SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.
Today’s look: Laura, Sixth Street and Market
Tell us about your look: “It’s hot so I’m wearing a skirt to catch the breeze a bit.”
SF
Sonic Reducer Overage: Dead Meadow, Steve Earle, Fracas, Loney Dear, and more
By Kimberly Chun
Could it be any prettier, any more delicately dewy, any more enticing, out there in this stone-beauty by the Bay? And when the sun goes down, you must go out to play – or watch others play. More worth-while sights, sighs, and sounds for you, more than could fit in print.
Steve Earle
Far from Nashville and an outlaw and songwriter-activist born a little too late, Steve Earle is rattling the chains of his past and looking back on the music of his late brilliant and damaged mentor Townes Van Zandt with the new Townes (New West). Thurs/14, 6 p.m., free. Amoeba Music, 1855 Haight, SF. (415) 831-1200.
Loney Dear
Dudes, make up your mind – comma or no comma? Ah, hell, none of it matters when the Loneys wash those sad-and-lonelies away with their sweet indie-rock melodicism. With Headlights and Audio Out Send. Fri/15, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455.
Appetite: Brazilian piranha ribs, Korean tacos, schnitzel sandwiches, fancy ‘tinis, and more
Every Monday, Virginia Miller of personalized itinerary service and monthly food, drink, and travel newsletter, www.theperfectspotsf.com, shares foodie news, events, and deals. View the last installment here.
‘Tini time at SF Cocktail Week
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EVENTS
May 11-18: SF Cocktail Week
SF Cocktail Week is here… In honor of SF’s truly vibrant cocktail culture and supporting the fab Museum of the American Cocktail in New Orleans (if you’re there, go!), the mission is "to preserve the Cultural Heritage of saloons and their cocktails in San Francisco, while also celebrating California’s Culinary Philosophy and Tradition". Sounds like a great mission to me. The third year in, this just keeps getting bigger. It’s no Tales of the Cocktail but it’s certainly a stellar line-up of parties, classes, competitions and events, taught and presented by a long list of the many of SF’s bartending greats.
A few highlights include opening (at Le Colonial) and closing (at Jardinere) parties, the US Bartenders’ Guild National Competition (all day Tuesday: 11am for SF competitors; 5pm for national finalists), CUESA’s Cane Spirits & Farmer’s Market Cocktails event is Wednesday night (their Winter Cocktails event was a blast – excellent cocktails at every turn!), there’s a historical cocktail and bar crawl with Tablehopper herself on Saturday, a Saturday class with artisanal cocktail genius,Scott Beattie, and monthly Savoy night at the one-and-only Alembic on Sunday. Thursday is Bar School, a day of classes around town, ranging from $25-45, the line-up includes Distillation 101 from Hangar One’s Lance Winters, Erik Atkins’ walk through the Gentleman’s Companion, Jeff Hollinger (Absinthe) and Neyah White (NOPA) teach you how to make your own cocktail ingredients from syrups to bitters, plus more worthy classes for the budding mixologist to take it to the next level.
All around SF; events free to $45
http://sfcocktailweek.com
May 12-16: The Big 4’s Wild Game Week returns
The Big 4 Restaurant (PSF) in Nob Hill’s Huntington Hotel has been around for decades and is just the kind of atmosphere I want when craving old world elegance and cocktails by the fireplace. On the food tip, its bi-annual Wild Game Week offers a menu so unique, it’s one of the only times you’ll see dishes like Himalayan yak or Rocky Mountain wapiti (elk chop, to you). This year a first is added: Brazilian piranha “ribs” with a creamy mustard dressing ($18). That’s right, piranha. Come hungry as the deer and the antelope certainly will play.
Appetizers: $16-19
Entrees: $38-46
1075 California Street
415-771-1140
www.big4restaurant.com
Street Threads: Look of the Day
SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.
Today’s Look: Chris, Market and Montgomery
Tell us about your look: “Very greasy”
Street Threads: Look of the Day
SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.
Today’s look: Ramona, Market and Davis
Tell us about your look: “I feel like this outfit is me in the 90’s, but sunnier.”
Marin paper chokes on Mirkarimi appointment
By Tim Redmond
The Marin Independent Journal is going nuts about the fact that San Francisco Sup. Ross Mirkarimi got a slot on the state Coastal Commission. The IJ wanted a Marinite, Sup. Steve Kinsey, and is blasting Sen. Mark Leno for recommending Mirkarimi (which for all practical purposes guaranteed that the San Francisco environmental leader would get the post).
According to the IJ:
Leno said it was a difficult choice and that he respects Kinsey’s experience. He said Mirkarimi offers strong environmental credentials and stressed that a San Franciscan has not held the North Coast seat for 32 years. He pointed to Mirkarimi’s leadership in winning passage of San Francisco’s ban on plastic bags. Leno said he also heard from some environmentalists who asked him not to pick Kinsey. Apparently Kinsey works harder than they would like to balance historic private property rights and local agriculture with protection of California’s coast.
You get the point — Kinsey thinks that the Coastal Commission should “balance” property rights and coastal protection. Actually, that’s not the panel’s job. The commission was set up to prevent development along the coast; it’s supposed to be really, really hard to get a permit to do anything that would limit public access or damange a pristine coastal area.
A former Sierra Club president makes the point nicely here.
But wait — the IJ isn’t done. In an oped column May 5th, Brad Breithaupt insists that Leno was snubbing the northern part of his district:
For the first time in 30 years, a Marin resident isn’t serving on the commission, even as an alternate.
Guess what? It’s been more than 30 years since San Francisco had a seat on the commission.
But that’s not the issue. The issue is that coastal protection is more important than whether someone lives in San Francisco or Marin — and on an increasingly conservative and pro-development commission, the representative from the SF/Marin/Sonoma area needs to be a hard-core enviro, someone who isn’t looking to compromise with property owners or developers.
“And I think Ross Mirkarimi has already proven he’s doing an excellent job,” Leno said. So lighten up, Marin.
Shades of time: Q&A with Matt Keegan
Barack Obama boarding an Air Force One plane for the first time. Gay calendars from the 1960s. A New York Times article on the death of a major urban newspaper. Sundays at the Alemany Flea Market. These are some of the temporal markers at play in Matt Keegan‘s exhibition “Postcards & Calendars.” The show (reviewed in the current Guardian) could be Keegan’s postcard to New York about time spent in San Francisco. It’s also an exploration of the ways in which calendars and other time keepers can be used subversively to convey forms of experience or forge communities. Keegan is no stranger to the such endeavors: his 2008 book AMERICAMERICA (Printed Matter, 140 pages, $35) gathers interviews, old People magazines, memorabilia connected to the “Hands Across America” project, artifacts from his small-scale update of that endeavor, and unorthodox archival material into a journal that doubles as a portrait of the Reagan era. The artist and I recently sat at a petite lemon yellow table with pretty lemon yellow flowers in Altman Siegel Gallery to discuss his current exhibition.
View of Matt Keegan’s “Postcards & Calendars.” All images from “Postcards & Calendars” courtesy of Altman Siegel Gallery
SFBG Many shows repeat the same execution of a single theme, over and over. In contrast, “Postcards & Calendars” has many forms and facets.
Matt Keegan The thematic of this show is definitely influenced by my time in in San Francisco, but not relegated to being here. Lots of things at play are continuations of my preexisting engagement with photography.
In terms of local influences, the calendars from the GLBT Historical Society had a tremendous impact on this show. Before I met with Rebekah Kim, the Historical Society’s archivist, I was trying to figure out how to map the ways time is not only recorded but visually structured — to think about such rudimentary things as a planner, or a calendar, or a newspaper, in terms of how days and months can be iterated.
When I saw their collection of calendars, part of the power of those objects comes from the way they integrate a social history into an innocuous form. Also, some of the calendars that have a clear porn element, also have a social element. For example, Fizeek from the mid-‘60s — the back of that calendar has notations about who shot which photo and where the photographers are based, which provides it with this added level of social exchange.
Matt Keegan
SFBG In the past year I’ve amassed a stack of the 1970s SF gay magazine Vector, so it was serendipity to come across a calendar from Vector on the wall in your show. More than with microfiche of local newspapers, I get a sense of what was going on in San Francisco at the time from a publication such as that magazine, simply through the addresses in advertisements.
MK Material that might be considered insubstantial or peripheral in terms of formal archiving and recording has a historical implication. Close to the time when I met with Rebekah, I met with Gerard Koskovich, one of the founding members of the GLBT Historical Society. He told this amazing anecdote about Bois Burke placing an ad in The Hobby Directory that is significant in helping to understand a 1940s and ’50s queer history of correspondence. Within this guide, people would reach out about hobbies such as nude sunbathing and physique photography. I am very interested in the various ways that such print-based and distributed publications were activated to serve unintended purposes. And, I love the way that the calendars, specifically, embed such a social history so that it becomes part of daily and monthly activities.
Barack Obama, 31 shades of white, newspapers as endangered species, the archivist’s life, the art of interviewing, and more, after the jump
Super Ego: Mophono, wet jocks, tiny spoons, lazers
By Marke B.
Some smooth and mellow Mophono pho’ ya
Oh, the transient grunts and groans of the dance floor: Just got word yesterday that the eagerly awaited appearance of disco progenitor Nicky Siano at Paradise Lounge has been cancelled — my deep throat tells me there were sound and venue concerns (although I love the ‘Dise!). In any case, there’s plenty of other things to hold your ear-nterest and get you bangin’ this weekend. Besides my rundown in this week’s Super Ego column, below are some more earth shakers and affairs.
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He loves me, he loves me not
Wanna spoon?
I had absolutely no idea that those little plastics coffee spoons from McDonald’s were banned because of illicit uses (or perceived one, anyway.) You’d think after all this time, plastic + noses = OK. But no. In any case, snort in luxurious style with the unveiling of a perfect publicity stunt: renowned hip mens’ clothiers and artists Ju$t Another Rich Kid, Nice Collective, Terence Koh, and more have designed cute, exclusive, and most likely expensive little Bolivian helpers (watch that terrorism funding!). They’ll be giving the dish at Harput’s from 6pm-9pm tonight (expect beautiful people), and then there’ll be a kiki afterparty at Triple Crown. Don’t try to force your way into the stalls. It’s all called “He loves me, he loves me not” which brings to mind a kinky game somehow.
Thu/7, 6-9pm, free. Harput’s Market, 1527 Fillmore, SF. www.harputsmarket.com
Afterparty, 10pm-midnight, free. Triple Crown, 1760 Market, SF. www.triplecrownsf.com
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Lazer Sword + Mophono live
Lazer Sword, can you blap me for loving you?
Local future blap fave raves Lazer Sword are back from their whirlwind Euro tour with an uptempo live set to get you moving, supported by Bay man of intrinsic deep dance knowledge, Mophono at, yes, the Paradise. Put ’em up and get down, child — and let’s see if those speakers still work.
Lazer Sword at 111 Minna San Francisco 1/15/09
Fri/8, 10pm, $10. Paradise Lounge, 1501 Folsom, SF. www.hacksawent.com
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The Rod
Post-Cinco uprising
Why, yes, I DO host a wet jock strap contest. Come down to Bus Station John’s retro bathhouse disco monthly, The Rod, at Deco this Friday around midnight and see me and Hunky Beau scare up a willing and wet bevy of gorgeous, unclad alternaqueer boys — and see who’ll win $100. (No muscle queens need apply, thanks.) Then stay and dance until 3am to the best disco you’ve only ever heard sampled in other songs before. It’s fun and a little scary: frisson alert!
Fri/8, 10pm-3am, $7. Deco, 510 Larkin, SF. www.decosf.com
LISTEN/VISION 06 speaks
By Johnny Ray Huston
In addition to making music, Christopher Willits is a guiding force behind the art and experimental music site Overlap (www.overlap.org). In conjunction with Overlap’s next event, I caught up with him by e-mail.
SFBG What was it like to collaborate with Ryuichi Sakamoto on Ocean Fire (12k, 2008)?
Christopher Willits It was surreal. We fell into an oceanic trance, and a bunch of music suddenly emerged. Then a Godzilla-like sea monster morphed out of his piano and he vaporized it with his max patch.
SFBG You’ve also worked with Brad Laner of Medicine. Are you an admirer of that (ahead-of-its-time) band?
CW Medicine [had] a mind-splittingly original sound — it was a soundtrack to many high school adventures. Now it’s an absolute joy to be friends with Mr. Laner. Together we are the varsity band members (guitar I and II) of the North Valley Subconscious Orchestra. We’re aiming for nationals next year.
SFBG What do you like about the Bay Area’s close proximity to the ocean?
CW The smell of fresh wind, and dreams of flying great white sharks.
SFBG I saw a fave list of yours once that had Magma, the Carpenters’ "Close to You" and Sun Ra’s Lanquidity on it. Who is inspiring or obsessing you at present?
CW That is a timeless list — can I say them again? Let’s add Morton Subotnick, Wild Bull (www.merlindarts.com), all Eliane Radigue, all Elvin Jones, John Coltrane, and that band that plays at El Rio on Sunday night.
SFBG You recently toured in China, including a performance with images on ice. What did you discover?
CW I discovered a resilient community of artists and experimental musicians pushing against the grain (and firewall) of this mammoth country or force. They understand my history and what I’m doing — another win for Chinese bootlegs? I also found some of the best food ever: huajiao (flower pepper) with asparagus! But hold the boiled big brains. Those I’m definitely not into.
LISTEN/VISION 06 With Christopher Willits, Taylor Deupree, and Classical Revolution. Sun/10, 8 p.m., $10. Café Du Nord, 2170 Market, SF. (415) 861-5016. www.overlap.org.
Dance: Emporer Norton, back as folk tale
By Rita Felciano
Andrew Wass as Emperor Norton. Photo by Andrea Flores
Two years ago Catherine Galasso appeared at the WestWave Dance Festival in Gnome Trouble, based on the Grimm brothers’ fairy tale Snow White and Rose Red. Freud would have loved to bite into that story of sibling rivalry. Even though Galasso’s piece wasn’t that successful, it somehow stayed in memory. Apparently she likes folk tales. She is back with another one, The Improbable Reign of Norton I, Emperor of the United States. In fact Norton was a 19th century San Franciscan, eccentric to say the least. He will be joined on stage by other semimythic Barbary Coast denizens, including Joaquin Murrietta, a Robin Hood type bandit. Sharing the bill with Galasso will be a kindred spirit, Seattle’s Salt Horse dance-sound company, with This Was a Cliff. Taking an entirely different perspective — improvisatory and nonnarrative — they also create imagistic dance-theater works in which reality and fantasy collide and cooperate. The double bill comes courtesy of SCUBA, the national touring network created by ODC Theater, Velocity Dance Center in Seattle, and the Southern Theater in Minneapolis. This small venture by cooperating presenters was founded in 2003 in a time of plenty. It seemed a good idea then. It’s an even better one today if small presenters and their artists are going to survive.
SCUBA WITH CATHERINE GALASSO AND SALT HORSE Sat/9, 8 p.m.; Sun/10, 7 p.m., $15–$18. ODC Theater, 351 Shotwell, SF. (415) 863-9834, www.odctheater.org
Street Threads: Look of the Day
SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.
Today’s Look: Oliver, McAllister and Hyde
Tell us about your look: “I’m wearing mostly hand-me-downs.”
Hot sex events this week: May 6-12
Compiled by Molly Freedenberg
Femina Potens curator, international award winning Bondage Model and Feminist Porn Star Madison Young hosts this month’s “Sizzle.”
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>> Sizzle
Femina Potens celebrates Masturbation Month with an auto-erotica reading and open mic extravaganza, featuring writer and sexologist Carol Queen, porn performer and BDSM professionalDusty Horn, queer porn producer and bondage model Madison Young, and Xicana burlesque mistress Chica Boom. (Also check out the benefit for Femina Potens at The Lex on Saturday.)
Fri/8, 8pm. $10-15.
Femina Potens
2199 Market, SF
www.feminapotens.org
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>> School of Shimmy
Learn to shake it on the stage or in the bedroom with Dottie Lux and guest teachers in this two-hour workshop. Includes history of burlesque, how to create a character, and basic choreography. All ages, genders, and experience levels welcome.
Thurs/7, 7:30pm. $30.
Center for Sex and Culture
1519 Mission, SF
www.sexandculture.org
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>> Sex Work on Wheels Tour
The Bike Coalition combines two of our favorite things – bikes and sex – with this two-wheeled tour of San Francisco’s sexy side, including stops by streets named for Gold Rush-era madams, sites of 19th century parlor houses, and discussion of labor struggles in the sex industry..
Sat/9, 11am-2pm, free.
Main Library at Fulton Street steps, SF
www.sfbike.org
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>> Girl Girl Tricks for Men, Part 2
Ever suspect lesbians have secrets about sex with women that would make you a better lover? Dig deeper into the world of lesbian sex with this sexy and intellectual romp through lesbian bedsheets with bisexual dyke and sex educator Kristy Lin Billuni. Men only.
Tues/12, 8pm. $25-30.
Good Vibrations
1620 Polk, SF
www.goodvibes.com
The Blender: What we’ve been eating
By the hungry hungry Guardian staff
(1) Cabernet and oysters, Bistro St. Germain, SF
(2) Strawberry shortcake with vanilla ice cream and honey
(3) Five kinds of Pyramid Ale with beer-soaked mussels, Pyramid Brewery and Alehouse, Berk.
(4) Bacon-wrapped sausage, bacon-wrapped marshmallows, and bacon-wrapped bacon, Trout Camp, Shasta Springs
(5) Herradura chicken with red chili pesto
Street Threads: Look of the Day
SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.
Today’s Look: Shanti, Charles J. Brenham and McAllister
Tell us about your look: “I like wearing lots of color and today it was lots of gold.”
Oops: DirtyBird Pajama Jam this Friday
By Marke B.
What can I say? I’m cute and often clueless — and as attested below I’m perpetually on Spring Break. In the print edition of my Super Ego column in this week’s Guardian I mistakenly put the DirtyBird Pajama Jam down for Saturday, when in fact it’s Friday at Mezzanine. Full and correct preview below. Somebody spank me!
Wig out to J. Phlip on Friday night, download her 2008 !@#$%^& mix (which I’m still wrapping my head around) here.
DIRTYBIRD PAJAMA JAM
Ha ha ha, I feel so spring break. Famed local techno label Dirty Bird matches its goofy sensibility with a no-slumber party, bunny slippers and all. DJs Claude VonStroke, Worthy, Justin and Christian Martin, and up-and-comer J. Phlip bring the post-minimal hijinks, you bring the stripy drawers and stuffed E.T. dolls.
Fri/8, 10 p.m., $15, Mezzanine, 444 Jessie, SF. www.mezzaninesf.com
Claude VonStroke at 2007 DirtyBird Picnic in Golden Gate Park
Time passages
johnny@sfbg.com
The past is vanishing, more than ever before. Or so it seems, as so many temporal placeholders — including the newspaper you might be holding in your hands right now — give way to digital facsimiles. This quandary is a morphing source of inspiration for "Postcards & Calendars," a solo show by the New York artist and temporary San Francisco resident Matt Keegan, who is about to complete a teaching stint at California College of the Arts.
While Keegan engages a consistently time-based theme throughout "Postcards and Calendars," he does so via refreshingly varied forms and motifs. He’s dedicatedly studious enough to turn a trip to the GLBT Historical Society into an semi-installation, yet easygoing enough to use sexually-charged archival pieces as material, spontaneous enough to try out something different with each piece in his overall show, subversive (or formally perverse) enough to digitally photograph newspapers, and irreverent enough to break his own rules regarding what constitutes a record of daily life.
Keegan first stung my eyes and queer spirit with a piece from the Altman Siegel Gallery’s inaugural group show. It visually manifested the infinite recess of a ex-romantic relationship in a manner that interspersed teasing hints of still-extant attraction with a palpable sense of emotional loss. All of these aspects brought the "memory drawings" of San Francisco artists Colter Jacobsen to mind, so it’s only fitting that Jacobsen contributes a booklet to "Postcards & Calendars" that plays off of Keegan’s theme. In fact, one can draw further connections between Keegan, Jacobsen, and the NYC filmmaker Matt Wolf — three artists of roughly the same generation who share similar queer historical imperatives while allowing humor, traces of casual lust or longing and even some lovelorn aspects into their art. Keegan’s book AMERICAMERICA (Printed Matter, 140 pages, 2008), an exploration of national identity through the Reagan era’s "Hands Across America" phenomenon, possesses enjoyable parallels to Wolf’s films about the late David Wojnarowicz and Arthur Russell, and Jacobsen’s arrangements of trinkets and trash into expressions that find meaning or power in degradeability.
"Postcards & Calendars" is a direct array of works, often candid, and at times (in the case of the gay calendars from the ‘1970s) full-frontal. But the show’s lingering strength comes from more elliptical gestures, such as a wall of personal imagery that Keegan has rendered more enigmatic and evocative through an unconventional series of drawing and photo processes. In fact, to tap into the depth of what Keegan does here, you need to look closely at the walls themselves, where you might discover 31 passages of time.
MATT KEEGAN: POSTCARDS & CALENDARS
Through May 23
Altman Siegel Gallery
49 Geary, fourth floor, SF
(415) 576-9300
Not in attendance
le_chicken_farmer@yahoo.com
CHEAP EATS Greg handed me an open can of beer and it slid right through my fingers; that’s how greasy they were from eating meat, and that’s why this week’s love-letter-slash-restaurant-review begins in a puddle of foam on a beach blanket, and with the general sense that I very literally can’t hold my liquor.
Earl Butter had some napkins. Also: two homemade balsa wood airplanes, which he had left, intentionally, in a brown bag in my car. The napkins were in his pocket.
"I don’t want no kids touching my airplanes," he said as we were walking from the car to the party, bag of barbecue, a blanket, and a six-pack in tow.
We were not at the beach. We were in the Golden Gate Park, celebrating the recent arrival and impending departure of our old pal and ex Cheap Eats irregular Satchel Paige the Pitcher. He lives in Thailand now with his wife Ann Paige the Pitcher and their two little Wiffle-ballers, Nellie and Kelly Paige the Pitchers.
Every two years they all come back here just to get cold a little and see if they can make it into my column. Probably they have other reasons too. For years, for example, they’ve been trying to talk me out of my fear of flying and into visiting Thailand so they can take me to this restaurant near their house.
Greg is a vegetarian. I offered him the opportunity of a vegetarian’s lifetime: to smell or even lick my fingers, but he passed on this. Probably because his girlfriend was sitting right there — although it’s possible, I suppose, that he just didn’t want to lick my fingers. Or even smell them. Stranger things have happened.
Not that this is one of them, but Kid Coyote found a corner of a piece of old bacon in his backpack and ate it. He said it tasted like cologne. Now, a cologne that smells like bacon … Don’t do this to me! I’m practically a cannibal already.
Speaking of which, and bearing in mind that I recently renewed my poetic license, the love letter portion of this restaurant review will be in passionate, almost psychotic tribute to a red umbrella, not in attendance. It was cold out, and windy — too windy to stand up straight — but no threat of rain. Which was a good thing, because it was also too windy to open an umbrella anywhere but indoors, and everyone knows that’s bad luck.
The umbrella, just to be perfectly clear about it, is in no way associated with last week’s little number about the stuff guys leave at my apartment. Neither museum piece nor talisperson, this umbrella is an umbrella. It was given to me by a tall, dark stranger wearing mirror sunglasses, a funny hat, and a crooked, possibly fake mustache. He said something in French that I have not been able to translate any more precisely than, "Collect your family."
"Thank you. It’s red," I said, accepting the gift with a polite smile, also in French (the smile, not the sentences). And it hasn’t rained since.
Earl Butter hadn’t had lunch so we detoured to George’s, the new 24th Street barbecue, on our way to the park. It looks like it used to be a taqueria, but I’ll be damned if I can think of which one. Anyway, it’s a barbecue now. A kind of a smokeless barbecue. They admit it themselves on the back of the menu: "all meats are slow roasted continuously throughout the day." Technically that’s roastecue.
The three-way George’s special ($12.95) has chicken, beef, and ribs, so those were the three kinds of grease that lubricated my spilt can of beer at the picnic. And it was good meat, and good sauce, and good bean salad and salad salad by way of sides. I let Earl Butter eat the potato and roll, as I’d already had lunch once.
It was a great and windy and cold party, with kids and soccer balls and croquet, potato chips, Oreos, friends I hadn’t seen in a while … and all I could think about was my red umbrella, not in attendance.
At night now, if I sleep, I dream weather reports, and, yes, it’s May, it’s California, but I simply can’t wait for it to rain.
GEORGE’S BBQ
Daily, 11 a.m.–8 p.m.
3231 24th St., SF
(415) 550-1010
Beer & wine
Cash only
L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.
Down wit’ ODP
a&eletters@sfbg.com
SONIC REDUCER Remember Y2K, the dot-com boom … electroclash? Born when the 9/11 attacks were but a glimmer in Terror’s eye, electroclash flickered into view swiftly, a punk/DIY movement of sorts as every imaginative slut ‘n’ buck plugged into easily accessible music-making technology via no-band-backtalk laptops. It all climaxed with a 2003 tour and then an electroclash backlash, as associated artists distanced themselves from the tag. Now, much like a sexy, robotic zombie designed to sell booze with sleek chrome boobs, it seems to be clattering back to life, à la the Star Trek franchise or any other once-future-forward artifact from a distant age.
It’s been too long. After dance-punk, plain ole electro, Bmore moves, laser booty, bass crazes, and the like, the crass class of 2000 is threatening to strut its kicks ‘n’ kinks once again. May 5 was apparently ground zero for electroclash’s survivors. The man who coined the genre, Larry Tee, returned then with Club Badd (Ultra), and Perez "My Penis" Hilton, Amanda "My Pussy" Lepore, and Princess Superstar on board with him. Fischerspooner came back the same day as well, promising Entertainment (FS Studios) before a May 22 live production at the Fillmore. Casey and company select the path of earnest synth-pop and downbeat soundscape explorations ("Money Can’t Dance"), while Mr. Tee’s, er, full-length comes off as a "badd" joke or novelty toss-off at best and embarrassing at worst, thanks to its tone-deaf paeans to "Agyness Deyn" and "The Noughties" (sorry to inform Tee that the aforementioned is nearly over). Yet both recordings pale in comparison to another May 5 entry in the mini-revival. I Feel Cream (XL) is the latest effort by an original who creeps into the oddest cultural crannies, from Gap ads to 2003’s Lost in Translation: Peaches.
OK, I’m still hot for ex-teacher Merrill Nisker. I cherish those sexy dialed-in giggles over her Itty Bitty Titty Club, back around the time that The Teaches of Peaches (Kitty-Yo/XL, 2000) thrust into view. And I’m rooting for Peaches — 40 and onto her fourth long-player — to snatch the dance floor crown from Lady GaGa. With her now-well-foregrounded singing and still-girlish-sounding dirty party raps, she’s equipped to do it.
Just dance? There’s no denying that Peaches is feeling the creamy, gooey fluidity of life beneath the mirror ball, assisted by producer James Ford of Simian Mobile Disco, among others. But her orgies are crammed with sharp edges and jagged corners; the at-times- gorgeous arrangements are preoccupied with candy-hued horror show synth textures, rave airhorns, whinnying house effects, and last-days-of-disco tropes. Yes, Peaches has been busy, much like her album. Teaming with Yo Majesty’s Shunda K on "Billionaire" — a faux-gold-digger-on-gold-digger track that sounds like the first single off a Gwen Stefani solo missive — Peaches concludes with a curdled snarl, "Until they tie the noose /never overproduced." Is the irony intentional?
Half self-aware smartass, half full-blown art babe caught up in the carnival, Peaches has moved from the more politically confrontational Impeach My Bush (XL, 2006) toward the rave era’s pacifying teat. The video for the designed-to-be-a-hit "Talk to Me," in which a mohawked Peaches tears at a Dorian Gray-like portrait, daisy-enchained by wiggy Grudge-style spectral waifs, says it all. Most divas — Yo Madgesty comes to mind — would be content to get the seduction right, but the liberal sprinkling of Peaches’ imperfect raps gives you a taste of why she has stood the test of time. She’s the dutifully iconoclastic daughter of Madonna. She’s also mother superior to legions of raw solo geeks who want to kick it roughly, bravely at center stage. "I drink the whiskey neat /You lick my crow’s feet," Peaches coos on "Trick and Treat." A proper lady Madonna would never be quite so frank about her age or sexuality.
And few can scheme up a playground chant-turned-pop tune like Peaches, whose school kid yelps on "Show Stopper" — "Show stopper, panty dropper /Everybody’s favorite shocker … I’m a stage whore /I command the floor /Rock you harder than a martyr in a holy war /Can’t help but engage you /Never mind my age /It’s like breaking out of a cage" — dare you to call her ODP (Ol’ Dirty Peaches). Peaches may not have the smoothest flow in the room, but does anyone brave the muddy psychosexual rapids of identity and abandonment quite like her? Call this Electra clash, Oedipus.
PEACHES
June 5, 9 p.m., $25–$27
Grand Ballroom at Regency Center
Van Ness and Sutter, SF
(415) 673-5716
a&eletters@sfbg.com Even when times are shaky in San Francisco, it’s a fine time to head to PlayGround. At the upcoming 13th annual Best of PlayGround festival — which rides into the Thick House on steadily mounting popularity for an unprecedented four-week run beginning May 7 — a ticket will get you a lot of theater, in terms of quantity, quality, and novelty. Since 1996, the annual festival has drawn from the best work presented in PlayGround’s signature short play contests — a monthly challenge (from October through March) to develop a 10-minute script in four days around a given theme ("When Pigs Fly" served one time), with winning scripts getting staged readings by leading Bay Area acting and directing talent in Monday Night performances at Berkeley Repertory Theater. The festival, meanwhile, gives the cream of the yearly crop (those earning PlayGround’s Emerging Playwright Award) fully staged productions, again with the collaboration of the finest Bay Area directors, actors, and designers. This unusual mix of fresh, untested (or just emerging) talent on the page and seasoned professionals on and off the stage means there’s really nothing else quite like it in Bay Area theaters, and it remains a crowd-pleaser. Attendance at Monday Night performances broke all records this year, notes artistic director Jim Kleinmann, who founded PlayGround in 1994 with colleagues Brighde Mullins and Denise Shama. But it’s also been a marked success in the underlying mission of developing new theatrical voices and strengthening the theater community as a whole in the Bay Area. (A recent Theatre Bay Area Magazine article listing the region’s 13 top emerging playwrights included no less than eight PlayGround alumni.) Kleinmann says the inspiration for PlayGround came from a playwriting exercise developed by his old teacher at Brown University, renowned playwright Paula Vogel, but has steadily expanded to include several commissions for full-length work from PlayGround writers. This year’s five commission winners will have their work presented in staged readings as part of the festival. The thrust throughout has been to nurture craft in the context of encouraging ties between new and seasoned theater makers. "It certainly has evolved," Kleinmann says. "As the number of writers increased over time and the writers started to have longer-term relationships with PlayGround a couple of years into the Monday Night format, we added the festival, [which] became a really important showcase." These festival playwrights would have their works published too in a PlayGround anthology, making them available to readers and theater companies elsewhere. Still, a few years later Kleinmann and colleagues began work on new avenues of support. "We’d always hoped that if we could discover these writers and worked to nurture them, midsize theaters would take them under their wings," he says. "That wasn’t happening as quickly as we might have hoped. So we found there was a need to bring writers to another level [with the commissions], where they would be able to be supported in their full-length work." It’s a formula that has paid off with writers and audiences for more than a decade. Among the other enticements of new work in this format, there’s a serious vicarious thrill that goes with seeing actors of the caliber of a Stacy Ross or Jim Carpenter, under direction of a Barbara Oliver or Chris Smith, assay work by a gifted but still-developing or even unknown voice. In addition, "there’s no question it creates a dialogue about their work and [the actors and directors] become champions for their work," Kleinmann says. "What you [end up having] is a stronger community." "BEST OF PLAYGROUND FESTIVAL" May 7–31 Thu–Sat, 8 p.m.; Sun, 7 p.m., $28-$40 Thick House, 1695 18th St, SF (415) 401-8081, www.playground-sf.org
On the rise
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Why can’t City Hall shop local?
EMPLOYEE-OWNED BUSINESS AWARD
Photo by Pat Mazzera
CHURCH STREET FLOWERS
"It was really all about trust," says Stephanie Foster of Church Street Flowers, when asked about the benefits and perils of transferring ownership of the delightful bouquet boutique — and perennial Guardian Best of the Bay winner — near the Castro to the employees. Foster, along with Rachel Shinfeld and Brianna Foehr, took over in December 2008 from previous owners Michael Ritz and Thomas Teel, who’d run the shop for a decade. "The three of us had worked here for a while and we knew our stuff, so Michael and Tom knew they could rely on us to preserve the legacy. And the outpouring of support from our neighbors and regular customers has been overwhelming."
The ownership change of the cozy shop, bursting with vibrant blooms and friendly energy, went off without a hitch. "We were part of the lucky few who received a small business loan before the economic collapse," Shinfeld says. "But our business plan was smart, and the bank saw that we knew what we were doing." And, even in the current climate, business is thriving. "Our arrangements aren’t your standard cookie-cutter stuff," Foster says. "People nowadays want personalized, reasonably priced, green-minded, and locally sourced. We fit into all that — most of our flowers are from the downtown flower market and we keep an eye out for organic. Plus we strive to create a real connection with our customers, so we can give them exactly what they want."
"Sure, there have been some adjustments," Shinfeld adds. "There’s a lot of paperwork — and the first thing we needed to tackle was a Web site redesign. But our experience working here helped us through, and I think we’re just beginning to blossom in our new roles." (Marke B.)
CHURCH STREET FLOWERS
212 Church, SF
(415) 553-7762
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GOLDEN SURVIVOR AWARD
Photo by Charles Russo
GREEN APPLE BOOKS
What is the special ingredient that transforms a business from just another store into a place that makes people feel inspired and connected? After 42 years as a San Francisco independent bookseller, Green Apple Books and Music seems to have found it. Located on Clement Street in a building that predates the 1906 quake, it’s a "big, sprawling, dusty and funky new and used bookstore," as co-owner Pete Mulvihill describes it, creating an atmosphere for interactions that might seem impossible in a big-box store. Several weeks ago, for instance, a customer approached the store clerks, presented a CD, and requested that they play it. He also asked them to clear out the philosophy room. "I want it to myself for just a minute," he explained. The staff complied, the music started, and the man whisked his girlfriend into the philosophy room and proposed to her.
"To me, that’s an honor that somebody loves the place so much that they would propose to their girlfriend here," says Mulvihill, one of three owners and an employee for more than 15 years. A founding member of the San Francisco Locally Owned Merchants Alliance, he has been at the forefront of a push to identify and promote the city’s small, independent businesses. "Locally-owned businesses recirculate more money in the local economy than national chains," the SFLOMA Web site points out.
"Frankly, we’re invested in the community," Mulvihill explains. "[We] love San Francisco, and we don’t want to go anywhere." (Rebecca Bowe)
GREEN APPLE BOOKS
506 Clement, SF
(415) 387-2272
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CHAIN ALTERNATIVE AWARD
Photo by Charles Russo
HUT LANDON
Hut Landon is responsible the past few years for helping direct millions of dollars into small business in San Francisco and beyond, and millions more into the local economy.
He does it through his energetic and creative leadership of two key organizations that promote the interests of locally-owned small business. Landon has been the executive director of the Northern California Independent Booksellers Association (NCIBA), which promotes the interests of 200 independent bookstores in the region. He is also executive director of the San Francisco Locally Owned Merchants Alliance (SFLOMA).
Under Landon’s stewardship, the two groups commissioned a pioneering 2007 study that quantified the value of locally-owned businesses in the city. Their stunning finding: if consumers redirected l0 percent of their retail purchases from chains to locally-owned merchants, the result would generate about $200 million for the economy, l,295 jobs, and $72 million new income for workers.
Landon’s timing could not have been better. As the economy tanked, local merchants and neighborhood business organizations used the l0 percent consumer shift as a mantra. The study also pointed out that the local economy could get another big boost if the city would shop locally with the tens of millions it now spends outside the city for goods and services.
Landon likes to use the example of two brothers who live together. One works on Potrero Hill and eats lunch at one of the many locally-owned restaurants. The other works at Stonestown shopping center and eats at a chain restaurant because that’s all there is out there. The Potrero Hill money, he points out, stays in the community. The chain store money is sent back to headquarters. (Bruce Brugmann)
HUT LANDON
Northern California Independent Booksellers Association
1007 General Kennedy, SF
(415) 561-7686
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SMALL BUSINESS ADVOCATE
Photo by Abi Kelly
REGINA DICK-ENDRIZZI
Small business owners often feel as if they don’t have many advocates at City Hall. But they do have Regina Dick-Endrizzi.
Dick-Endrizzi, acting director of the Small Business Commission, has been moving rapidly on ways to help small businesses feel more comfortable dealing with the city — and to help them thrive in a tough economic environment. She helped establish the Small Business Assistance Center, which guides local merchants and prospective entrepreneurs through the thicket of city regulations. "It’s a tremendous asset," she told us. "When people walk through the door, we can take the time to help them develop a roadmap to doing business here." And she’s a driving force behind the Shop Local campaign, which will launch this month with bus shelter and bus-side ads designed to encourage San Franciscans to keep their money in town (co-sponsored by the Guardian).
Known in political circles as a former aide to Sup. Ross Mirkarimi, Dick-Endrizzi has a solid background in business. She moved to San Francisco in 1986 to open the Haight Street Buffalo Exchange store, and worked with that company for 13 years. "We bought our inventory from local people, and I had to have a close relationship with local small businesses," she said. "I have an intimate understanding of what it takes to run a business."
After several years in Mirkarimi’s office, she learned of the opening at the Small Business Commission, and plans to stay there for a while. "I truly believe in what this department offers to small business," she said. "There’s such a tremendous need." (Tim Redmond)
REGINA DICK-ENDRIZZI OFFICE OF SMALL BUSINESS
1 Dr. Carlton B. Goodlett, SF
(415) 554-6134
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GOOD NEIGHBOR AWARD
URBAN SOLUTIONS
Urban Solutions has its roots in the South of Market Foundation, an economic development corporation formed in 1992 in response to what SoMa merchants, residents, and community-based organizations felt was a lack of accountability in their neighborhood’s development.
A decade later, the organization changed its name and Urban Solutions was born. Two years after that, the burgeoning nonprofit opened a second office, this time in the Western Addition, becoming an important source of service in both neighborhoods.
Urban Solution’s executive director Jenny McNulty says she is currently excited about her organization’s Green Business initiative, which helps educate small business on how to conserve resources and reduce their carbon footprints — and save money in the process.
McNulty is also amped about Urban Solution’s effort — undertaken with the San Francisco Redevelopment Agency — to revitalize Sixth Street’s commercial corridor.
"We’re expanding our Green Business Initiative program, which offers free consulting to help small businesses go green by implementing cost-saving practices to increase the sustainability of their business operations," McNulty said.
Urban Solutions’ Sixth Street revitalization effort includes beautifying the area and helping businesses, in conjunction with Redevelopment Agency grants, by improving their facades, installing new awnings, repainting buildings, and replacing windows, storefronts, and entrance ways.
"Our focus is low-income businesses," McNulty said. (Sarah Phelan)
URBAN SOLUTIONS
1083 Mission, SF
(415) 553-4433
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GOOD NEIGHBOR AWARD
Photo by Abi Kelly
JENS-PETER JUNGCLAUSSEN
Jens-Peter Jungclaussen had a dream: Buy a gutted, camouflage-painted school bus on eBay, convert it to biodiesel, and put it to use as a mobile classroom by day and a party on wheels by night, a rollicking omnibus of education, culture, and sustainability. With a few flicks of his wrist, Jungclaussen, a former German windsurfing pro and biology and PE teacher, transforms the bus to suit the need at hand — pulling down a movie screen from the roof; unpacking a buffet table, wet bar, or set of turntables from beneath the seats; or simply switching on the "party lights." Dubbed das Frachtgut ("the good freight"), the bus has hosted dinner parties on Twin Peaks, ecology classes in Muir Woods, sunrise raves on undisclosed beaches, and screenings of The Big Lebowski (complete with bowling and White Russians). It also serves as a mobile billboard for its various local, eco-friendly sponsors and can be rented for field trips and corporate events.
The ever-enthusiastic and tireless Jungclaussen recently turned his attentions to youth education, this year offering for the first time a "mobile summer camp." Teaming up with fellow teachers Michael Murnane, Gretchen Nelson, Justin Ancheta, and Leah Greenberg, he’ll present three, 11-day sessions on wheels that will introduce young people to a variety of Bay Area natural, artistic, and historical treasures. But don’t worry, the parties will still keep rolling. As Jungclaussen promises of the bus, "What you want it to be, it will become." (Marke B.)
JENS-PETER JUNGCLAUSSEN
(415) 424-1058
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ARTHUR JACKSON DIVERSITY IN SMALL BUSINESS AWARD
IRENE HERNANDEZ-FEIKS
It’s easy to assume that the purpose of Chillin’, the brainchild of Mexico City native Irene Hernandez-Feiks, is simply to have a good time. But the multimedia parties Hernandez-Feiks has been throwing for 11 years are much more than entertainment. Their actual purpose is to stimulate the economy and support one of the most difficult small businesses to sustain: the business of art.
A former designer herself, Hernandez-Feiks started out organizing weekly happy hours at 111 Minna where she would feature up to five independent Bay Area designers. Her philosophy? Charge the designers nothing for the opportunity and take no commission. The formula worked so well that Chillin’ eventually grew from weeknight happy hours to Saturday night events, complete with DJs. Now Chillin’ is a full-fledged happening — indeed, the June 13 anniversary show at Mezzanine features 180 photographers and artists, 40 filmmakers, 80 fashion designers, and 12 DJs.
But watching Chillin’ grow — and seeing participating artists transform themselves from local to international names — isn’t enough for Hernandez-Feiks. She also devotes much of her time to charity work, including involvement with Gen Art, the Mexican Consulate Cultural Affairs division, the United Nations and Natural World Museum, and the Art Seed Apprenticeship Program benefiting Bayview- Hunters Point youth.
"Because of Chillin’, I have relationships with so many artists," she says. "I want to use those connections to help everybody out." (Molly Freedenberg)
IRENE HERNANDEZ-FEIKS
Chillin Productions
(415) 285-1998
Waterbar
paul@sfbg.com
Waterbar is, obviously, a seafood house, but it doesn’t shout this fact in your face. The building is handsome in a generic way, and the interior décor is notable mostly for its artful blend of bustle and hush. There is water to be seen — the bay, to be precise, viewable through gigantic plate-glass windows, although your eye is likely to be drawn upward to the Bay Bridge, which looks particularly massive when observed from almost directly below and does set the mind to hoping that all these seismic retrofits will do the trick.
Inside, there’s more water, held in two tall glass columns that are, in effect, aquariums. A curious effect of these watery columns is that they, like the bridge, carry one’s glance upward, to colorful fish swimming near the ceiling. The fish are glancing right back; are they marveling at their on-high view or wondering when their luck will run out?
Waterbar, which opened early in 2008, is the fraternal twin of next-door Epic Roasthouse, and it’s the kinder, gentler sibling. The tone of the place is a little less assertive, prices are more modest, and the maritime menu probably raises fewer ethical and environmental hackles than Epic’s meat-driven one — although not no hackles, since the tale of the world’s collapsed and collapsing fisheries now includes a chapter about our very own king salmon. I was surprised to find skatewing ($30) offered, since skate is a flat-out "avoid," according to the Monterey Bay Aquarium’s Seafood Watch service. Since it’s typically brought in from the East Coast, it also casts a larger-than-ideal carbon shadow. On the other hand, it is fabulous: a fan of ribbed white flesh, pan-seared to a crisp gold, splashed with a (too-salty) morel consommé, and plated with gnocchi, morels, English peas, and a pair of braised scallions.
Chef Parker Ulrich is a protégé of Farallon’s Mark Franz, and the pedigree shows. Seafood cookery benefits inordinately from a bit of flair, and Ulrich brings that flair. Exhibit A: the skatewing, which, after hesitating, I asked for and enjoyed. Another major example would be the grilled local sardines ($13), a set of plump, whole fish, nicely charred and plated with a celestial bread-crumb salad, golden and crunchy yet fragrant with mint.
Whole fish, including petrale sole, actually make up an entire subset of the menu. But petrale, a local favorite, might also recur as filets at the heart of a three-course prix fixe ($40), preceded by a sprightly green salad with pickled onions and crumblings of goat cheese and followed by a slice of lemon pound cake (slightly dry, intensely lemony), garnished with a strawberry dice and a puff of whipped cream. The fish itself was expertly cooked had been minimally fiddled with, although I was disappointed to notice that the accompanying ensemble (peas, gnocchi, braised scallions) was virtually identical to the skatewing’s.
Soups can be both fancy and less so. In the former category: a sumptuous lobster bisque ($9), poured tableside from a porcelain chalice over a lump of lemon chantilly cream and a clutch of tarragon leaves, which drift in the resulting thick sea like a school of exclamation marks searching for their dots. (The pouring, incidentally, is done by a member of a service team that practically swarms at key moments. When you first sit down, there is only one server, smiling and asking about drinks, but when the food starts to emerge from the kitchen, it’s brought and presented by a cast of … well, several, if not thousands.)
On the plainer side we find a clam chowder ($9), made with topneck clams, ample chunks of bacon and potato, and plenty of cream. There’s nothing subtle about this dish; it’s like running your pile-driver of a fullback straight up the middle on third and two and picking up eight yards. It’s good, in the full, unvarnished sense of that word.
I sound a gentle cautionary note as to items (other than alcoholic drinks) that are served at room temperature or lower. Coins of braised octopus ($16) — not quite room temperature, not quite chilled — were a little rubbery, although tasty. And the bread in the tirelessly replenished basket was both tough and under flavored; perhaps that was why the accompaniments included not only butter but a small dish of sea salt.
Still, Waterbar is lovely and worthy, a place that, despite its deluxe location and big ownership names (Pat Kuleto, Jan Birnbaum), offers something like value. Not many view restaurants can make that claim.
WATERBAR
Dinner: 5:30-10 p.m.
Lunch: Mon.-Fri., 11:30 a.m-2 p.m.
Brunch: Sat.-Sun., 11:30 a.m.-3 p.m.
399 The Embarcadero, SF
(415) 284-9922
Full bar
AE/CB/DC/DS/MC/V
Well-managed noise
Wheelchair accessible
Hoof it
superego@sfbg.com
SUPER EGO Hey, Shakes, have you puffy-penned and bedazzled your hamdemic flu mask yet? Mine’s totally going for that retro postapocalyptic electro look (so future yesterday!) and says "oink pAArty." I made it by running a pair of florescent New Balances and last-season Bottega Veneta remnants through my vintage Ronco Dial-O-Matic. Then I simply collaged. When the World Health Organization says "panic," I think "personalized nightlife accessory opportunity." Are they still serving bourbon bacontinis at Pop’s Bar on 24th Street? Flask us a threesome of those, text my porky ass from the Powerhouse trough, and let’s greet humanity’s swine song on the dance floor, chop chop.
TOPPA TOP
All praise to invaluable hometown hosts Jah Warrior Shelter HiFi Sound System for this weekly dancehall and reggae refresher at Club Six. None fear dread the mad decent cover, smoked-out vibe, and sticky-fresh deep-needling by the likes of Jah Yzer, Irie Dole, and Ivier at SF’s only "reggae happy hour". Wait, isn’t every reggae hour supposed to be happy hour?
Thursdays, 9 p.m., $5. Club Six, 66 Sixth St., SF. www.clubsix1.com
FREQO DE MAYO
Right after you sleep off your crudo de Cinco, step to this annual wigout’s mixed piñata of up-to-the-nanosecond styles. Vibesquad, a.k.a. Denver crunkadelic producer and DJ Aaron Holstein, brings the dirty future bass. Scuba, my current sonic crush, kills with dubstep depth that suddenly rounds up into sweet release, and New York City’s DJ Sabo is the coolest baile breaks kid on the globaltronic block. Headliner Kid Kenobi is less intriguing — a slick Aussie techno-popper with a B-boy lite patina. But at that point, you may just want to drop a lime and cut loose in your funny hat.
Fri/8, 10 p.m., $15. 103 Harriet, SF. www.1015.com
DIRTYBIRD PAJAMA JAM
Ha ha ha, I feel so spring break. Famed local techno label Dirty Bird matches its goofy sensibility with a no-slumber party, bunny slippers and all. DJs Claude VonStroke, Worthy, Justin and Christian Martin, and up-and-comer J. Phlip bring the post-minimal hijinks, you bring the stripy drawers and stuffed E.T. dolls.
Fri/8, 10 p.m., $15, Mezzanine, 444 Jessie, SF. www.mezzaninesf.com
MALUCA AND ISA GT
Ladies, it’s your turn. I’m fainting for bad-girl MC Maluca’s raw and minimal electro-mambo heartstopper "El Tigeraso" single — her Dominican-via-Brooklyn roots tangle in all the right places. Colombian turntable whiz Isa GT sets her filters on stun and techs up the new-cumbia phenom with some major bounce and rave-y buildups. She’s got big names like Crookers in her corner, remixing her blog hit "Pela’O," but she’ll carve out killer stratospherics of her own in her SF debut.
Sat/9, 10 p.m., $10. Elbo Room, 647 Valencia, SF. www.elbo.com
NICKY SIANO **CANCELED! D’OH!
There is no house, there is no techno — there’s only a vast rainbow continuum of disco. So goes the current theoretical trope of dance music criticism (which unfortunately negates years of pre-mirrorball funk and kraut innovation). Still, if disco is Genesis, then DJ Nicky Siano of legendary ’70s Big Apple club the Gallery, which inspired Paradise Garage and Studio 54, is Adam — and this four-hour farewell set on the eve of his retirement should be a revelation.
Sat/9, 9:30 p.m., $15. Paradise Lounge, 1501 Folsom, SF. www.paradisesf.com
BIONIC
The 11-year-old Sunday chunky house and techno weekly has settled in nicely to its new digs at Triple Crown, just in time for some excellent weekend recovery comfort and joy. Sure, we all miss the great Top in Lower Haight, but the Crown’s primo sound system suits DJs Nikola Baytala, Solar, and surprise special guests quite rightly. Freak factoid: the night started out as "Bionic Peanut Butter" after the classic Gwen Guthrie throwdown. Yummers.
Sundays, 10 pm, $5, Triple Crown, 1760 Market, SF. www.triplecrownsf.com
SCUBA with Catherine Galasso and Salt Horse
PREVIEW Two years ago Catherine Galasso appeared at the WestWave Dance Festival in Gnome Trouble, based on the Grimm brothers’ fairy tale Snow White and Rose Red. Freud would have loved to bite into that story of sibling rivalry. Even though Galasso’s piece wasn’t that successful, it somehow stayed in memory. Apparently she likes folk tales. She is back with another one, The Improbable Reign of Norton I, Emperor of the United States. In fact Norton was a 19th century San Franciscan, eccentric to say the least. He will be joined on stage by other semimythic Barbary Coast denizens, including Joaquin Murrietta, a Robin Hood type bandit. Sharing the bill with Galasso will be a kindred spirit, Seattle’s Salt Horse dance-sound company, with This Was a Cliff. Taking an entirely different perspective — improvisatory and nonnarrative — they also create imagistic dance-theater works in which reality and fantasy collide and cooperate. The double bill comes courtesy of SCUBA, the national touring network created by ODC Theater, Velocity Dance Center in Seattle, and the Southern Theater in Minneapolis. This small venture by cooperating presenters was founded in 2003 in a time of plenty. It seemed a good idea then. It’s an even better one today if small presenters and their artists are going to survive.
SCUBA WITH CATHERINE GALASSO AND SALT HORSE Sat/9, 8 p.m.; Sun/10, 7 p.m., $15–$18. ODC Theater, 351 Shotwell, SF. (415) 863-9834, www.odctheater.org
Listen/Vision 06
PREVIEW In addition to making music, Christopher Willits is a guiding force behind the art and experimental music site Overlap (www.overlap.org). In conjunction with Overlap’s next event, I caught up with him by e-mail.
SFBG What was it like to collaborate with Ryuichi Sakamoto on Ocean Fire (12k, 2008)?
Christopher Willits It was surreal. We fell into an oceanic trance, and a bunch of music suddenly emerged. Then a Godzilla-like sea monster morphed out of his piano and he vaporized it with his max patch.
SFBG You’ve also worked with Brad Laner of Medicine. Are you an admirer of that (ahead-of-its-time) band?
CW Medicine [had] a mind-splittingly original sound — it was a soundtrack to many high school adventures. Now it’s an absolute joy to be friends with Mr. Laner. Together we are the varsity band members (guitar I and II) of the North Valley Subconscious Orchestra. We’re aiming for nationals next year.
SFBG What do you like about the Bay Area’s close proximity to the ocean?
CW The smell of fresh wind, and dreams of flying great white sharks.
SFBG I saw a fave list of yours once that had Magma, the Carpenters’ "Close to You" and Sun Ra’s Lanquidity on it. Who is inspiring or obsessing you at present?
CW That is a timeless list — can I say them again? Let’s add Morton Subotnick, Wild Bull (www.merlindarts.com), all Eliane Radigue, all Elvin Jones, John Coltrane, and that band that plays at El Rio on Sunday night.
SFBG You recently toured in China, including a performance with images on ice. What did you discover?
CW I discovered a resilient community of artists and experimental musicians pushing against the grain (and firewall) of this mammoth country or force. They understand my history and what I’m doing — another win for Chinese bootlegs? I also found some of the best food ever: huajiao (flower pepper) with asparagus! But hold the boiled big brains. Those I’m definitely not into.
LISTEN/VISION 06 With Christopher Willits, Taylor Deupree, and Classical Revolution. Sun/10, 8 p.m., $10. Café Du Nord, 2170 Market, SF. (415) 861-5016. www.overlap.org.