathews’ exciting, upcoming, James Franco-starring Interior. Leather Bar, which imagines the lost orgy footage from classic homoerotic/gay panic slasher flick Cruising and wowed ’em at Sundance last week), it’s good to remember there were also some fabulous butterfly dissenters to that macho wannabe world.

Trexler was a player in one of the seminal moments of alternative gay culture — after snagging an art degree from SF State, he designed the posters for the queer-raucous, acid-kaleidoscopic performance troupe The Cockettes’ first official shows, as well as the Midnight Movie series, later the Nocturnal Dream Shows at the Palace Theater in North Beach in the early ’70s, back when North Beach was a magnet for free-lovin’ freaks and nightlife oddities. (See, anything can happen). Now, he’s reprinted many of those iconic and visually stunning “Art Deco revival meets Aubrey Beardsley louche meets underground comics perversion” ink-and-photo masterpieces for surprisingly affordable purchase at www.toddtrexlerposters.com.

Divine in her iconic, kooky crinoline (“Basically she just threw on a bunch of stuff from the trunk of our car and voila, Divine!”) outside the Palace of Fine Arts for the “Vice Palace” play and, later, starring in Multiple Maniacs and “The Heartbreak of Psoriasis”; Sylvester looking his sultry best for a New Year’s Eve concert, and featured on a controversially explicit piece for decidedly hetero rock outfit the Finchley Boys; Tower of Power, Zazie dans le Metro, Mink Stole as Nancy Drew, the Waterfront gay bar — Trexler’s platinum stash of memorabilia will reinvigorate anyone zoinked out by our increasingly conformist, consumerist moment. (Trexler was prodded into reprinting by my favorite classic SF eccentric, Strange de Jim.)

And hey, there’s some hope for a freakish future, even: lauded local theater troupe Thrillpeddlers, which includes a couple gorgeous surviving Cockettes itself, will put on the Cockettes’ 1971, Trexler-postered “Tinsel Tarts in a Hot Coma” starting March 28, www.thrillpeddlers.com.

Trexler’s importance to gay culture doesn’t end with his glamourous posterization, however. After his ’70s time “crafting assemblage sculptures from gems found at Cliff’s Variety Store, hand-drawing the posters in the flat at 584B Castro Street, smoking weed with Sebastian [Bill Graham’s accountant, who instigated the whole Nocturnal Dream Emissions insanity], and hanging out at the Palace and the Upper Market Street Gallery,” he moved down to Monterey and became a registered nurse, cared for the first GRID, aka AIDS, patient in the area, and pitched in on the groundbreaking early work on the epidemic with UCSF and the National Institutes of Health.

“What troubles me most now,” he says, reflecting on his experience, “is the rising prevalence of HIV infections among young gay men.” Some cycles don’t need repeating, k?

 

BROWN SUGAR

Heck yes — the classic hip-hop soul joint is back, scooping you up for free after the Oakland Art Murmur’s First Fridays blast, which is amazing. Brown Sugar crew Jam the Man, The C.M.E, and Sake 1 spin with the Local 1200 crew on the street and then take it inside to the spanking new Shadow Lounge (formerly Maxwell’s). Welcome back, fellas.

Fri/1 and first Fridays, 9:30pm, free. Shadow Lounge, 341 13th St., Oakl.

 

MATTHEW DEAR

Moody-poppy Detroit techno pretty boy is a favorite around these parts. He may have started the recent (sometimes regrettable) trend of DJs singing, but he’s one of the best at it — and his compositions aren’t afraid to get deep and edgy.

Fri/1, 9pm, free. 1015 Folsom, SF. www.1015.com

 

VINTAGE

Icon Ultra Lounge is dead — please welcome new, neater venue F8 in its place. Also, after a horrific hit-and-run accident last year, beloved and crazy DJ Toph One is alive! He’s returned with his crew to reboot this eclectic-tuned early evening fave every Friday to fly you into the weekend.

Fridays, 5:30-9:30, free. F8, 1192 Folsom, SF. www.feightsf.com

 

KAFANA BALKAN SIXTH ANNIVERSARY

Holy Balkans, Batman! Six years of wild, whirling, stomping, shouting Romani-inspired music goodness from one of the best and most unique parties anywhere, with DJ Zeljko, the Inspector Gadje brass band, and a Balkan bellydance blowout with the inimitable Jill Parker and the Foxglove Sweethearts. Get there early.

Sat/2, 9pm, $15. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

 

GAVIN AND ROBBIE HARDKISS

OK, the headliner for this event is actually the excellent old-school California techno wizard John Tejada (along with fellow mage Pezzner playing live) downstairs in the big room of Public Works — but the big news is a reunion of two of SF’s wiggy, wowza Hardkiss Brothers all night long upstairs in the loft. Bigness!

Sat/2, $12 advance, $15 door. Public Works, 131 Erie, SF. www.publicsf.com

Party Radar: Red Bull Thre3style hypes up the Bay

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Every year, the musical magi at Red Bull scoop up a gaggle of disparately-styled local DJs and feed them into the hype machine, spitting out a DJ battle blast, surprisingly full of fun and Bay Area pride. Although compared to years past, the upcoming 2013 SF Red Bull Thre3style (Thu/24, 8pm at The Independent, $15) has been scaled back somewhat — only five competitors this year, instead of the usual eight, and all of them are hip-hop/electro heavy dudes — it’s still gonna be a hair-raising time, and a chance to check out some talent outside your micro-niched nightlife comfort zone. 

Plus, the competition is kinda tricky!

Here’s the gimmick: This year’s competitors — D-Sharp, J Espinosa, Dstrukt, Richie Panic, Mei-Lwun — have to include at least three genres in their 15 minute sets (mashups don’t count!), while keeping the crowd pleased. I have seen this go seriously awry in years past, which is part of the general craziness. (The winner gets to travel around and win something big, I forget what.)

Another fun 3style thing — the DJs usually ham it up (and if I know Richie Panic, which I do, mentally intimately, he will realllly turn up the ham), which makes you appreciate how self-effacing a lot of the DJ scene here usually is, despite the oft-bombastic music.

Anyway, I usually balk at branded events, but Red Bull really invested early in local nightlife scenes and brings out actual talent — this ain’t no Rock Star EDM crap, Red Bull gives you wings and standards. Just don’t OD on all the fun, k?

Here are some of my favorite sets from years past =– including one of the final appearances of DJ Solomon, RIP

 

Nite Trax: That Icee Hot sensation

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The stimulating and excellently-eared Icee Hot crew is blasting a two-part third anniversary party at Public Works: this Sat/19 sees dreamy R&B chopper Jacques Greene (yes, the guy with the glasses from the Azaelia Banks video, but also one of my favorite producers ever) and Dutch hyperdubber Martyn on deck. Part two on Sat/26 brings in alien techno soundscapist Space Dimension Controller and astral floor-pounder Basic Soul Unit. You will find me face down on the floor in sonic worship for both. (And you may be able to score a pass to both parties for a mere $15 here.)

I’ve been following the oft-roving party pretty much since its inception.

Usually I abhor parties that just throw a big name guest up and then give partygoers no other vibe-guidance: no decorations or look or neon Easter eggs of any kind. But the Icee Hot foursome — Shawn Reynaldo, Rollie Fingers, Ghosts on Tape, and Low Limit, all fantastic DJ/musicmakers in their own right — take an expressionist approach to gigs that transcends the bare-boned, and fends off any cynical charges of money-grubbing (the parties are hella cheap). Their excellent curatorial sense brings disparate, original sounds together to create something more stimulating than the sum of sonic parts.

I traded emails with the Icees on the eve of their blowout to talk about the party’s evolution and the SF scene right now.

SFBG Every time you guys throw a party, I trip over myself trying to describe the music with anything more substantial than “awesome” and then I overuse the word “bass.” How would you describe the music you look for when considering guest artists? 

GHOSTS ON TAPE We have a hard time describing it too. I think that’s part of the fun. But since you asked, I’d say we go for weirdo house, outsider artists, and underground pioneers. It’s hard to put a finger on what exactly we look for in a guest, they just have to do music that excites us. We also like to book people that are doing things that no one else is really doing, and it’s important for us to bring acts that have never played in SF before. That’s not always possible, but we try. We don’t really wanna bring artists based solely on internet hype, we have to genuinely like their music.  

ROLLIE FINGERS I think we just book people we like and people who influence people we like. The overarching theme is house and techno. It’s fine to just call it that. (Ed. Note: Mr. Fingers does not have to write exciting things about nightlife every week.)

SFBG What inspired you to start Icee Hot, and what are some of your favorite memories from the past three years?

SHAWN REYNALDO Icee Hot sort of grew out of Tormenta Tropical, another monthly party that I still throw here in San Francisco. That night is based around cumbia and other Latin/tropical styles, but back in 2009, I was mixing in a bunch of UK funky and other new house/bass/grime sounds. Some of those records were vaguely “tropical,” but I gradually realized that they didn’t properly fit the vibe of the party. Still, in November of that year, I booked L-Vis 1990 and Bok Bok at Tormenta Tropical for their first SF show, simply because I was so enthusiastic about the music they were making. This was right around the time that they were launching the Night Slugs label, and they hung out here in San Francisco for several days, during which time Rollie Fingers and I got really inspired, just by talking with them about music and realizing that there was something interesting happening with all these new hybrid sounds coming out of the UK. We also realized that this music melded really well with a lot of great classic house, garage and techno that wasn’t really being celebrated in the SF club scene at the time. Anyways, within a few weeks of that show, we enlisted Ghosts on Tape and Low Limit, booked our first party at 222 Hyde, and began planning ICEE HOT.

In terms of highlights, there are just too many to mention. Hosting Todd Edwards for his first-ever SF show was something special, and it was even better when we brought him back a year later and paired him with MK, one of his musical heroes. Beyond that, there was Robert Hood and Anthony “Shake” Shakir showing us what being a Detroit legend is all about. Ben UFO and Oneman going back-to-back, which was a real landmark for the party. Cedaa literally kicking off his 21st birthday with a midnight set. MikeQ turning the dancefloor out with drag queens doing bicycle kicks on stage. New Years 2011 with Bok Bok and Ramadanman. Girl Unit making his SF debut in the sweaty basement at 222 Hyde. John Talabot, both his DJ set and phenomenal live set a few months later. Our second anniversary last year with Mosca and Altered Natives. I could go on forever. It’s been fun.

ROLLIE FINGERS Hieroglyphic Being is an amazing DJ. He played a delayed vocal sample of “I Feel Love” for like 20 minutes when he played. If anyone else did that, it would be messy, but with him, it was bliss. I also have a very distinct memory of DJ Stingray getting out of the cab at Public Works wearing his ski mask. It was deep.

SFBG It seems like the number of parties has grown exponentially in the past few years. What are some of the challenges and rewards to throwing a party in the current SF nightlife landscape? Has it become more a matter of branding, rather than a distinct music or crowd profile? And do you feel that the party scene is being overdetermined by artist booking agencies?

SHAWN REYNALDO ICEE HOT is the product of a lot of hard work. Between talking to artists, negotiating with booking agents, locking down venues, purchasing flights, picking people up at the airport, fulfilling riders, and doing all the other behind-the-scenes tasks, it can be a little daunting, especially when we’re operating on a zero-profit basis. I don’t know if people always realize this, but ICEE HOT makes a point to keep our door prices as low as possible. Sure, we could charge $20, $25, $30 for a lot of our parties, but we don’t, because charging exorbitant door prices is lame. We’re not doing this to make money. We’re doing this to throw good events, and we don’t want anyone not to come because it’s too expensive.

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

ROLLIE FINGERS We don’t mind branding our party at all. Every flyer for the past three years has said ICEE HOT really big on top. I think it’s nice for parties to have a distinct look and feel to them. ICEE HOT always feels like ICEE HOT, no matter what artist we are booking. I like that.

SHAWN REYNALDO And sure, dealing with nightlife landscape in San Francisco can be tricky. Even though the city attracts top-level talent, it’s still a relatively small place, so most promoters know one another. Sometimes you wind up competing with other parties to book the same talent, or dealing with booking agents who are trying to pit us against one another. Thankfully, we can usually avoid all of that mess. When booking agents are being unreasonable or don’t understand what we’re about, we usually just bow out of the proceedings. After three years, ICEE HOT has built up a good reputation, so the artists we’re trying to bring out have often already heard of the party and want to come play. Don’t get me wrong, it can all be frustrating sometimes, but we’re proud of what we’re doing and hopefully the parties and the label speak for themselves. Plus, it’s hard to really complain too much. Every month, we’re throwing parties exactly the way we want to throw them with guests we’re personally really excited about. Things are going well, and we want to just keep building on that.

SFBG Why’d you decide on a two-part blowout? It’s almost too-too good. Although I know you haven’t shot your wad yet — any hints on who might be coming in 2013 (or who your fantasy artists would be).

GHOSTS ON TAPE The kind folks at Public Works were nice enough to let us use their club two weeks in a row, and since our anniversary is something of a milestone, we wanted to book artists that are in line with our vision of what we like to do at ICEE HOT. I think Martyn, Jacques Greene, Space Dimension Controller and Basic Soul Unit are going to help us celebrate our three-year anniversary in fine form. As far as future bookings, I can’t give anything away, but we’re going to continue on the same path and keep on booking freakishly talented individuals. In the past, whenever we thought of a fantasy artist that we’d like to book, it always ended up coming true eventually, so I don’t want to say anything to ruin any future surprises.

Bizarro mainstream SF sweeps Grindr’s “Best of 2012” — pukes us in the mouth a little

14

Dear gay hookup app Grindr,

Maybe it’s just an indication of the type of homosexual who uses your service, and who deigns to participate in surveys like your new “Best of 2012” attempt to broaden your reach into hyperlocalism (soooo 2k9, btw). Or maybe its merely very telling of how you’ve lost any edginess to rivals like Scruff — which, judging from a Scruff glance, is very sad indeed.

But thanks for the violent retch and terrified giggle yesterday when you unveiled the reader-selected wieners  winners of your besties awards. You somehow managed to record every crap gay mainstream stereotype of San Francisco you could, sorry. Also, craaaazy. Scott Wiener as “best community advocate”? Is Pottery Barn a community? 

Anyway, San Francisco itself won every local category of the national survey. Also telling! What uncruisable gym queen with expensive hair is sitting in Badlands right now, possibly Scott Wiener’s best friend, refreshing Grindr and voting wildly? Can someone call their alcoholic Rihanna fan roommate in embroidered jeans and wraparound Gucci shades and find out?

Below is the list of top vote-getters, with commentary

National winners   

    Gay icon of the year: Anderson Cooper
    Straight ally of the year: Barack Obama
     Best TV show: “Modern Family”
    Best TV host: Ellen DeGeneres
    Best source for gossip: TMZ
    TIE for best comedian: Kathy Griffin and Margaret Cho
    Best athlete: Orlando Cruz
    Movie of the year: “Magic Mike”
    Song of the year: “Call Me Maybe” by Carly Rae Jepsen
    Gadget of the year: iPhone 5

Every one of these things is the exact color of water, but somehow boringer.


Grindr users picked these local landmarks to come out on top:

Gym with the hottest guys:

    Fitness SF (San Francisco)

It’s not the winner per se that horrifies — FitnessSF came into being when it cast off the shackles of its homophobic Gold’s Gym franchise early last year. It’s the category itself. Claim that shallowness!

Best place to get a haircut:

    Salon Baobao (San Francisco)

Waxing available!

Best place to take a first date:

    Castro (San Francisco)

… to steal their wallet and leave them there.

Best Sunday funday:

    Jock Sundays at the Lookout (San Francisco)

Cute but meh.

Favorite gay bar/club:

    Badlands (San Francisco)

Fuck noooooo.

Favorite bartender:

     Mike at Lookout (San Francisco)

If they mean our cute and dear friend Michael — we wholeheartedly agree with Grindr on this point. He’s a great argument for why you should just stick to bars for your pickups, maybe.  

Best gay night/party:

    Beatbox (San Francisco)

This is neither a night nor a party.

Best DJ:

    Haute Toddy (San Francisco)

OK they could have done a lot worse than this completely inoffensive fingerful of vanilla frosting.

Fiercest drag queen/nightlife personality:

    Pollo Del Mar (San Francisco)

If anyone deserves the incredibly contemporary gay slang term “fiercest,” it is Pollo for sure.

Local hero/community advocate of the year:

    Scott Wiener (San Francisco)

According to our new sister paper SF Weekly, Wiener said this win finally “put to rest the issue of whether the nudity ban was a gay thing.” That was never the issue. But Scott is the mayor of Grindr!

Best local gay news outlet:

    The Bay Area Reporter (San Francisco)

I am so surprised that GLOSS Magazine did not win this!!!

 

Eh, maybe we’re not so surprised by this list after all

Nite Trax: Roasting SF club legend Timmy Spence

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If you think you’re cool (or merely interesting) — please drop everything and watch this clubkid-packed 1981 video masterpiece by scene terror Timmy Spence. He’s being shamelessly and publicly roasted on the occasion of his 60th(!) birthday this Saturday, courtesy of some might big drag queens. After the jump, Trannyshack’s Heklina dishes the dirt and gives the deets.

Well, there’s a few things I thought would never happen!

First of all, I never thought we would be celebrating Timmy Spence’s 60th Birthday…if there was ever someone with nine (or more lives), it’s The Tammers. We’ve been through a lot together; thrown in jail together in Mexico, a cross country road trip where I got so mad at him we didn’t speak all the way through Texas, a near death experience while hiking in Nevada, cruising the Christopher St. Piers in drag in NYC together back when that was fun, the list goes on and on. And she’s still kicking. Even after countless trips to the hospital, she’s still here, shocking and offending everyone and really serving as an inspiration to countless young queens. Like an Auntie Mame from hell, every fiber in her body screams, live….LIVE!

Won’t you join me in honoring this queen of queens this Saturday?

Timmy Spence’s 60th Birthday Bash!


Saturday January 12- Join us as we pay tribute to this legendary drag fossil! Who would have thought she would live this long?

With your hosts Peaches Christ & Heklina, and appearances by Arturo Galster, Ethel Merman, Matthew Martin, Miss X, Laurie Bushman, Darlin’, Pippi Lovestocking, D’Arcy Drollinger, Deena Davenport, Sexitude, and more! With DJ’s Chicken and Dank. 

Rebel, 1760 Market St. @ Octavia. 8pm. No cover, RSVP here

Appetite: 12 reasons to love Nevada City and Grass Valley

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Imagine if the Wild West collided with a European village. There might be winding, narrow streets through neighboring towns, plotting through pine trees. Old West saloons, wood sidewalks and columns, classic homes in walkable small towns. Not far from Lake Tahoe, at the foothills of the Sierra Mountains, there are two such tiny towns. The Gold Country towns of Grass Valley, a charming, relaxed Old West town, and its sister merely four miles away, Nevada City, the smaller, more funky-artsy and visually striking of the two. Historically, I’d trek 30 minutes off the 80 on the way back from Lake Tahoe to spend an afternoon in these towns, particularly when fall leaves are at their peak. This fall, I decided to spend the weekend here instead of Tahoe – and a restorative weekend it was.

While you’re in Grass Valley, foodies and cooks don’t miss Tess’ Kitchen Store, three floors of every cooking accoutrement you can think of, and Back Porch Market, a small but well-curated gourmet deli of cheese, salumi, wine and gourmet foods (P.S. inhaling the house pasta sauce cooking as you enter is intoxicating).


In Grass Valley, Big A Drive In may look a little forlorn, a historic drive-in serving freezes, malts, burgers and hot dogs, but their cheeseburger is unexpectedly classic and satisfying – some even say the best in the area. If there in the fall, take the slower but lovely drive along Colfax Highway at least one way to and from the 80 freeway so you can stop off at Bierwagen’s Donner Trail Fruit & Farm Market, an idyllic apple farm selling jams, pies, an array of seasonal produce, and, yes, apples.

Between nature, architecture, food, and even unexpected nightlife, here are just a few reasons to love these Gold Country towns.

1. NEW ENGLAND VIBRANT FALL COLORS AND CHRISTMAS CELEBRATIONS – When friends from New England told me this was THE spot they’d go for equally radiant fall colors, I was skeptical. But from my first visit in November years past, I walked through neighborhoods of old Victorians and 1800s homes, awash in the brilliant reds, yellows and oranges of my favorite season, dramatically cast against the green of mountain pines.

Besides warm fall days, crisp mountain nights and stunning fall colors, winter is a festive time in these two towns that pull out all the stops for Christmas. There’s a Victorian Christmas street festival complete with horse-drawn carriages and wandering carolers, and the Sierra Foothills Christmas Festival, known locally as Cornish Christmas, as the early, late 1800s population of Grass Valley was predominantly Cornish. Now just wish for snow for added magic.

2. ROADHOUSE EXTRAORDINAIRE: THE WILLO The Willo has been around for decades, a roadhouse on Highway 49, about 15 minutes drive from Grass Valley. Part redneck party in the rowdy bar, part retro dream with neon sign shining like a beacon from a dark, two-lane road in the middle of the pines, it is easily my favorite restaurant in the region.

Locavores and dainty eaters beware. This place is about thick cuts of NY steak (you cook or they cook on the big grill between the restaurant and bar) and local character. For less than $20, one can pig out on hearty, old school fare. Although requested “cheese” with a $1.85 baked potato is a deli slice, taste does not suffer here. When you ask for medium rare steak, you get it: juicy, delicious.

In fact, after numerous meals at more modern restaurants in the area, even those with local ingredients and attention to produce and meat sources, most were highly inconsistent and well behind  even average big city standards. With The Willo, I felt like I got exactly what I came for: local flair, delicious food appropriate for bracing mountain air. We brought our own bottle of wine ($10 corkage), well worth it considering what was on offer, although the festive bar was doing just fine with big name liquor brands and country on the jukebox.

The dated, wood-paneled dining room is lined with Elvis, The Duke (John Wayne), and scripture verse clocks, while a Friday night only special of BBQ pulled pork sandwich ($12) is surprisingly good ‘que, and hard-working waitresses ensure you’re right at home with a “hon” and a smile. Dining at this packed roadhouse felt like the kind of meal my grandparents would have enjoyed, of the celebratory, unfussy kind in my childhood.

3. UNEXPECTED NIGHTLIFE AND MUSIC SCENE – Though I struggled to find strong restaurants outside of The Willo or Sushi in the Raw, Nevada City nightlife, though not in the same breath as a big city, can get surprisingly rowdy. Being here days before Halloween meant Day of the Dead parties, concerts at historic Miners Foundry with everyone in costume, revelers wandering the streets, reminiscent of raucous nights in party towns like Savannah and New Orleans.

There wasn’t an evening I didn’t catch street musicians singing along the streets, a few of them exceptional, like a girl with a soulful, R&B voice belting along to one guy beatboxing, the other with a guitar. On sleepier nights, the historic Mine Shaft Saloon is the dive bar in town. Crusty bartenders, chatty locals, plenty of personality, and bowls of hot and sour soup arrive through the swinging door at next door’s Fred’s Szechuan Chinese Restaurant.

4. WINE COUNTRY – As with many parts of California, the Sierra Foothills is home to a strong community of wineries. The best afternoon of my recent weekend was spent driving around local vineyards, off scenic country roads, tucked in between valleys and mountain views. My other afternoon highlight was an hour tasting wine with Alex Szabo of Szabo Vineyards in his downtown Nevada City tasting room. With big personality and opinionated passion for wine, he’s lived in Europe and San Francisco, now winemaking here. He knew every local who came through the door, his friendly repartee and stories of his Hungarian family with winemaking roots back to 1780 particularly engaging – he grew up taking “a few pulls of wine from the jug” in his Grandpa’s basement.

His tasting room is full of hand-crafted pieces like a striking bar made from red gum eucalyptus trees salvaged in Berkeley’s Tilden Park after a fire. Launching Szabo in 2003 with 40 acres (15 of them vines, the rest sustainable forest), Szabo’s winemaking style is “balanced wines that you can still grab onto.” He mentioned being the only winemaker in area growing all his own grapes on premises, and his wines do represent balance rather than merely bold fruit. Tasting through a flight ($6), I noted the pleasant funkiness of a 2010 Grenache ($23 a bottle) which he describes as a “dusty Spanish road”, but was surprised to find I preferred the Zinfandel, a varietal I rarely gravitate towards ($18 a bottle). Though there are intense blackberry notes, there’s no residual sugar and the berry is balanced by tannins and an earthiness. Balance is also found in a sweet dessert wine, an off-dry 2011 Muscat redolent of orange blossom with a creamy mouthfeel. Best of all, his Voila, at $28 a bottle, is the highest priced of any of Szabo wine.

5. GOURMET ICE CREAM – Every time I’m in Nevada City, I don’t miss ice cream at Treats. Gourmet flavors hit the mark, like plum shiso or saffron rose pistachio. Childhood favorites like Swiss orange chip, and a handful of daily gelatos (such as chocolate cherry), are made with big city-quality and standards.

6. CORNISH HISTORY
– With over 60% of Grass Valley’s population being Cornish in the late 1800’s, the influence of Cornwall, England, can be felt in the fact that this small town has more than one pasty shop. But there is only one you need to visit: Marshall’s. These flaky, filled pastries are certainly old school – even the tiny shop evokes 1970’s. Marshall’s has been churning them out for decades, with your choice of vinegar or ketchup alongside a classic beef and potato or sweet, spiced apple in sugary vanilla sauce.

7. CAFFEINE FIX
– Hipsterization has even reached this small foothills town, but it’s a pleasure at Curly Wolf, an espresso house with Victorian wallpaper and couches on Nevada City’s main street. This form of retro/Old World hipster feels right home off wood sidewalks, serving properly prepared cappuccinos, coffees, cold brew iced coffee, even a chocolate orange espresso reminiscent of a Caffe Nico at LA’s Caffe Luxxe.

In Grass Valley, Caroline’s Coffee Roasters is a roaster and shop of the old school kind, not necessarily a coffee geek’s dream. But when in Grass Valley, it’s where locals congregate on a Saturday morning talking arts and sports (the SF Giants, naturally) over bracing cups of coffee.

8. SUSHI HOTSPOT – One doesn’t expect to find a sushi haven in towns this small. In fact, I’ve been to bigger towns around the country that lack a sushi restaurant as good as Sushi in the Raw. The fish is fresh and pristine and the environment in a converted Victorian boasts quirky charm, feeling like a hidden big city gem.

That being said, sushi aficionados and purists, while delighting at house pickled ginger and only sustainable fish will also notice an excess of sauce on or with most sushi, a “no-no” many a hardcore sushi master from Japan has warned us against. Though wishing I could taste the cleanness of fish apart from muddles of sauce (and this is coming from a sauce fanatic), Sushi in the Raw is still one of the better meals to be found in the area, though good luck getting a reservation. You MUST call ahead no matter the night of the week – they book weeks in advance. Husband/wife owners, Susan Frizzle and Executive Chef Kaoru “Ru” Suzuki, have created that small town rarity: a coveted hot spot everyone seems dying to get into.

Octopus/tako salad ($11.50), though thoughtfully presented, was surprisingly bland  drowning in spicy sauce with kelp, carrots and shredded nori, and the popular black truffled sashimi ($10/17), made with “best fish of the day” (each piece was different: salmon, yellowtail, kanpachi, albacore, trout) was overwhelmed by Italian black truffle, truffle salt, soy vinaigrette and French black truffle oil (tasting a number of truffle sashimi dishes over the years, a light hand is needed). While a sashimi platter arrives with five different bright cuts of fish, again, one is served a generous side of three sauces… with sashimi! So the drowning continues.

Rolls/maki are solid, like the Susan Roll ($14.50) of avocado, mango, smelt roe, crab mix, green onion, ginger, while scallop shooters ($3 each or $4 “drunken”) are vividly fresh with green mussel, mango and quail egg, particularly fun ordered drunken with a shot of shochu. On the drink side, a plum refresher ($4) is a lovely way to go with organic plum wine, lightened but not diluted by lemon, ice and sparkling water. “Ru’s pick” for sake, Kikusui KaraKuchi Dry ($5.50 glass/$33 bottle) is a crisp, pleasant accompaniment.

9. JUICE CENTRAL – As with a number of small California towns, you’ll find a healthy dose of hippies and back-to-the-earth folk. In Nevada City, Fudenjuce is a blissed out roadside hut with outdoor picnic tables, serving wraps, salads and rice bowls – but go for the juice. Though you may reek afterwards, a garlic heavy Immune Enhancer is an eye-opener with carrot, apple, parsley, spinach, ginger, while Planet Favorite is tart with lots of lemon, carrot, apple. Unlike most juice shops, everything, even 24 oz. pours, are affordably under $7. Only downside is that wheatgrass shots tasted sickly sweet – I like wheatgrass for that fresh-cut grass taste and wished it had been noted that it was sweetened so I could opt out. http://www.fudenjuce.com

Flour Garden Bakery
is mainly a bakery but also whips up a few fresh (and a couple thankfully green) juices in the Neal Street shopping center location of downtown Grass Valley.

10. GRAB A PINT – Though far from my top California brewery, Ol’ Republic Brewery is the first local brewery in town. The sterile, low ceiling space does have a front patio and Saturday nights draw live bands and crowds. The IPA English Ale strikes a fine balance of hoppy notes, and their range includes Bavarian Black Lager, Dead Canary (German lager), Celtic Red, Schwarzbier and Export Stout. Pretty much across the street from Ol’ Republic, Jernigan’s Tap House & Grill has a rotating draft selection of beers from around California.

11. AND ONE MORE ROADHOUSE: THE OLD 5 MILE HOUSE – Just follow the bikers (motorcycles parked out front) who congregate at The Old 5 Mile House, an 1890 roadhouse and former stagecoach stop off forested Highway 20 just 5 miles out of Nevada City. You’ll find a cozy, dark wood respite with fireplace, bocce area and back patio under massive trees. It’s a bar with decent beer selection and surprisingly tart, tasty margaritas, and a restaurant with far better-than-expected food. Recommended dishes: Piadine (aka pizza crust topped with salad) – the arugula version with tender skirt steak, chimichurri sauce, red onions and blue cheese ($14.99), the pizzas (some are better than others), and hearty 5 Mile Corned Beef Hash ‘n Eggs ($10.99).

12. HOT TUBBING UNDER THE STARS
– Though my room felt a bit cavelike on the bottom floor with only one small window and minimal light at Grass Valley Courtyard Suites (ask for an upstairs room with more windows), the room was otherwise comfortable, the owners and service exceptionally friendly, with an unexpectedly pleasant hotel breakfast in a cozy dining room, a day spa and comfortable gym,  easily walkable in old town Grass Valley, and best of all, the hot tub next to the pool was the ideal way to unwind every night. The stars appeared in all their glory and crisp foothill air invigorated as I relaxed in soothing, hot waters. http://www.gvcourtyardsuites.com

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

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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Nite Trax: Ana Sia, back on home court

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For those of you who haven’t been listening: Ana Sia is kind of a big deal. One of those quaintly San Francisco nightlife things — you blink for a hot minute, and someone familiar on the scene blows up, their hard work rewarded with major festival gigs, a large and growing following, and DJ sets being featured on NPR. Heeeey.

I’ve been a fan of the poised yet energetic Ana for a long while, and I must say I’m pleased as punch for her continued success — and to see what she’s got in store for us as she plays again in SF. (She’s one of the headliners, along with the UK’s excellently house and techy Ben UFO, at Friday night’s As You Like It party at Beat Box.) Onstage, the local Frite Nite label head quickly pulls you into her zone, tempering a concentration born of pure appreciation of the music with some playful bouncing and disarming charm. “I’m having a shit-ton of fun!” you can hear her shouting from the decks.

Categorizing her actual sound, however, can prove challenging.

Ana’s been through a few transfomations. I first became aware of her as a member of the underground techno scene, then as a part of the crunk-meets-dubstep-meets-Burning Man Bassnectar touring juggernaut — at one point pimping herself with a wink as playing “global slut psy-hop,” a moniker which went well with the gaudy scene of the late ’00s. Then, as part of Frite Nite, she became a brainier glitch advocate, delving into more adventurous realms of broken bass. But she’s always been courageous, forceful, and fun — even now, when she’s adding full-on house and ravier techno to the mix, as you can hear below.

Love it. She took a minute to email me the answers to some questions in anticipation of her Friday gig. Welcome back, Ana.

SFBG You’ve been playing all over lately — how does it feel when you come back to San Francisco?

ANA SIAReturning home and playing shows with my peers and in front of what very much feels like family is the greatest part of my schedule. What makes San Francisco so tight is the diversity and multi-cultural melange of the people, and those acknowledgments certainly carry through to the art scene. Connecting with listeners is easier on the home court — I feel much more safe and secure introducing more challenging music and unfamiliar sounds because everyone is so open here, They genuinely understand and love music. Ask any touring artist this question and I bet they say the same about our community here!

SFBGYour sound has really evolved since you were playing here regularly. Can you tell me where you’re at now, and what we can expect?

ANA SIA I think the one thing that has not changed about my sound is that it’s always different than the last time — whether that’s a yay or nay thing is another issue though. But right now, people can expect the agenda i’ve been pushing for a minute now; classy yet ratchet bass music, stepping on the toes of techno-house. And yeah, i’ve always tried to stay ahead of the curve for DJ sets, but honestly all the latest trends and best music out right now is re-introducing fundamental dance music. It’s nothing really super-shiny and new. It’s all slightly more modernized revisions of classic sounds which i’m grateful for. Because for me, my young rave days began with house. 

SFBG What equipment are you using lately — and can you tell us about some of your recent or upcoming releases?

ANA SIA Ableton Live is still my bandmate, but I have this new bossy future-midi controller, the QuNeo. I’m working on an EP right now, probably music that no ones’ expecting but all the tunes are in the territory of the above mentioned. 

SFBG In my mind, your sound is always evolving, you’ve always been on the cutting edge — it’s hard for a writer like me to keep up with you! Who are you listening to now? And since you travel so much, do you have any good stories from the road? 

ANA SIA Such a loaded question! Presently in my playlist of the last few months : Kendrick Lamar, Detroit Swindle, Bambounou, George Fitzgerald, Bach, 2 Chains, Dj Spinn, Lukid. And road stories? that’s classified information. Mostly because i fear self-incrimination. But i will say that it is shocking how many really great sushi restaurants there are in the most unsuspected of places in the middle of America. 

AS YOU LIKE IT with ANA SIA and BEN UFO

Fri/14, 10pm-4am, $15, $10 before 10pm, $20 after

Beatbox

314 11th St., SF.

www.ayli-sf.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: Blowing like the wind

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marke@sfbg.com

SUPER EGO Look, if I was doing my job properly, there’s no way in Hello Kitty I’d remember what happened on the club scene the past year. It’s all fuzzy shapes and drunk colors, like Barbara Bush in a bathhouse. Last February, it took me two whole pages of tiny type just to list my favorite weekly clubs, so I’m not gonna go into all that here. (I will say that parties like Housepitality, Honey Soundsystem, Lights Down Low, Icee Hot, Dub Mission, Non-Stop Bhangra, No Way Back, As You Like It, Forward, Deep, Base, and Sunset continued to introduce us to incredible DJs. And wasn’t there someone from Detroit here, like, every week?) Here are some things, however, I do recall

Loudest: Body and Soul at Mighty — my ears rang for a week, my feet for three.

Wowest: Amon Tobin’s giant tetris of digital video projections for his ISAM Live 2.0 tour at the Greek Theater.

Scary-Hottest: International leather techno entity Luther at Folsom Street Fair.

Coolest: Marco De La Vega, cross-genre promoter of the year, watching from the DJ booth as a kick-ass $3000 light falls on a table’s-worth of Balam Acab and Andy Stott’s live electronic equipment at Public Works. Then finishing his cocktail before handling the ensuing panic.

Wowest, part 2: The SF Symphony’s American Mavericks concert series (including a Kate Bush-referencing piece by DJ Masonic), SF Opera’s “Nixon in China,” the amazing Soundwave Festival, the hella robust Electronic Music festival.

Trippiest: Those immersive projections at Public Works, which turned Laurent Garnier’s live show into a cartoon-heart-filled rave aquarium and Jeff Mills’ into a star-map vortex.

Cutest: The tiny flashing lights on the ceiling of the remodeled, excellent 222 Hyde.

Latest: We got a trap club (Trap City), a new wave of cyber-horror drag performance artists (at Some Thing, Dark Room, High Fantasy), a packed gay sports bar (Hi Tops), a great-sounding new club (Monarch), a lunchtime dance party (Beats for Lunch, also at Monarch), an outbreak of vogueing (everywhere), a queer nu-hip-hop club (Swagger Like Us), a queer funk classics party (Love Will Fix It), and a weird “sparkling alcohol water” (Air). But we lost Club Six, which I loved. Also I think dubstep died.

Loveliest: Dancing in a church with 30 other people to hip-house legend Tyree Cooper, singing along to “Turn Up the Bass.” Watching real house parties like The People blow up in the East Bay. Sipping homemade sljivovica behind the decks with DJ Zeljko of Kafana Balkan. Doing the jerk ’til I melted at Hard French. DJing (eek!) Club Isis classics on vinyl at Go Bang. I think I almost made out with Kenny Dope at Red Bull Music Academy? Oh, and running into you.

>>Check the rest of our YEAR IN MUSIC 2012 issue.

 

MARKE B.’S 2012 JAMS

1. Todd Terje, “Inspector Norse” This was a dance music year that sometimes seemed to vacillate among three primary moods — prim sophistication, moneyed “indulgence,” and too-broad jokes. But Norwegian Terje dared proffer the sweetest humor in this instant earworm’s worth of re-engineered nostalgia, embracing the cheery electronic toodles of early ’80s British and Scandinavian TV show themes (cf. especially “Grange Hill” and “Swap Shop,” though not “Inspector Morse”) and bringing smiles back to the dance floor.

2. John Talabot, FACT Mix 315 A spectacular year for the Spaniard, whose expansive take on the decades-old Balearic sound already had him pegged for a 2012 favorite, even before he dropped excellent album Fin, which toyed with melancholic UK bass sounds and yielded my second favorite tune of the year, hopelessly romantic “So Will Be Now” with Pional. But this mix for FACT showed that the dark underpinnings of witchy house and the sunstroked uplift of Ibiza could be reconciled via a tingly rush of subtle, brilliant psychedelia. Trippy, lovely, and the right little bit of creepy.

3. Plan B, “Ill Manors” I detested The Prodigy the first time around — they were goofy twats who had nothing to be angry about. No surprise “Firestarter” was played for the Queen at this year’s Olympics opening ceremony. So much for anarchy in the UK, although Azaelia Banks mashing it up with “212” at Coachella was fun. UK rapper-singer Plan B managed to weld the Prodigy (and nascent drum and bass) revival to the real world anarchic energy of last year’s UK riots, his Tchaikovsky-sampling tune shivering with council flat rage, ambivalent violence, Olympic protest, and youthful nihilism. Watch his self-directed, horrifically poignant shoestring video, then laugh at the Grammys as accolades rain down on Romain Gavras’ extravagant ripoff for “No Church in the Wild.”

4. Rrose, Smoke Machine Podcast 069 Electronic Body Music for our time, rippling with muscular textures and ethereal trap doors.

5. Justin Martin, Crackcast 019 For all the diversity of the local scene, the Dirtybird crew is still our major player on the global dance music stage. (Of our three big breakout acts this year, Safeword is rad, Poolside is cute, Pillow Talk leaves me cold so far.) Fine, I adore them. Nobody else sounds like they’re having more fun while slyly executing tricky, emotionally satisfying bass maneuvers like Claude VonStroke and his stable. This year was stellar for the fiendishly clever Justin in terms of addictive mixes (his album “Ghettos and Gardens” was good, too, but I took issue with the insensitive tone of some of the promotional materials). This podcast, along with his Fabric and Clash ones, never left my iRotation.

OTHERS: MK, Old School Classics Mix; Le1f, “Wut”; Azaelia Banks, “Fierce”; Fantastic Mr. Fox, “San’en”; Andy Stott, “Luxury Problems EP”; Dutch Uncles, “Fester”; Ripperton, “Let’s Hope”; Sailor & I, “Tough Love (Aril Brikha remix)”; Jessie Ware and Julio Bashmore, “110%,”; Disclosure, “Latch”; Prince Club and Steve Huerta, “Can’t Let Go”; Bwana, “Baby Let Me Finish (Black Orange Juice Remix)”; Stereogamous, “Feel Love Anew”; Little People, “Aldgate Patterns.”

Art Basel diary: The other side of the causeway, street art, Art Asia

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Read part one of Caitlin Donohue’s Art Basel diary: South Beach here

It would be a mistake to characterize the Art-Basel-that’s-not-in-South-Beach parts of Miami as containing more DIY/indie/anti-consumerist detritus than Art Deco land during the arty wheeling and dealing that occured last week (transactions worth, the Miami New Times helpfully noted, approximately the GDP of Guyana.)

Not-South-Beach, after all, included the Design District, where my camera memorably died for the last time during our Florida adventure as I was photographing an exhibit entitled “Architecture For Dogs.” 

So maybe lumping in all the art and murals I saw in the Not-South-Beach neighborhoods is a bit confusing. I hope this helps clarify: Wynwood is the area that has been designated as hipster city clusterfuck, centering on the murals bankrolled by the recently-deceased Tony Goldman and a handful of actually-indie art fairs. It hosts many parties featuring free beer and Chromeo.

The Design District is home to “Architecture for Dogs”, the Louis Vuitton store whose facade has been refurbished by last year’s Art Basel week darling, street artist Retna, and copious amounts of fancy bathtubs on display in local businesses (a must for your post-Basel recuperation.)

Between them, Mid-Town is bisected by a street that becomes absolutly jampacked with art and design fairs (and the patrons who love them), including SCOPE, Context, Red Dot, and more. Also, a fountain accented with brightly-colored butterfly, etc. statues by Brazilian artist Romero Britto, who my companion helpfully clarified, is “the worst.”

Snarkiness aside, should you find yourself in Miami next year Baseling, you’ll want to make the trip away from the Convention Center, fashion, high-falutin’ nightlife, and beach beauties of South Beach, because the art on the mainland can be refreshing, and freakish, and gorgeous. Here’s what we saw:  

HELLA MURALS: Street art was pretty much the reason why I went to Art Basel last year, and it continues to blow my mind, even if the crushing crowds of gawkers on Wynwood’s main drag tend to dull the shine for you after awhile. Fountain Art Fair sponsored some dope pieces, and had the only formal (indoor) showing of Miami street artists I caught at the fair. Miami graff pioneer Hec 1 had a room at Fountain he’d curated, with model trains and canvases sprayed with work by some of the city’s most iconic letter artists.

I’d never seen a pro-Israel artist collective until we wandered into the Bomb Shelter Museum‘s street art complex, where Asturian street artist Belin had done one of the most technicaly proficient murals I’ve ever seen of a stretched-out, insect-proportioned young woman. 

One of the best parts of the week was just wandering the back roads, where some super-talented street artists had taken refuge from the crush. We found Molly Rose Freeman and Danielle Brutto putting up a gorgeous pair of cats on a shack in an abandoned lot, that had been informally transmorgified into an aerosol gallery. 

ART ASIA: This year I was once again blown away by the mini-fair within SCOPE that brings Asian-run galleries from Korea, Japan, Bangladesh, Taiwan, in addition to New York and Miami. 

I’d seen its near-identical showings at Art Asia last year, but even so Miami’s Art Lexing gallery was probably my favorite gallery showing of the week, including Ye Hongxing‘s intricate Buddhist collages, shining rainbows revealed to be made of stickers you’d find on a schoolkid’s notebook when you shove your nose up close to them. Lexing showed them alongside washed-out blow-ups of Quentin Shih‘s photos for the somewhat controversial Dior “Shanghai Dreams” ad campaign. Models in Dior gowns come boxed in glass, unaffected indicators of Western glamour in the middle of prosaic scenes from Chinese country life: a market, a basketball court. 

Also in Art Asia: Buhan, Korea’s Kim Jae Sun gallery brought Sehan Kim‘s dotted homage to Keith Haring and other pop artists, the legends’ work rendered on a Asian skyscaper in a busy nightscape. Seung Yong Kwak‘s “Old Future” geisha remix of Mona Lisa sat a few booths down from Tokyo’s Gallery Tomura, whose entire showing was dedicated to Kazuki Takamatsu‘s eerie depth mapping of ringleted little girls. 

For SCOPE, Context, and more on Fountain Art Fair stay tuned for my final blogstallation

Nite Trax: Tormenta Tropical whips up 5 years of cumbia madness

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Five years ago the local nightlife scene was broadening its scope in a multitude of awe-inspiring musical directions, from contemporary Afrobeat and baile funk to experimental global indie. In that atmosphere of diverse ferment, a couple of super-talented kids, recently returned from Argentina, started Tormenta Tropical (along with label Bersa Discos), a monthly at the Elbo Room dedicated to the electronic spin many Latin American artists were putting on the traditional cumbia sound.

The sound centered around club Zizek in Buenos Aires and its ZZK label — but it also found a home, strangely enough, in the tropical-hungry underground clubs of Montreal. Tormenta Tropical provided a third leg of the nu-cumbia triangle, and has been known ever since as a go-to for cutting edge global bass and electro-Latin tracks. There were also a lot of glowing Virgin Marys on the DJ booth and a taco truck parked outside. 

This Saturday, oro11 and Shawn Reynaldo (formerly Disco Shawn), celebrate the fifth anniversary of the club, and it’s gonna be a humdinger, chicas.

Even though the party has become known for its insane roster of guest performers — including Buraka Som Sistema, El Guincho, Toy Selectah, DJ Rupture, Maluca, L-Vis 1990 and Bok Bok, Matias Aguayo, Kingdom, Uproot Andy, South Rakkas Crew, Chancha Via Circuito, Sinden, Schlachthofbronx, Roska, Los Rakas, Very Be Careful, and my secret byfirend Ghislain Poirier — this party will feature Shawn and oro tag-teaming on the decks, giving us a full five years’ (and four hours’) worth of pure TT gold. I emailed oro11 and Shawn (who’s also one of the Bay’s best dance music writers) to give us a little update about it all.  

SFBG In the past five years, and in the wake of moombahton, Diplo, and everything else Latin- and tropical-electronic obsessed — how has the nu-cumbia scene changed, are you finding new directions for the music? Will there be a trap hybrid soon? (I AM KIND OF KIDDING.)

TORMENTA TROPICAL When we started the party, there was definitely a sort of bloggy buzz around cumbia and the idea of tropical bass. Between Diplo, Mad Decent, and the attention our friends from ZZK in Buenos Aires were getting, it did feel like some of the crowd was coming out to check out this “new” sound, just because it was fashionable. Over time, that has totally changed. Five years later, it doesn’t feel like Tormenta Tropical is a party for the “cool” kids at all. At this point, it’s just for people who love the music and the vibe, and most importantly, want to dance. Also, it’s totally mixed, which is great, especially when so much of San Francisco nightlife is hopelessly segregated.

As for the music, we’ve seen so many trends and sounds come and go over the past five years, and the SoundCloud generation of producers is totally prone to hopping on whatever new sound they come across, only to abandon it just as quickly. It’s led to a lot of dodgy music, along with artists who fleetingly pass through the scene, but that’s why it’s our job to find the good stuff. Thankfully, even though cumbia and other sounds may not be as trendy as they once were, we still come across great music all the time. If anything, the most interesting producers are the ones operating out of their bedrooms in a virtual vacuum, just creating weird hybrids of Latin music or dancehall or African rhythms or whatever else because they have a passion for it, not because they’re trying to get posted on a blog.

And it’s funny that you mention trap. As cringe-inducing as that world has become, this kid DJ Quality in Chicago has been sending us some amazing cumbia and bachata tunes with trap beats. You never know…

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

SFBG How many people have you had to kick out due to over-cumbiaing?

TT Thankfully, the crowd at Tormenta Tropical has always been well-behaved. We’ve both been DJing and throwing parties for a long time, and it’s honestly hard to imagine another party where so many people are just dancing and having fun. There’s nothing pretentious about Tormenta Tropical, even when we’re playing totally obscure music or someone from South America is performing live on stage. That’s maybe the most amazing thing about Tormenta Tropical — the vast majority of the people don’t know the vast majority of the songs, but people still show up every month, pack the dancefloor, and get wild.

SFBG How’s the label doing? Any news?

TT Bersa Discos is still happening, although it’s admittedly been a little while since we’ve had a release. At this point, we’re just trying to promote quality over quantity, and it’s not like there’s any profit in putting out limited-run vinyl releases, so we’re just waiting for the right tunes to come in. It also doesn’t help that some of our favorite artists have a tendency to never finish their tracks. [There will be cool Bersa Discos t-shirts for sale at the party.]

http://www.youtube.com/watch?v=PZOaSX1uT_A

SFBG
Should I wear booty shorts to the anniversary and shower myself with cheap champagne?

TT Marke, that sounds fine to us. There has never been dress code at Tormenta Tropical, and we’re not going to start one now. Back in 2008, Buraka Som Sistema played their very first San Francisco show at our party. In the middle of the set, this girl hopped on stage, took her shirt off, and kept right on dancing with her boobs out and her sunglasses on. No one seemed to mind.

TOP 11 TORMENTA TROPICAL TRACKS OF ALL TIME

Casa de Leones “No Te Veo”
Chancha Via Circuito “Cumbia Malembe”
DJ Dus “Cuando Lo Negro Sea Bello”
DJ Negro “Sabor a Gaita Remix”
DJ Panik “Pintura de Nieve”
El Hijo de la Cumbia “La Mara Tomaza”
Erick Rincon “Cumbia de Nuevo Leon”
Los Rakas “Abrazame (Uproot Andy Remix)”
Mr. Vegas “Certain Law (Murlo Remix)”
Omega “Si Tú Queres, Tú No Queres (DJ K-Ber Extended Reggaeton Mix)”
Sabo and Cassady “La Curura”

 

TORMENTA TROPICAL 5-YEAR ANNIVERSARY

Sat/8, 10pm, $5 before 10pm, $10 after.

Elbo Room

647 Valencia, SF.

www.elbo.com

Phantasms

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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