Technology

An American blindness

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After the first jetliner crashed into the Twin Towers on that September 11 morning, a friend of mine and his 11-year old daughter climbed up to the roof of their Manhattan home to look around. Just then the second plane struck, the young girl fell backward, and went blind from shock.

It took more than a year of examinations and therapies before this girl came out of her blindness to look around.

That’s what happened to America itself ten years ago this Sunday on 9/11, though it might be claimed many of us were blinded by privilege and hubris long before. But 9/11 produced a spasm of blind rage, arising from a pre-existing blindness as to the way much of the world sees us. That in turn led to the invasions of Afghanistan, Iraq, Afghanistan again, Pakistan, Yemen, Somalia and, in all, a dozen “shadow wars” according to The New York Times.

Bob Woodward’s crucial book, Obama’s Wars, points out that there were already secret and lethal counterterrorism operations active in more than 60 countries as of 2009. From Pentagon think tanks came a new military doctrine of the “Long War,” a counter-insurgency vision arising from the failed Phoenix program of the Vietnam era, projecting U.S. open combat and secret wars over a span of 50 to 80 years, or 20 future presidential terms. The taxpayer costs of this Long War, also shadowy, would be in the many trillions of dollars — and paid for not from current budgets, but by generations born after the 2000 election of George W. Bush. The deficit spending on the Long War would invisibly force the budgetary crisis now squeezing our states, cities and most Americans.

Besides the future being mortgaged, civil liberties were thought to require a shrinking proper to a state of permanent and secretive war, so the Patriot Act was promulgated. All this happened after 9/11 through Democratic default and denial. Who knows what future might have followed if Al Gore, with a half-million popular vote margin over George Bush, had prevailed in the U.S. Supreme Court instead of losing by the vote of a single justice? In any event, only a single member of Congress, Barbara Lee of Berkeley-Oakland, voted against the war authorization, and only a single senator, Russ Feingold, voted against the Patriot Act.

Were we not blinded by what happened on 9/11? Are we still? Let’s look at the numbers we almost never see.

 

CASUALTIES OF WAR

As to American casualties, the figure now is beyond twice those who died in New York, Pennsylvania and Washington D.C. on 9/11. The casualties are rarely totaled, but are broken down into three categories by the Pentagon and Congressional Research Service. There is Operation Enduring Freedom, which includes Afghanistan and Pakistan but, in keeping with the Long War definition, also covers Kazakhstan, Kyrgyzstan, Pakistan, Tajikistan, Turkmenistan, and Uzbekistan. Second, there is Operation Iraqi Freedom and its successor Operation New Dawn, the name adopted after September 2010 for the 47,000 US advisers, trainers and counterterrorism units still in Iraq. The scope of these latter operations includes Bahrain, Jordan, Kuwait, Oman, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. These territories include not only Muslim majorities but, according to former Centcom commander Tommy Franks, 68 percent of the world’s proven oil reserves and the passageway for 43 percent of petroleum exports, another American geo-interest which was heavily denied in official explanations.

A combined 6,197 Americans were killed in these wars as of August 16, 2011, in the name of avenging 9/11, a day when 2, 996 Americans died. The total number of American wounded has been 45,338, and rising at a rapid rate. The total number rushed by military Medivac out of these violent zones was 56, 432. That’s a total of 107,996 Americans. And the active-duty military suicide rate for the decade is at a record high of 2, 276, not counting veterans or those who have tried unsuccessfully to take their own lives. In fact, the suicide rate for last year was greater than the American death toll in either Iraq or Afghanistan.

The Pentagon has long played a numbers game with these body counts. In addition to being painfully difficult and extremely complicated to access, there was a time when the Pentagon refused to count as Iraq war casualties any soldier who died from their wounds outside of Iraq’s airspace. Similar controversies have surrounded examples such as soldiers killed in non-combat accidents.

The fog around Iraq or Afghanistan civilian casualties will be seen in the future as one of the great scandals of the era. Briefly, the United States and its allies in Baghdad and Kabul have relied on eyewitness, media or hospital numbers instead of the more common cluster-sampling interview techniques used in conflict zones like the first Gulf War, Kosovo or the Congo. The United Nations has a conflict of interest as a party to the military conflict, and acknowledged in a July 2009 U.N. human rights report footnote that “there is a significant possibility that UNAMA is underreporting civilian casualties.”

In August, even the mainstream media derided a claim by the White House counter-terrorism adviser that there hasn’t been a single “collateral,” or innocent, death during an entire year of CIA drone strikes in Pakistan, a period in which 600 people were killed, all of them alleged “militants.” As an a specific explanation for the blindness, the Los Angeles Times reported April 9 that “Special Forces account for a disproportionate share of civilian casualties caused by western troops, military officials and human rights groups say, though there are no precise figures because many of their missions are deemed secret.”

 

STICKER SHOCK OF WAR

Among the most bizarre symptoms of the blindness is the tendency of most deficit hawks to become big spenders on Iraq and Afghanistan, at least until lately. The direct costs of the war, which is to say those unfunded costs in each year’s budget, now come to $1.23 trillion, or $444.6 billion for Afghanistan and $791.4 billion for Iraq, according to the National Priorities Project.

But that’s another sleight-of-hand, when one considers the so-called indirect costs like long-term veteran care. Leading economists Joseph Stiglitz and Linda Bilmes recently testified to Congress that their previous estimate of $4 to $6 trillion in ultimate costs was conservative. Nancy Youssef of McClatchy Newspapers in D.C. — in my opinion, the best war reporter of the decade — wrote recently that “it’s almost impossible to pin down just what the United States spends on war.” The president himself expressed “sticker shock,” according to Woodward’s book, when presented cost projections during his internal review of 2009.

The Long War casts a shadow not only over our economy and future budgets but our innocent and unborn children’s future as well. This is no accident, but the result of deliberate lies, obfuscations and scandalous accounting techniques. We are victims of an information warfare strategy waged deliberately by the Pentagon. As Gen. Stanley McChrystal said much too candidly in a February 2010, “This is not a physical war of how many people you kill or how much ground you capture, how many bridges you blow up. This is all in the minds of the participants.” David Kilcullen, once the top counterinsurgency adviser to Gen. David Petraeus, defines “international information operations as part of counterinsurgency.” Quoted in Counterinsurgency in 2010, Kilcullen said this military officer’s goal is to achieve a “unity of perception management measures targeting the increasingly influential spectators’ gallery of the international community.”

This new war of perceptions, relying on naked media manipulation such as the treatment of media commentators as “message amplifiers” but also high-technology information warfare, only highlights the vast importance of the ongoing WikiLeaks whistle-blowing campaign against the global secrecy establishment. Consider just what we have learned about Iraq and Afghanistan because of WikiLeaks: Tens of thousands of civilian casualties in Iraq, never before disclosed; instructions to U.S. troops to not investigate torture when conducted by U.S. allies; the existence of Task Force 373, carrying out night raids in Afghanistan; the CIA’s secret army of 3,000 mercenaries; private parties by DynCorp featuring trafficked boys as entertainment, and an Afghan vice president carrying $52 million in a suitcase.

The efforts of the White House to prosecute Julian Assange and persecute Pfc. Bradley Manning in military prison should be of deep concern to anyone believing in the public’s right to know.

The news that this is not a physical war but mainly one of perceptions will not be received well among American military families or Afghan children, which is why a responsible citizen must rebel first and foremost against The Official Story. That simple act of resistance necessarily leads to study as part of critical practice, which is as essential to the recovery of a democratic self and democratic society. Read, for example, this early martial line of Rudyard Kipling, the poet of the white man’s burden: “When you’re left wounded on Afghanistan’s plains/ And the women come out to cut up what remains/ Just roll to your rifle and blow out your brains/And go to your God like a soldier.” Years later, after Kipling’s beloved son was killed in World War I and his remains never recovered, the poet wrote: “If any question why we died / Tell them because our fathers lied.”

 

A HOPE FOR PEACE

An important part of the story of the peace movement, and the hope for peace itself, is the process by which hawks come to see their own mistakes. A brilliant history/autobiography in this regard is Dan Ellsberg’s Secrets, about his evolution from defense hawk to historic whistleblower during the Vietnam War. Ellsberg writes movingly about how he was influenced on his journey by meeting contact with young men on their way to prison for draft resistance.

The military occupation of our minds will continue until many more Americans become familiar with the strategies and doctrines in play during the Long War. Not enough Americans in the peace movement are literate about counterinsurgency, counterterrorism and the debates about the “clash of civilizations”, the West versus the Muslim world.

The more we know about the Long War doctrine, the more we understand the need for a long peace movement. The pillars of the peace movement, in my experience and reading, are the networks of local progressives in hundreds of communities across the United States. Most of them are voluntary, citizen volunteers, always and immersed in the crises of the moment, nowadays the economic recession and unemployment.

This peace bloc deserves more. It won’t happen overnight, but gradually we are wearing down the pillars of the war. It’s painfully slow, because the president is threatened by Pentagon officials, private military contractors and an entire Republican Party (except the Ron Paul contingent) who benefit from the politics and economics of the Long War.

But consider the progress, however slow. In February of this year, Rep. Barbara Lee passed a unanimous resolution at the Democratic National Committee calling for a rapid withdrawal from Afghanistan and transfer of funds to job creation. The White House approved of the resolution. Then 205 House members, including a majority of Democrats, voted for a resolution that almost passed, calling for the same rapid withdrawal. Even the AFL-CIO executive board, despite a long history of militarism, adopted a policy opposing Afghanistan. The president himself is quoted in Obama’s Wars as opposing his military advisors, demanding an exit strategy and musing that he “can’t lose the whole Democratic Party.” At every step of the way, it must be emphasized, public opinion in Congressional districts was a key factor in changing establishment behavior.

As for Al Qaeda, there is always the threat of another attack, like those attempted by militants aiming at Detroit during Christmas 2009 or Times Square in May 2010. In the event of another such terrorist assault originating from Pakistan, all bets are off: According to Woodward, the U.S. has a “retribution” plan to bomb 150 separate sites in that country alone there, and no apparent plan for The Day After. Assuming that nightmare doesn’t happen, today’s al Qaeda is not the al Qaeda of a decade ago. Osama bin Laden is dead, its organization is damaged, and its strategy of conspiratorial terrorism has been displaced significantly by the people-power democratic uprisings across the Arab world.

It is clear that shadow wars lie ahead, but not expanding ground wars involving greater numbers of American troops. The emerging argument will be over the question of whether special operations and drone attacks are effective, moral and consistent with the standards of a constitutional democracy. And it is clear that the economic crisis finally is enabling more politicians to question the trillion dollar war spending.

Meanwhile, the 2012 national elections present an historic opportunity to awaken from the blindness inflicted by 9/11.

After more than 50 years of activism, politics and writing, Tom Hayden is a leading voice for ending the wars in Afghanistan, Iraq, and Pakistan and reforming politics through a more participatory democracy.

Editorial: Mayor Ed Lee: Keeping City Hall safe for PG&E

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Mayoral candidates Dennis Herrera, John Avalos and Leland Yee blast Lee’s pro-PG&E comments (in postscript)

Pacific Gas and Electric Company is the number one corporate criminal in San Francisco. The company’s malfeasance caused the deaths of eight people and destroyed an entire neighborhood in San Bruno last year. The National Transportation Safety Board, in a report issued August 30, denounced PG&E’s “integrity management program without integrity” and blasted the company’s efforts to “exploit weakness in a lax system of oversight.”

That doesn’t even address the fact that PG&E has been operating an illegal monopoly in San Francisco for more than 80 years, engaging in an ongoing criminal conspiracy to violate the federal Raker Act. Or the fact that the utility spent $50 million of ratepayer money on a ballot initiative aimed at eliminating consumer choice in the electricity market.

So why was Mayor Ed Lee out at a PG&E public relations event Sept. 1 praising the “great local corporation” as a “great company that gets it?”

Well, the mayor’s campaign press spokesperson, Tony Winnicker, says that PG&E was at the event to donate $250,000 to a program for at-risk youth, and that the mayor was only recognizing that, for all its flaws, the utility “also [does] something good for our public schools and low-income kids.”

That’s not enough, and that’s not acceptable — and the mayor should apologize to the residents of San Francisco, San Bruno and everyplace else in California where the giant corporation has done serious and lasting damage.

It’s nice that PG&E gave a contribution to a program that helps Soma kids learn to read and to play baseball. We support the RBI program and its goals. Never mind that the $250,000 is about 0.005 percent of the money that the utility spent trying to block public power in California. Never mind that PG&E pays such a low franchise fee that it robs of city of millions of annual tax dollars that could fund programs like this one. It still sounds like a large sum, and to the nonprofit program at Bessie Charmichael School, it is.

But there’s a reason PG&E gives money to community groups and programs like this all over town — it’s a way to buy support and respect. Corporate largess of this sort is a relatively cheap public relations strategy — and for the mayor not to see that is embarrassing.

It’s a particularly notable conflict of interest, too — Lee’s top patron and biggest political supporter, Willie Brown (who knows a bit about corruption himself) has been on PG&E’s payroll as a private attorney for the past several years, earning about $200,000 a year.

Most of the candidates for mayor have been taking a gentle approach to Lee, and that makes a certain amount of sense — in a ranked-choice voting environment, negative campaigning often backfires. But there’s nothing inappropriate about saying that the mayor of San Francisco has damaged his own reputation and the reputation of the city by allowing himself to be used at a PR tool by PG&E. Remember: He didn’t just show up and thank the utility for the money. He called PG&E a “great local corporation,” which is, quite simply, false. This ought to become an issue in the race, and Lee should be forced to explain his position on public power, his ties to Brown and PG&E, his positon on  community choice aggregation, his willingness to kick  the PG&E-friendly  commissioners off the PUC and appoint credible public power advocates  and to put aside decades  of  City Hall malfeasance in the name of a small contribution.

P.S. As the Sept. 2 Examiner put it neatly in its headline, “Mayor, PG&E engage in baseball diplomacy, Utility donates to youth program in wake of NTSB criticism.”
Amy Crawford’s excellent heads-up  story noted that Lee “also heaped praise on PG&E, which announced a $250,000 loan to RBI “

Then she quoted Lee as saying without gulping or blushing, “Isn’t  that a wonderful contribution from a great local corporation? They’re a great company that gets it.”

Crawford put the quote in the proper context: “PG&E”s generosity came just two days after the National Transportation Safety Board blamed it for a deadly San Bruno gas line explosion one year ago.  The blast and subsequent fire destroyed a neighborhood, killing eight.”

As usual, PG&E downplayed the tragedy by calling it all just a “coincidence.”  She quoted Joe Molica, the PG&E spokesman, as saying,  “We’re really here to talk about kids.” Crawford wrote that Molica declined to “discuss the damning criticism.”  Three mayoral candiates promptly blasted Lee for his telling remarks. Three candidates for mayor promptly blasted Lee’s pro-PG&E remarks.

City Attorney Dennis Herrera  said the next day  that  “Ed Lee’s lavish praise for PG&E as ‘a great corporation’ on the eve of the one-year anniversary of the San Bruno tragedy, just days after federal regulators blamed the utility for a ‘litany of failures’ that claimed eight lives, is unconscionable,” said Herrera. “It shows insensitivity to victims’ families, and poor judgment for allowing his office to be used as a corporate PR tool. No less troubling, it ignores the serious work my office and others have done to protect San Franciscans from PG&E’s negligence, to prevent further explosions like those in San Bruno last year and in Cupertino on Wednesday. The interim Mayor should reassess his laudatory view of PG&E, and apologize to San Bruno victims’ families.”. http://herreraformayor.com/2011/09/herrera-criticizes-ed-lees-lavish-praise-pge-eve-oneyear-anniversary-san-bruno-blast/

Sup. John Avalos also  said the next day  that  “Ed Lee called PG&E a “great corporation” yesterday–a great corporation who spent $50 million last year trying to pass a ballot measure that would ensure their monopoly in places like San Francisco instead of repairing and inspecting pipes like the one that caused this terrible destruction.  Now this “great” corporation wants its customers to foot the bills for its negligence and bad practices?  Ed Lee says that this corporation “gets it.”  PG&E seem to “get” that a symbolic donation to a charity at the height of their unpopularity might help their rate-payers forget the catastrophic results of their negligence and bad practices ”  http://avalosformayor.org/2011/09/breaking-ed-lee-praises-pge-for-being-great-avalos-responds/s

State Sen. Leland Yee later  said that  “Obviously Ed Lee doesn’t understand that words matter. Eight of my constituents died and dozens lost their homes a year ago, and that is why I passed legislation to help those affected families try rebuilding their lives and why I am now pushing legislation to hold PG&E accountable. Rather than praising PG&E, the interim mayor should be calling on the Governor to sign the numerous bills to force the private utility to do what they have failed to do for decades – proper technology, inspection, and safety.”

And so Mayor  Lee has publicly demonstrated that he doesn’t get it and that he is poised to wallow in the Willie Brown sleaze of keeping City Hall safe for PG&E and its allies. Let’s keep the pressure on.  B3

 

 

 

 

 

Reprogramming the hardware

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MUSIC Technology can be so existentially mystifying. One minute you’re a kid in the back seat of your parents’ car with thumbs aimed and eyes glued to the screen of your modern handheld gaming console, the next you’re on stage with blinding lights and an audience, smashing into a modified old-school Gameboy on a snare drum. One second you’re doubled over in bed with the stomach flu, the next you’re in a box on Google+, simultaneously interviewing two band members from their respective Bay Area cities.

It’s enough to melt your mind, and we haven’t even begun to discuss those Gameboy modifications. Chiptune or 8-bit music is nothing new — nerded out musicians have been tinkering with the sounds on gaming consoles since the products hit the shelves in the 1980s — but now the music has the distinction of being both technologically advanced by some standards, and vintage, given its nostalgic sound.

Plus, in these financially-strapped times, it’s an economical way of creating music. “You don’t need anything fancy to make it,” says drummer-synth programmer Matt Payne. “The equipment is dirt cheap and it’s so accessible.”

Chiptune community outreach is big for him, Payne adds from his home in Oakland, holding up a mutant Gameboy with a blinking fuzzed out screen. He and musician-@GAMER magazine associate editor Lizzie Cuevas make up Bay Area-based 8-bit band the Glowing Stars. Cuevas, joining us in the Google+ video chatroom from her office in Daly City, agrees that once people see a live chiptune band, they’re usually inspired to try out the technology themselves. “We always have people who come up at shows and ask, ‘how do you do it?'”

The duo has demonstrated just how they do that at the Maker Faire and Pulse Wave SF — a friendly monthly gathering for chiptune bands. Up next, they play the free CONVERGENCE International Alternative Music and Arts Festival at the Japantown Peace Plaza.

Cuevas and Payne met in 2005, each playing in different punk bands. Payne joined Cuevas’ band (Sputterdoll), which broke up a few years ago. “We knew we wanted to do something video game related, we just didn’t know exactly what,” says Cuevas.

Payne had futzed with a program called LSDJ (LittleSound DJ) when it first came out, but hadn’t been serious about it initially, he says. “There’s a learning curve, it’s one of those easy to learn, difficult to master things.” With the new band starting up in 2010, he began gathering Gameboys and filling them with his own sounds. Given Cuevas’ affinity for early Weezer, the music they make is poppy, but it also has that nostalgic synthesized MIDI sound.

“There’s a misconception about it, that we’re using samples from video game somehow or that we’re doing something using actual songs from video games,” says Payne. “But what we’re actually doing is basically stripping down the console to a little sound making computer and getting it to play back our music.”

The process works like this: Cuevas writes the first skeleton of a song on guitar then sends it to Payne. He then programs it using LSDJ and loads it onto the Gameboy for that 8-bit transformation. They ping it back and forth, adding layers to the song. Payne also just started making music with a Sega Genesis — you can make chiptune on any console — so that might come into play soon.

Live, Cuevas sings and play distorted guitar, and sometimes taps a fresh Gameboy, like in the song “Bounce Bounce” where she solos over the final instrumental part. Payne plays drums and, occasionally, picks up the keytar. He also keeps his modded Gameboy on his snare, which has only once caused significant damage.

“I hit it with the drum stick — it made a loud, awful noise,” he says.

Cuevas smiles and replies, “I think you lost a chunk of your Gameboy.”

 

CONVERGENCE FESTIVAL

The Glowing Stars

With the Bran Flakes, Planet Booty, Teenage Sweater

Sun/4, 12-5 p.m., free

Japantown Peace Plaza Post Street Between Webster and Laguna, SF www.convergencefest.com

Editor’s Notes

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tredmond@sfbg.com

I have friends — progressives, activists, good people — who support Ed Lee for mayor. They tell me that Lee is accessible, that he listens to labor and grassroots community groups, that he’s going to be good on a lot of issues and that, compared to the mayors we’ve had in the past 30 years or so, he won’t be all that bad.

I respect that. I understand. But I try to remind them, and anyone else who’s listening, that the years when Willie Brown ran this town were really, really bad.

At the height of the Brown era, during the dot-com boom, hundreds of evictions were filed every single month. Thousands and thousands of low-income and working-class tenants were displaced, tossed out of San Francisco forever. Blue-collar jobs were destroyed as high-tech offices took over industrial space. Every single developer who waved money at the mayor got a permit, no matter how ridiculous, dangerous or crazy the project was.

In 1999, Paulina Borsook wrote a famous piece for Salon called “How the Internet ruined San Francisco.” But the Internet was just technology; what damaged this city so badly was a mayor who didn’t care what happened to the most vulnerable populations. At one point, Brown even said that poor people shouldn’t live in this city. We called his policies “the economic cleansing of San Francisco.”

He controlled local politics — brutally. If you didn’t kiss the mayor’s ring, you were crushed. He announced one day that the supervisors (then elected citywide) were nothing but “mistresses who have to be serviced” — and since most of them were utterly subservient to Brown, they didn’t even complain. Only one person on the board — Tom Ammiano — regularly defied the mayor; occasionally, Leland Yee and Sue Bierman joined him. But that was it.

The corruption was rampant. People who paid to play got in the door; nobody else came close. You did a favor for Brown and you got a commission appointment or a high-paid job, even if you weren’t remotely qualified.

The ones who suffered most were the poorest residents, particularly tenants, particularly on the east side of town. Brown didn’t seem to care that his appointments, deals and policies were causing terrible pain on the ground; it was as if politics was just a fun game, as if he were some sort of royal potentate, partying in the executive suites and ignoring what was happening on the streets.

There are people who believe that Ed Lee can be independent of Brown, and I hope they’re right. But Lee and Brown are close, and Brown helped put him in office — and the thought of even a small part of that rotten era of sleaze coming back makes me very, very nervous.

BART protests continue (VIDEO)

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Protesters returned to downtown San Francisco train stations on August 29, vowing to keep up their schedule of Monday evening rush hour protests until the  BART police are disarmed and retrained, or disbanded. This time, howevef, stations remained open and trains ran on schedule in a protest where both BART police and demonstrators took pains to reach out to commuters angered by recent train service disruptions.

A crowd of 200 people gathered outside of Civic Center station, the location of the July 3 fatal shooting of a 45 year old Charles Hill by BART police.

Hill’s physician, Dr. Rupa Marya, joined the protest a day after releasing an open letter on the shooing calling for BART police to re-examine its use of force policies and training.

“Charles was a member of the invisible class of people in SF–mentally ill, homeless and not reliably connected to the help he needed,” read Marya’s letter. “We often have to deal with agitated–sometimes even violent–patients in the hospital. Through teamwork, tools and training, we have not had to fatally wound our patients in order to subdue them.”

The protest made its way down Market Street entering each station briefly but remaining outside the fare gates. BART police have made it clear recently that their policies only allow freedom of expression outside the paid areas of the station. Previous protests on the train platforms have lead to station closures and train delays – delays that protesters and police have accused each other of causing.

Video taken by Josh Wolf, which includes protesters and counterprotesters, including a debate between Dr. Marya and a supporter of the cops.

As the protesters moved down the Market Street corridor they were shadowed by a small army of BART and San Francisco Police Department officers intent on preventing further station closures.

At Montgomery station Deputy BART Police Chief Daniel Hartwig told the Guardian, “Protesters appear to be following BART’s free speech rules and regulations and at this point we are happy they are. We support their right to protest.”

Behind him the station lobby filled protesters chanting, “How can they protect and serve us? BART police just make us nervous.”

At Embarcadero station an organizer with No Justice No BART challenged BART’s free speech rules.

“Right here you can say what you want. The moment you enter that fare gate you can’t say what you want,” he announced over a megaphone before crossing through the fair gates under heavy police presence.

After speaking out briefly in the paid area of the station, he exited of his own accord and was promptly arrested by BART police along with another protester in a Guy Fawkes mask who also had been using a megaphone.

Muni, which shares several downtown train stations with BART, has shifted in recent years away from police patrols to a “community ambassador” program, largely removing armed SFPD officers from those train and bus lines in favor of unarmed fare enforcement personal. The program has been praised from all sides as an appropriate balance of community safety, and fare enforcement on public transportation.

Robin, a young San Francisco native who said it was her first time participating in the police misconduct protests, characterized the gathering as a success. When asked if she found the presence of so many police intimidating she said “It was meant to be intimidating. That they would bring everyone out to police a small protest shows they fell they have something to be ashamed of.”

While the protesters focused on BART’s use of lethal force, civil liberties groups filed a petition Monday with the Federal Communications Commission, as the national fallout continues over BART’s decision to cut cellphone service to thwart a protest that never developed on August 11.

The coalition including Center for Democracy and Technology, Center for Media Justice, and Electronic Frontier Foundation argues that regardless of First Amendment augments for or against the disruption of cell service in the paid areas of BART’s stations, BART exceeded its authority under federal law. The complaint notes that the Communications Act, which governs cell phone service providers, clearly states the no carrier shall discontinue service without authorization from the FCC.

“It has been settled law for decades that law enforcement agencies have no authority to order discontinuation of phone service on mere suspicion of illegal activity without due process,” the complaint states.

The coalition urged the FCC to address the issue immediately in light of BART’s statements attempting to justify the cell service disruption, and the risk that other government agency may consider similar policies if the FCC does not assert its authority in the matter.

BART’s board of directors held an emergency meeting (Wed/25) to begin crafting a policy outlining to what future instances could lead further shutoffs.

BART has staff defended its disruption of service that took place August 11, saying their intent was to protect public safety.

SF sued for approving AT&T’s sidewalk boxes without an EIR

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A coalition of San Francisco citizens groups today sued the city over the 5-6 vote last month by the Board of Supervisors to allow AT&T to install 726 utility boxes on sidewalks throughout the city without studying the impact and alternatives with an environmental impact report.

The groups include San Francisco Beautiful (filing its first lawsuit against the city in its 64-year history), San Francisco Tomorrow, Dogpatch Neighborhood Association, Potrero Boosters, and the Duboce Triangle Neighborhood Association. Their appeal of AT&T’s permit was rejected by Sups. Sean Elsbernd, Mark Farrell, Malia Cohen, Carmen Chu, David Campos, and Scott Wiener, allowing the project to move forward.

“The city has refused to do what should be a routine environmental review,” Milo Hanke, a past president of San Francisco Beautiful, told us. He said the public should have been allowed to consider alternatives to the “unwanted and unwarranted degradation of the public sidewalks by a greedy corporation.”

While the project will allow AT&T to upgrade its Internet service and other capabilities, many in the technology community told us back in May that there are better options for improving the high-tech infrastructure in the city without the unsightly boxes that will block sidewalks and be magnets for graffiti.

But those groups, and the groups that filed this lawsuit, say they felt ignored by City Hall and AT&T. “We were shut out of the process,” Hanke said. Now, the plaintiffs will go to court to seek an injunction to stop the project as they wait for a ruling on the merits of the case.

Black secret technology

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Detroit. Perhaps you’ve heard of it? Maybe someone forwarded you a link to a fascinating ruin porn slideshow of its abandoned skyscrapers and crumbled mansions. Or you’ve clicked on one of the innumerable feature stories about young, homesteading pioneers plowing new fields among the wind-blasted industrial decay. Maybe your grandfather has shook his head at the glory that used to be the Big Three, a multi-billion dollar auto industry now propped up by government funds. Or perhaps you’ve appeared in a sequined gown and endless gloves in one of your black-and-white snooze-button dreams, backed by Mary and Flo, cooing out “Where Did Our Love Go?”

If you’ve been anywhere near a good club in the past year, you’ve definitely heard Detroit — one thing those strangely same-y media narratives always seem to omit is the other huge industry that Detroit has spawned, namely techno. That’s fine, real techno should always fly beneath the mainstream eye, a Cybertronic bird with tingling feathers and a killer beak-beak-beak.

Yet even in the underground Detroit’s techno legacy was threatened with obliteration: the explosion of bedroom producers who came of age during the minimal era of the late 2000s looked to Berlin for inspiration, rather than the Midwest. The wave of original Detroit innovators had become diffuse. You could sense a struggle for a Grand Unified Theory of Detroit Techno Now to present to newcomers who, after all, couldn’t exactly consult a textbook on such things. To them, “Detroit” was more of an archetypal ideal than an actual sound, let alone one created by Black people. And there was only so much jawing on about the good old days us dance floor seniors could do without being put out to the House Nation pasture. (There are Smart Drinks, nappy dreads, hoop earrings, Maurice Malone overalls, and a lot more bass there.)

Berlin has every right to claim the techno megalopolis crown — it’s done more as a civic entity to promote the music than Detroit could afford — and, hearteningly, it takes pains to venerate its Motor City forebear. No coincidence that one of Germany’s freshest acts is Motor City Drum Ensemble or that the brilliant Berlin club Tresor greets entrants with a giant “Detroit” sign. And it’s not as if Detroit went away — minimal was balanced out by the disco-funk re-edit scene, pioneered by Detroit techno heroes Moodymann and Theo Parrish.

Luckily, the smart kids will always be curious, and Detroit has been thrust back into the spotlight by a yearning for history, depth, and basics in the global techno scene. An awesome, corresponding glut is now upon us of touring DJs from the D to satisfy that need.

In the past two months alone San Francisco has seen appearances by Kevin Saunderson, Mike Huckaby, MK, Scottie Deep, Stacy Pullen, Dan Bell, and honorary Detroiter Richie Hawtin. Jeff Mills, Carl Craig, and Moodymann were here last year. And, this weekend, Parrish himself comes, along with fantastic unsung hero of the early years Claude Young, who isn’t afraid to scratch things up a little. Just announced? Two of techno’s Big Three, Derrick May and Kevin Saunderson (who along with Juan Atkins invented and popularized the whole damn thing) performing together in November in their Hi Tek Soul guise.

One of the real joys of this latest Detroit resurgence, and one it would be most painful to lose: the reclamation of techno as a black musical form, a poetic permutation of soul, rejiggered by freaky sci-fi nerds with one ear attuned to space-jazz, another to krautrock and synthpop, and a third to down-and-dirty electro-funk. Or, as May’s famous formulation has it, “a complete mistake … like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.”

As commercial techno claims larger and larger arenas and the Motor City slips further into media cliché, it’s the perfect time to gather back at the roots. Oh, and dancing.

THEO PARRISH

Fri/12, 10 p.m.-3:30 a.m., $10–$20

Public Works

161 Erie, SF.

www.publicsf.com

 

CLAUDE YOUNG

at the Sunset Boat Party

Sun/14, 5 p.m., $45 advance

Pier 3 (Washington and Embarcadero)

www.pacificsound.net

 

HI TEK SOUL

w/ Derrick May and Kevin Saunderson

November 12, 10 p.m.-late

Public Works

 

 

Our Weekly Picks: July 27-August 2, 2011

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THURSDAY 28

FILM

“Marker XC: Three Times Thirty”

Chris Marker is a little older than his nouvelle vague contemporaries, though you wouldn’t know it from his fugitive art. His work is not a career but a universe, one that continues to expand like our own cosmos; at 90, the cat is still grinning. A few minutes of homework on the Internet turns up some of his latest illuminations, but this special birthday tribute focuses on three short films made in years sandwiching 1968, a revolutionary epoch Marker has spent a lifetime observing in quicksilver pasts and futures. Following Marker’s lead, the screening is free. (Max Goldberg)

7:30 p.m., free

McBean Theatre

Exploratorium

3601 Lyon, SF

415-561-0360

www.exploratorium.edu

 

MUSIC

Fresh Greens

They don’t play Equipto and Mike Marshall’s new booze banger “I Drink Fernet” in SF bars enough. C’mon city — the hook’s stuck in our gray matter all day and when we’re ready to order a beer and a shot of the herbal stuff, we wanna hear our jam. This is not going to be a problem at this week’s installation of Fresh Greens, Showdown’s hip-hop and bass night with DJs Mr. Lucky and Doc Fu. The duo has invited DJ Pause, progenitor of said Fernet anthem, to spin that night — and they’ve coordinated with Fernet Branca to the end that there will be drink giveaways galore. (Caitlin Donohue)

10 p.m.–2 a.m., free

Showdown

10 Sixth St., SF

(415) 503-0684

www.showdownsf.com

 

FRIDAY 29

MUSIC

Steve Arrington

In one of those head-scratching retro confluences that have been popping up on dance floors lately, two quite different soul-stomping records featuring Steve Arrington — his Wonder-full 1985 “Dancing in the Key of Life” solo release and the 1979 “Just a Touch of Love,” recorded with his classic disco-funk outfit Slave — have become local club hits again. Arrington’s in the air: the smooth-voiced Ohioan is working on a new album with steamy L.A. squelch-funk revivalist Dâm-Funk. And now here he comes live, helping to celebrate the third anniversary of retro-fun and “contemporary boogie” party Sweaterfunk. Sweat or funk? You’ll do both. (Marke B.)

9 p.m.–3 a.m., $15

Som.

2925 16th St., SF

www.stevearringtonsf.eventbrite.com

 

MUSIC

“Playback: AudioBus”

Every few years, the Soundwave festival inundates the Bay Area with adventurous sonic experiences, like watching tiny solar-powered speakers bloom like flowers on Civic Center trees, or hearing a concrete bunker in Marin reverberate with waves of bass. Missed last year’s Soundwave? The Playback series is giving your experiment-hungry ears another chance. This week, hop aboard the double-decker AudioBus (equipped with state-of-the-art Sennheiser headphones) and explore live music scores “routed to the scenery around you.” Music plus motion equals magic. Bay Area scratch guitarist the Genie guides you audibly through the Mission on Friday; Christopher Willets, who creates “patterns of vibrations with sound and light” takes over Saturday with a trip through Golden Gate Park. (Marke B.)

Fri/29–Sat/30, 7 p.m., $20–$200

Various locations, SF

www.me-di-ate.net

 

MUSIC

Mean Jeans

“This song is about the economy. It’s called: what the fuck is a 401(k)?!?!” The members of Mean Jeans wax philosophical about lots of things, but mostly they stick to partying and its many and varied intricacies. If you think punk has gotten too cerebral over the years and/or are able to argue with authority and aplomb the ups and downs of the different beers you can buy with pocket change, then Mean Jeans is the band for you. They’re the Ramones on speed, a raging house party manifest as a three piece from Portland, Ore. Pogo to your hearts content, just don’t tell them or the crowd to chill out and take it easy. It’s a punk show, you wimp — have some fun. (Cooper Berkmoyer)

With Black Jaspers, Guantanamo Baywatch, and Teutonics

9 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

PERFORMANCE

“Work MORE!”

Eleven drag queens, 165 costume changes, 60 minutes: put it all together and what do you get? One hell of a rendition of “Bohemian Rhapsody.” Kidding! (Kinda.) You get one of the most ambitious hours of deconstructed gender illusionism you’re likely to see in a while. “Work MORE!,” the brainchild of local firebrand VivvyAnne ForeverMORE!, has been a thrilling series of performances that dramatizes the art of drag by blending performance, storytelling, set design, music, and various challenges reminiscent of It’s a Mad, Mad, Mad, Drag World. This installment, running for two nights, calls on 11 performers to direct each other in interchangeable performance numbers — a kaleidoscope of queens engendering an evening-long mosaic of mimicry. And it might go on tour! (Marke B.)

Fri/29–Sat/30, 8 p.m., $20

CounterPULSE

1319 Mission, SF

(415) 626-2060

www.counterpulse.org

 

SATURDAY 30

MUSIC

MK at Icee Hot

One of the most astonishing production runs in dance music — or any music, really — occurred when young Detroit producer Marc Kinchen discovered he had a flair for combining cyber-melancholic Detroit techno beats with a soulful New York City garage house vibe. On the strength of his early, driving records, MK soon became one of techno’s first big-time remixers: his genius for chopping up a song’s vocals into completely different, in most cases more appealing, melodies filled floors from 1991-95. Since then, he’s moved on to producing Pitbull and Willow Smith, but he’s back to reap underground propers in the retro-1990’s house craze, DJing with equally famous brother Scott and fellow virtuoso vocal-hacker Todd Edwards at the monthly Icee Hot party. (Marke B.)

With Scottie Deep and Todd Edwards

10 p.m., $10

Public Works

161 Erie, SF

www.publicsf.com

 

EVENT

“Livin’ La Vida Lambada”

When I first started writing about Burning Man for the Guardian in 2004 — a process that this year culminated in the release of my book The Tribes of Burning Man — the two crews that I most deeply embedded myself with were Opulent Temple and the Flaming Lotus Girls. They each work out of the Box Shop on Hunters Point and were just beginning their meteoric rises to become the event’s premier fire arts collective (FLG) and more enduring large sound camp (OT). Now, as the FLGs work toward completion of its latest ridiculously ambitious project — Tympani Lambada, a representation of the inner ear translated into a massive sculpture of sound, fire, and light — the OT DJs, the burner artists of NIMBY, and others are pitching in to help their hermanas del fuego reach their goal. So come shake your asses and help bring an amazing artwork to life on the playa next month. (Steven T. Jones)

8 p.m.–2 a.m., $20

NIMBY Warehouse

8410 Amelia, Oakl.

www.flaminglotus.com/brownpapertickets

 

EVENT

Treasure Island Flea Market

Hey, you in the horn-rimmed glasses. You can’t really consider yourself a Bay Area vintage freak without making pilgrimages to all the area’s flea markets — Candlestick, Alameda, Alemany all rev up our barter skills — and as of Memorial Day this year there’s a new kid on the clothing rack-covered asphalt block: the Treasure Island Flea Market, where somewhere among the grassy aisle and hundreds of vendor booths, you are virtually assured of finding something with history and pizzazz. Gadabout spectator shoes, barely-used vintage road bicycles, rusty old bird cages for making garden lanterns — just make sure you can schlep it on the 108 Treasure Island Muni going home. (Donohue)

Through Sun/31

9 a.m.–4 p.m., free

(415) 898-0245

www.treasureislandflea.com

 

SUNDAY 30

MUSIC

Mattachine Dance Party

Around 2004, when celebrating gay history became all the rage in dance clubs, DJs naturally turned to previously buried disco sounds to accompany the onrush of post-AIDS-era curiosity. But of course gays existed before the 1970s — as recently discovered fossilized size-14 stripper heels and catty hieroglyphics about Top Chef judge selection have proved. Young, queer parties have noticed: our own Hard French reaches back to the 1950s for soul inspiration, while New York City’s Mattachine Dance Party adds 1960s rock and other queer-eared genres to the mix. Now filmmaker and sexual provocateur John Cameron Mitchell is bringing his buoyant Mattachine affair, named for the U.S.’s first gay rights organization, to El Rio for a special daytime installment that will resurrect the hot-pink spirits of yesteryear. (Marke B.)

3–8 p.m., $5

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

 

MONDAY 1

COMEDY

Maria Bamford

One-quarter of the dream team Comedians of Comedy tour in 2004 (alongside Patton Oswalt, Zach Galifianakis, and Brian Posehn), Maria Bamford is about as unique a comedic personality as they come. She subscribes to the darker, more surrealist side of stand-up, forgoing traditional punch lines to put all her anxieties and neuroses on full-display through self-deprecation, twisted inner monologues, and a ton of barbed vocal impressions that send up her Minnesota-based family and friends. Yet for all her eccentricities, Bamford never delves into novelty or shtick. Her material is always smart, perfectly nuanced, and balanced with enough of her natural Midwest charm to make even the strangest moments relatable. (Landon Moblad)

With Robert Mac and Nato Green

Through Aug. 3

8 p.m., $22.50

Punch Line Comedy Club

444 Battery, SF

(415) 397-7573

www.punchlinecomedyclub.com

 

TUESDAY 2

MUSIC

Real Estate

The un-Google-able band name. Is it creative combativeness or audacity in the face of technology’s encroaching hand that led four like-minded musicians from New Jersey to name themselves Real Estate? Search engines aside, Real Estate isn’t an easy band to pin down. Reverb-heavy surf guitar with some folk mixed in begin to paint the picture, but it isn’t simply the sum of its parts. It sounds the way a drive to the beach looks: the stucco strip malls race past in a beige blur and soon recede as the scenery grows increasingly lush. Everyone else in the car is talking, but you’re too busy staring out the open window to notice. Real Estate is surf rock for city folks. (Berkmoyer)

With Dominant Legs and Melted Toys

8 p.m., $15

Independent

628 Divisadero, SF (415) 771-1421 www.theindependentsf.com 

 

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

Best of the Bay 2011: BEST LEATHER-SCENTED TIME WARP

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Stepping into cobbler Suzanne George’s shop is like entering a hide-covered time warp. George crafts her clodhoppers in much the same way that shoes were made several hundred years ago. She works the leather by hand, stitching the pieces with thread and hammering it all together with actual nails. Not only are the shoes custom-made to fit every tootsie they encase, they are also unique pieces of art, nearly too lovely to take tramping on the dirty pavement. George shares her high-quality, low-technology workshop with Peter, a shoemaker originally from Italy who used to make sandals for Mother Teresa. Together they make some damn fine throwback sling-backs.

1787 Church, SF. (415) 775-1775, www.suzannegeorgeshoes.com

Best of the Bay 2011 Editors Picks: Shopping

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Best of the Bay 2011 Editors Picks

Shopping

 

BEST VINYL FLIPPERS

Tweekin Records in the Lower Haight was one of the centers of Bay Area dance music culture for the better part of two decades. But besides the basic insanity of operating a specialty record store in these e-times, the Tweekin brand had gotten a bit ragged over the years. So it was a charge for vinyl lovers when Manny Alferez and crew stepped up for a reinvigoration, unveiling Black Pancake Records. Pretty much the same concept reigns: great funk, soul, house, techno, jazz, and even (gasp!) rock records, plus a friendly staff with some primo recommendations. Perhaps best of all, there are a couple of those rarest of beasts — listening stations. Yep, you can put the actual circular whatsit on the doohickey that spins around and hear it make the music, little Johnny. All without clickety-clicking on the wee mouse-thingy.

593 Haight, SF. (415) 626-6995, www.blackpancakerecords.com

 

BEST EVERYDAY KAN DO

Peruse the labels of say, a kitty-shaped exfoliating washcloth or exquisitely lacquered bento box at Ichiban Kan, and you’re likely to see a Good Housekeeping seal of approval-style label trumpeting that the item won a design award in Japan. At times it seems like everything wins a design award in Japan, then the realization sets in that no other country seems to have dedicated itself so fervently to assuring that the everyday things of life — from paper clips to cooking utensils — be attractive, eminently functional, durable, and well-designed. When we want to load up on the best of the quotidian (we’re particular fans of the rolls of plastic wrap for $1), we come here.

Various locations, www.ichibankanusa.com

 

BEST GEEKDOM: THE GATHERING

It’s a constant nerd alert — not that that’s a bad thing — at Cards and Comics Central, a Richmond District shop where employees know the difference between vine whips and seed bombs and can explain why destroy effects don’t harm a cattank. Kids into Yu-Gi-Oh, Pokémon, or Magic will be overwhelmed by the shop’s vast selection. Parents will be overwhelmed at the price tag — you can spend more than $100 on a single card, though assorted decks (available for under $10) might keep the average young collector sated. Check out the back room for the real action — pale adults playing Magic with an intensity you won’t find at most Vegas poker tables.

5424 Geary, SF. (415) 668-3544, www.candccentral.com

 

BEST REFILL, NOT LANDFILL

What does it take to win a gazillion green business awards? It certainly starts with a great concept, a seriously vetted supply chain, and a commitment to spreading the eco-word. It also helps to have a pleasing storefront in Noe Valley, cute and eager staff, luscious products, and bulk-store prices without the forklifts and doublewide shopping carts. Green 11, launched by married couple Marco Pietschmann and Bettina Limaco and inspired by a Rachel Carson observation (“For the first time in history, every human being is being subjected to contact with dangerous chemicals, from the moment of conception to death.”), offers soaps, cleaning supplies, pet food, shampoo, conditioners, and lotions, all ready for your refillable, affordable use. Bring your own containers or put for up a starter container at the store.

3980 24th St., SF. (415) 425-5195. www.shopgreen11.com

 

BEST FAIR FEATHERS

You think your head hurts from the plumage parade that alit on Dolo Park this year? Think of the feather-farm roosters and other avian amigos that have lost their lives to appease the current mania for quill jewelry and hair extensions. Happily, two gentle crafters have taken the torture out of the trend: Erykah Prentice and Martha Hudson started their accessories label Divine Dandelions for peace, not plucking. The two create their cascading earrings and fanciful headdresses from foraged feathers, selling them from a sweet little gazebo at festivals up and down the West Coast. If you find yourself Bay-bound during next month’s Gaia Festival (up in the hills of Laytonville), you can always check out their Kahlil Gibran-quoting website for custom-made creations.

www.divinedandelions.com

 

BEST MEMORY TRANSFERENCE

Are your childhood camcorder memories gathering worrisome mildew by the minute? Entrust your VHS-ed precious moments to the Mission’s Video Transfer Center run by Jennifer Miko, a 2008 graduate of the L. Jeffrey Selznick School of Film Preservation and a collaborator with the Image Permanence Institute. Miko, along with husband Buck Bito, boasts some of the best equipment in the biz — including a fancy-pants transfer system for 8mm and Super-8 that the center says is California’s first and only. For a small fee, the team will inspect, repair, and transfer your film memories to a digital format that will last forever … or at least until we figure out brain-to-brain info-beaming.

395 South Van Ness, SF. (415) 558-8815, www.videotransfercenter.com

 

BEST BUGS BUNNY B-BOY FLASHBACKS

Mission vintage stores tend to cater to your typical high-waisted jean-clad, chain-smoking-in-front-of-Four-Barrel kind of girl. (We love her!) But New Jack City is a breath of fresh hype air. This “throwback goods” outpost at 15th and Guerrero streets specializes in sports gear and B-boy stylings straight from your favorite scene in Houseparty 2. Vintage Giants jackets, old school stripes, Bugs Bunny tees of various ages, priceless Afro-centric relics, and breezy caps repping teams or just plain reppin’ … . Actual 1980s and ’90s B-boys (and newer admirers) will feel they never left their Cold Crush Brothers and KRS-One cassettes in their cousin’s janky hoopty’s deck once they step inside.

299 Guerrero, SF. (415) 624-3751, newjackcitysf.blogspot.com

 

BEST REASON TO NOT GET OUT OF BED

You know those girls who flounce down 24th Street, vintage pastel print sundresses fluttering over their kicky cork wedge sandals, carrying a perfect sexy grandma purse? We know their style secret. Oakland’s Field Day Wearables’ bedding dresses are handmade by a crunchy-awesome label that wants to take the disposable out of fashion. They’ve got pockets and detachable straps that double as a matchy-match headband, and you can find them in patterns from striped to pansied to Batman (yes, they’re made from actual sheets). Score ’em at myriad brick-and-mortar distributing boutiques — or even better, by trying them on over your jeans at one of the craft fairs and street walks where FDW sets up a pretty post.

Available at various Bay Area locations. www.fielddaywearables.com

 

BEST SMALL WORLDS AFTER ALL

Apparently all the people who came of age in the late 1960s and early ’70s are either dead or too busy filling out Social Security forms to notice that at least one of their cherished craft projects is making a comeback. (No, not candle-splattered Mateus wine bottles or macramé hanging plant slings.) We’re talking about terrariums, the terrestrial equivalent of a ship in a bottle. So what if many G4-era terrarium enthusiasts call them “terraniums”? Their variation on vivarium nomenclature does nothing to diminish the charm of these glassed-in mini-worlds. And particularly high on the charm assessment scale are the creations of the good women of Studio Choo, part of Prairie Collective, whose arrangements of tiny ferns, succulents, and other floral inspire full minutes of unbroken, smart phone-free contemplation.

Available at Prairie Collective 262 Divisadero. (415) 701-8701, www.studiochoo.com, www.prairiecollective.com


BEST BET FOR BAROQUE BEAUTY

You’ve redecorated your living room, but still something is missing. Could it be? Yes it is — a fuchsia-toned chaise lounge. Do not despair, for we have your marching orders: SF Antiques and Design Mall. The 13-year-old Bayview behemoth is something akin to an indoor flea market, and is home to 200 experts in the art of antique, all of whom have booths filled to the brim with fanciful paperweights, glittering heaps of costume jewelry, and ever-so-whimsical seating options. Seriously, if your interior design is hankering for a touch of the over-embellished, a whiff of kitsch, or perhaps a splash of hanging basket chair, you will find it here.

701 Bayshore, SF. (415) 656-3530, www.sfantique.com

 

BEST FASHION SHRINE

Natural wooden tables, colorful blankets spread here and there, a goat’s head staring placidly down on wonder-covered shelves — Hayes Valley’s Reliquary could be a gaucho explorer’s treasure room. And — minus the gaucho part — that’s pretty much what boutique owner Leah Bershad has created it to be. Bershad stocks the year-old space with crafts and vintage finds from all around the country, plus Europe and — in the case of some elaborate bead-and-quilt satchels stacked near the counter — Afghanistan. The store’s racks of secondhand embroidered dresses and its smattering of designer wear like high-waisted Court denim mean that, as far as fashion church goes, Reliquary lives up to its name: a container for sacred relics.

537 Octavia, SF. (415) 431-4000, reliquarysf.tumblr.com

 

BEST PLACE TO BUY 300 PAIRS OF PANTS, 250 TELEPHONES, OR 7,651 RUBBER GASKETS

If you’ve ever spent an afternoon wistfully clicking your way through the Craigslist “free” section — pondering all you could do with an extra this or that — you’ve sampled a certain seductive sweet taste. Beware: the California Materials Exchange is crack to Craigslist’s cocaine. It’s eBay on steroids, Urban Ore for colossi. A state-sponsored recycling program, CalMAX facilitates the transfer of bulk, odd, and industrially useful products for wholesale and discount rates, and sometimes for free. So, looking for extra cubicles? How ’bout a free 1000-gallon asphalt-emulsion tank? Or 7,500 pounds of apparel, including 300 women’s black twill pants missing only the waist button? That’ll cost you a paltry 10 grand, but for someone with a plan — and a lot of storage — it could be just the thing.

www.calrecycle.ca.gov/CalMAX

 

BEST SHOP FOR THE SOCIALLY CONSCIOUS STITCH

A sobering fact: your clothes were probably made in a sweatshop (sorry). Most of our industrially produced togs — you are probably aware — are made by people making far from decent wages, working with toxic, health-shattering dyes. Small wonder then that local fiber movements are beginning to stitch. Visit Oakland yarn shop A Verb For Keeping Warm to be indoctrinated. Owner Kristine Vejar sells an in-house line of local fibers and natural dyes, and stocks other brands as well. Plus she gives classes on the skills you need to clothe yourself sustainably and hosts free sewing nights to develop community among people who purl — responsibly.

6328 San Pablo, Oakl. (510) 595-8372, www.averbforkeepingwarm.com

 

BEST WAY TO SIGN UP

Beautify the street and bolster your curb appeal in classic style with some legit hand-lettering from New Bohemia Signs. Using traditional enamels and gold leaf, New Bohemia practices its old-school art with pride — snazzing up placards with over-the-top fonts, providing elegant window signage for boutiques and restaurants, crafting appetizing menu boards, even revamping your Victorian with a gilded transom. Founder Damon Styer and crew have also branched out into the gallery scene: a recent art show at Guerrero Gallery featured work by present and past New Bohemia staff. The vintage feel, handmade aesthetic, and design-addict cache — New Bohemia’s products have even been salivated over in The New York Times — seem a perfect sign of our local, small-batch, skill-appreciative times.

281 Ninth St., SF. (415) 864-7057, www.newbohemiasigns.com

 

BEST PROTOTYPES (PRIMATE OR OTHERWISE)

The website of the Foam Monkeys concept modeling studio has an “awards” section that admits, “While we can’t honestly recall Foam Monkeys ever actually being mentioned for an award, the company has certainly been a part of many award-winning product development teams.” But we’re giving the company itself a real, bona fide Best of the Bay to boast about. Why? Because! Here you can not only construct a polyurethane primate, but also all sorts of useful stuff — like prototypes for everything from MacBooks to microchips. Sure, the company is geared toward creating serious conceptual models for industrial design and product development, but that doesn’t make the idea of an accessible foam-based 3-D modeling studio any less awesome.

32 Shotwell, SF. (415) 552-5577, www.foammonkeys.com

 

BEST SONIC SAFARI

Deep in the thick of the taquerias, bodegas, butcher shops , and joyerias of 24th Street dwells this exotic little shopping outpost for fearless cultural adventurers. Explorist International captain Chris Dixon (known on assorted music bills as Phengren Oswald) lets his collector come out to play here, sharing new and used recordings of global party riddims, heady jazz, weird old folk and country blues, and various unclassifiables — as well as art books, micro-run zines, and McSweeney’s volumes. The record bins are where the real action is, though: Moondog vinyl canoodles with Sperm Walls rarities, and Charlie Nothing crashes with the Indonesian prog and funk of Those Shocking, Shaking Days. Would we like to snag that vinyl copy of Luk Thung: Classic and Obscure 78s from the Thai Countryside? Yes, Dr. Livingstone, we would indeed.

3174 24th St., SF. (415) 400-5850, www.exploristinternational.com

 

BEST CHEAP PLACE TO SCORE A CUP AND A CONRAD

Literature and coffee: such sweet, sweet dependencies. Enable both on the cheap at Reader’s Café . Inconspicuous to those on a casual Fort Mason stroll, this used book treasure trove on the bay is infinite and grand once found. With $20, it’s possible to take home a few written works (some only $1!) and still have change for indulging in a custom-brewed cup of Blue Bottle. Reader’s is a production of the San Francisco Friends of the Library, so not only does each purchase soothe the DTs, it’s for a good cause.

Building C, Room 165, Fort Mason Center, SF. (415) 771-1076, www.readerscafe.org

 

BEST PARTNER IN PREUSED PURCHASE

In a perfect world, each visit to the Apartment would be a leisurely half-day treasure hunt. The Mission District store is packed with vintage furnishings, boxes of old family photos and 1960s magazines, even a $1 tray for affordable finds. No plywood or cheap IKEA stuff here — everything on offer is well maintained and crafted. Of course, that quality comes with some heft, but if you’ve fallen in love with a cedar armoire when you were supposed to be on the hunt for a throw rug, the Apartment will pay for its delivery: $65 plus $10 for every flight of stairs it must ascend to your door. So accommodating!

3469 18th St., SF. (415) 255-1100

 

BEST ANTI-GOLIATH GAME FACE

After a five-year effort by chain-wary neighborhood activists to keep it off the grand hippie boulevard, megachain Whole Foods opened at Haight and Stanyan streets early this year. It furthered the neighborhood’s fitful transmogrification into Fancy Town (or Ashbury Valley, the ‘hood’s new NoPa-like real estate agency-created moniker), but Haight Street Market is rising to this market-share challenge. With shifts starting before the crack of dawn, the 30-year-old family-owned shop has stepped it up, adding a high-quality butcher counter, a deli, the least pricey and most diverse beer selection in the Upper Haight, and a buffed-up coffee selection. If only all small businesses could up their game in the face of corporate claims.

1530 Haight, SF. (415) 255-0644, www.haightstreetmarket.com

 

BEST LEATHER-SCENTED TIME WARP

Stepping into cobbler Suzanne George’s shop is like entering a hide-covered time warp. George crafts her clodhoppers in much the same way that shoes were made several hundred years ago. She works the leather by hand, stitching the pieces with thread and hammering it all together with actual nails. Not only are the shoes custom-made to fit every tootsie they encase, they are also unique pieces of art, nearly too lovely to take tramping on the dirty pavement. George shares her high-quality, low-technology workshop with Peter, a shoemaker originally from Italy who used to make sandals for Mother Teresa. Together they make some damn fine throwback sling-backs.

1787 Church, SF. (415) 775-1775, www.suzannegeorgeshoes.com

 

BEST COUCH-BOUND — BUT COMMUNITY-MINDED — STONER’S DREAM COME TRUE

While a marijuana home delivery business may sound like nothing more than a couch-bound stoner’s dream come true, the Green Cross actually offers a valuable service to many of the city’s neediest residents who are less mobile as a result of illness, disability, or age. And this is no slapdash selection, either. Brick-and-mortar dispensaries can’t beat its impressive array of hard-to-find THC-infused specialty items like olive oil and agave nectar. Plus it boasts vegan, gluten-free, and nut-free goodies, all made in-house. So toke it all in — a portion of the proceeds are reinvested in the community, supporting social service agencies like the SF AIDS Foundation and the YMCA.

(415) 648-4420, www.thegreencross.org

 

BEST GOAL-GETTERS

Toby and Libby Rappolt hardly leave the balls behind when they exit their 20-year business, Sunset Soccer Supply, for the day. The Rappolts are players, coaches, and fans too. If they’re not holding up the counter at their shop, chatting with regulars about the most recent match or the best way to teach a kid to dribble or selling a team-sized box of scrimmage vests, there’s a good chance they’re out supporting the SF soccer community. The business is especially into rooting for women’s teams: it was present at the Civic Center showing of the World Cup final, it sponsors tournaments, and it has even invited players to in-store signings.

3401 Irving, SF. (415) 753-2666, www.sunsetsoccer.com

 

BEST PLACE TO PUT A CORD ON IT

Where to trundle if you want to wear that pretty pierced stone you found on your first anniversary hike up Mount Diablo? The Bead Store has a vast assortment of necklace-ready cords, and the Castro shop’s friendly staff can point you toward a nice clasp, or even tie a slip-knot for you if you’re not fancy. It’s the city’s smallest and oldest bead store — it has been in the same spot since 1964 — and stocks centuries-old beads and rare stones you won’t find anywhere else, as well as the standard tools you need to take your diamonds from the rough.

417 Castro, SF. (415) 861-7332, www.thebeadstoresf.com

 

BEST RING OF SUCCESS

Jewelry — it can be scary! We don’t mean the fun ornamental kind of jewelry, like Celtic nipple rings or jade idol earrings or purple pentagram pendants (although those can be scary too). No, we’re referring to real jewelry — like the fancy traditional kind you’d better get right or Bridezilla/o is gonna ‘splode and slap you silly with a rolled-up copy of Country Weddings magazine. How will you know how to score the perfect engagement ring, or wedding band, or anniversary bracelet, or birthday watch? Don’t fret. The enormously helpful and nice folks of Just Bands will help you with everything, from sizing and color to design and polish. Their showroom in the labyrinthine San Francisco Gift Center sparkles not just with diamonds and silver, but with the smiles of satisfied lovers whose romance wasn’t tarnished by stressful transactions.

888 Brannan, Suite 151, SF. (415) 626-2318

 

BEST THROUGH THE RABBIT HOLE

The N-Judah thunders by it dozens of times a day, but because it’s tucked well back in a garden courtyard, you’d never know this spirited, magickal little “multitraditional world mysticism” shop existed. Unless you capital-K Know. Look into your third eye: do you Know? Randy, the genial owner of the Sword and the Rose — a man who is part Keith Richards, part Baba Yaga — definitely Knows. And he’ll graciously tell you, spinning tales of about gods and goddesses from esoteric cultures past and present, or reading your tarot cards in a cozy nook warmed by an amber fire, or selling you his house-produced incense, or offering lessons in spellcraft, all while bestowing friendly (if a bit confusing to the uninitiated) guidance to more transcendent realms. First stop: Cole and Carl streets. Next stop: the Divine.

85 Carl, SF. (415) 681-5434

 

BEST BARREL FULL OF MONKEY SUITS

Let’s face it, if you’re a happenin’ gentleman or a trouser-trusting lady in this fancy-pants city, you’re going to need to bust out the occasional tuxedo. But who wants to spend a few hundred bucks on a new tux? Screw that noise, get over to Held Over, and check out the selection of $20 used tux shirts and wide variety of full monkey suits — from the 1970s-style mariachi look to something a bit more classic. Hell, why don’t you mix-and-match it up? They’ve already got you in a suit, so you might as well have some fun with it.

1542 Haight, SF. (415) 864-0818

 

BEST GRAND POOBAH OF THE PAST

A visit to the cavernous Potrero Hill digs of Big Daddy’s Antiques ushers you into a wondrous, uncannily postmodern version of the past. There’s definitely a little vintage-meets-steampunk aesthetic going on — Big Daddy grand poobah Shane Brown and his magic elves have collected enough old-school film lights, globes, wooden angel wings, horse-drawn buggies, large animal heads, giant pillars, and studio cameras with bellows to kit out the dreams of antique queens and cyber-fanboys alike. (Tech guys, please get your decor here.) And the large collection of Depression-era Americana like shoe shop signs and flag bunting adds to the pleasantly discombobulating Twilight Zone feel. Don’t worry though; the amiable Big Daddy’s staff will guide you though it all.

1550 17th St., SF. (415) 621-6800, www.bdantiques.com

 

BEST SHOT OF PANACHE

We just have one question for you, Revolver: can we move in? We would fit so well in your charming, roomy, homey, comfy store-and-gallery. On warm summer days, we could don one of your light summer frocks and Illesteva sunglasses, like contemporary post-ironic preppies but not that heavy; seal in our dewy look with one of your delicious moisturizers; and have coffee while pondering the art on display in your back room. Evenings, we could venture out in a pair of Tretorn rubber boots or suede Volta high tops and Creep khaki chinos, then settle in for the night on one of your durable cotton Japanese Workers pillow covers. In short, Revolver, we like everything about your small, beautifully curated store. Just one more thing: Is that a pistol in your pocket, or are you glad to see us?

136 Fillmore, SF. (415) 578-3363, www.revolversf.com

 

BEST HOLGA ROLLS

You know what’s tired? Using your iPhone to take a picture of yourself in the mirror for your Google+ profile. You know what’s not tired? Using a low-fi medium format 120 film Chinese toy camera from the 1980s to snap that same pic. Sure, you could just download Hipstamatic, but the hardcore among us prefer to use the delightful original mechanism — an actual Holga camera — which, thanks to a mini-craze in the past few years, has become readily available in the U.S. But you’ll need the right roll of film, and the awesome Photoworks is here to provide. Photoworks stocks hard-to-find film from all over the world, offers excellent print production services, and will even stretch your Holga hotness on a canvas to hang in your hallway.

2077-A Market, SF. (415) 626-6800, www.photoworkssf.com

 

BEST NATURE NOOKIE NAPSACKS

Backpacks, tents, and BPA-free utensils designed with an eye for classic retro outdoors-y accouterments (think 1980s L.L. Bean and 1970s RV campers), Mission District-based camping company Alite Designs‘ gear is innovative, body conscious, and oh-so-considerate of our decadent ways. Take for example its Sexy Hotness sleeping bag — at first glance, just a pretty sack for camp-crashing, but unzip the center fastener and it becomes a thermo-Snuggie with built-in feet, its center zipper freeing your nether regions for trips to the john or even a little nature nookie. Plus, the bags connect endlessly, so if you roll deep ‘n’ dirty, your camp orgies will be well served.

2505 Mariposa, SF. (415) 626-1526, www.alitedesigns.com

Tech blogger takes on Silicon Valley

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Critiquing the tech industry has to be one of San Francisco’s favorite events in the armchair Olympics – but usually the harangues are coming from my friend that can’t seem to hold onto his personal chef gigs. Incisive commentary about the social merits of Silicon Valley from within the tech community are hard to come by (maybe because they are all fully employed). 

Perhaps that’s why a critical blog post that tech news site The Next Web ran this week by normally ebullient reporter Hermione Way (who covers the start-up entrepreneur beat) set off so many alarms among her techie cohorts. Way, who I kind of think is a genius at being immersed in, and taking the piss from the tech industry, moved to Bay six months ago from the UK to interview start-up masterminds (we caught her before she’d even hopped the pond to learn about the life of a pro social networker), called out Silicon Valley on being motivated for all the wrong reasons:

I’ve heard pitch after pitch of the same technology and keep wondering why all these highly intelligent, well educated youngsters, many of whom have been educated in the best universities in the world (Stanford, Yale and Harvard) are not putting their brains to good use by solving real-world problems. Instead they’re building technology to solve trivial issues – like apps that show where to spot your nearest tofu cupcake and share it with your friends.

It’s an obvious critique that’s been levied by many people that haven’t met a fraction of the Internet entrepreneurs that Way has, but the post stirred up it’s fair share of wrath. 

Robert Scoble, who found initial fame as a Microsoft blogger and has been called a “technical evangelist”, pointed to financier Cynthia Ringo and Kevin Surace of Serious Material as exemplars of conscious technology movers. 

Over at Y Combinator, a start-up seed firm that operates news forums on its Hacker News website, some commenters thought the problem is that Way simply doesn’t understand what Silicon Valley is:

There isn’t a ‘problem’ with Silicon Valley, it simply exists like a beaker sitting over a bunsen burner. Over time different chemicals are available in the beaker and sometimes something magical happens, and sometime noxious fumes come out, but the place is an engine.

Of course, geographic locations don’t themselves create new techologies, socially-minded ones or otherwise — the people that live in them do. But to say that there is no culture of Silicon Valley – or hey, any place – is remarkably un-self aware. What is worked on, funded, and valued are trends that is agreed on by any community, even if, like Scoble, you can find exceptions to the rule. Here’s hoping that Way’s words will make techsters take a break from the coding-networking-developing grind to look at what they’re working towards.

our Weekly Picks, July 13-19, 2011

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THURSDAY 14

EVENT

Fire Monks: Zen Mind Meets Wildfire at the Gates of Tassajara

Here’s your spiritual riddle of the week, young grasshopper. Say you’re a Buddhist monk. Two thousand fires are sprinting across California’s tinderous golden landscape. The wind shifts. One blaze streams down a single unpaved road, the sole portal to your monastery. The conundrum expressed best by the Clash alights in your ever-mindful mind: should I stay or should I go now? In June 2008, five monks chose to stay when the Big Sur fires threatened Tassajara, the country’s oldest Zen monastery. Author Colleen Morton Busch shares their story in her new book Fire Monks: Zen Mind Meets Wildfire at the Gates of Tassajara. Hear her read selections, plus stories from the monks and wild land firefighters, on how they successfully fought the fire with the fire within. (Kat Renz)

7:30 p.m., free

San Francisco Zen Center

300 Page, SF

(415) 863-3136

www.sfzc.org

 

EVENT

“Cabaret Bastille”

LitQuake revives the ghosts of Left Bank bohemia for its cabaret and fundraiser Cabaret Bastille. Everyone’s favorite modernists will be in the house — Anais Nin, F. Scott Fitzgerald, James Joyce, Djuna Barnes, Henry Miller, H.D. and of course, the salon dom herself Gertrude Stein — as local writers impersonate these legends and read selections from their work. Other merriments include songs by accordion-accompanied chanteuse Gabrielle Ekedal, a make-your-own-Matisse station, exquisite corpses, and much genius-inducing imbibing. (Matt Sussman)

8 p.m.–midnight, $15

Cellspace

2050 Bryant, SF

www.brownpapertickets.com

 

EVENT

“Crimes Against Horticulture: When Bad Taste Meets Power Tools”

I earn most of my money on my knees, initiating a rampage of genocidal proportions upon the natural world. I pull weeds and I love the killing, though not without remorse, for who am I to judge? (As a nonbreeder, I’m biologically nil compared to the reproductive success of an invasive plant.) I wonder if funny-man gardener Billy Goodnick would diagnose this murderous spree a “crime against” or a “crime in the name of” horticulture? An award-winning landscape architect and host of the Santa Barbara television show Garden Wise Guys, Goodnick brings his humor-infused message of sustainability to horticultural criminals, crazies (any “compulsive rakers” out there?), and petal perfectionists alike. (Renz)

7 p.m., $15

Conservatory of Flowers

100 John F. Kennedy, Golden Gate Park, SF

(415) 831-2090

www.conservatoryofflowers.org

 

COMEDY

Jay Pharoah

Even though comedian Jay Pharoah is only 23, he is already a seasoned veteran of the stand-up circuit, hitting stages since his early teens and honing his hilarious impersonation skills. Eddie Murphy, Will Smith, and President Obama are among his stable of dead-on, side splitting impressions, some of which, along with his many other comedic talents, have been featured on national television since he joined the cast of Saturday Night Live last year. Pharoah’s star is only certain to rise with more national exposure, so do yourself a favor and catch him this weekend in the cozy confines of Cobb’s before it’s too late. (Sean McCourt)

Thurs/14–Sun/17, 8 p.m.

Also Fri/15–Sat/16, 10:15 p.m., $18.50–$20.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedy.com

 

FRIDAY 15

PERFORMANCE

Persepolis, Texas

Sometimes it takes a Texas-reared second-generation Iranian American cisgendered female in drag to point out what should be obvious: “That this huge stage presenteth nought but shows” (to quote an old Englishman who never set a pointy shoe in Texas). Is self-presentation of any kind just a drag act by another name? Isn’t the real question whose terms apply in the fashioning of one’s persona? Whose hijab is it anyway? San Francisco–based performance artist Maryam Farnaz Rostami explores the tenuous line between identity, persona, eroticism, and exoticism in her first evening-length solo show, embodying a handful of characters — including Rostami’s celebrated drag persona Mona G. Hawd — in movement, music, and an unexpected narrative encompassing contemporary Iran, Iranian Texas, and queer San Francisco. (Robert Avila)

Fri/15–Sun/17, 8 p.m., $20

CounterPULSE

1310 Mission, SF

1-800-838-3006

www.counterpulse.org

 

FILM

Skatetown, U.S.A.

Billed as “The Rock and Roller Disco Movie of the Year!” — the people behind Roller Boogie (which came out the same year) must have taken great offense — 1979 crapsterpiece Skatetown, U.S.A. has been very hard to find for years. What a cast: top-billed rodent Scott Baio, a slutted-up Marcia Brady (a.k.a. Maureen McCormick, who claimed she became a coke addict on this shoot), and 1979 Playboy Playmate-turned-1980-murder-victim Dorothy Stratten, to name just a few. Plus tons of actual roller-disco troupes — you can tell they thought this was their ticket to Broadway — and two genuinely talented dancers showcased as good and bad guy. The very Warriors-style villain is Patrick Swayze, making his film debut (his belt-whip skate solo smokes). With its mix of stupid skit comedy and stupider ensemble dramatics, Skatetown, U.S.A. is a fungal time capsule that played less-than-fresh even at its moment of birth. Yet it’s kind of great anyway. This one-night only revival features free tube socks, presumably not-free beer, and a post-screening roller disco party at Cellspace. (Dennis Harvey)

7 and 9 p.m., $15 (includes roller disco)

Roxie Theater

3117 16th St., SF

(415) 431-3611

www.roxie.com

 

PERFORMANCE

Hello, My Name is Joe

Bringing a global perspective to the push and pull of power structures, Meridian Dance presents 8213 Physical Dance Theater’s world premiere Hello, My Name is Joe, a site-specific work inspired by the concurrent visual art exhibition “In Extremis: Prints Monumental, Intimate.” Based in Taipei, Taiwan, under the direction of Chuo-Tai Sun with collaborator Casey Avaunt (a Maine native), 8213 Physical Dance Theater reveals the ways humans emotionally and physically battle controls. Launching from the old children’s song “Hello, My Name is Joe,” in which the protagonist is asked by his boss to push, pull, and turn buttons, the work challenges the performers to negotiate their freedom within the walls of the Meridian Gallery. (Julie Potter)

Fri/15–Sat/16, 7:30 p.m., $10–$20

Meridian Gallery

535 Powell, SF

(415) 398-7229

www.meridiangallery.org

 

SATURDAY 16

 

FILM

When Harry Met Sally

They’ve brought salsa and swing dancing, a circus festival, and classical music to Union Square. Now the Jewels in the Square Performance Series reopens age-old debates about the nature of friendships and sex, the rebound girlfriend, and orgasmic deli dishes. The latest event on the outdoor-entertainment calendar (in partnership with Film Night in the Park and the San Francisco Jewish Film Festival) is a screening of 1989 classic rom-com When Harry Met Sally. Prime your funny bone for the upcoming 2011 SFJFF (opening night is July 21) with the ultimate “Can a straight man and a straight woman ever be just friends?” flick, starring Meg “On the Side” Ryan and Billy “Made a Woman Meow” Crystal. Bring a friend, significant other, or both. (David Getman)

8 p.m., free

Union Square

Geary at Powell, SF

www.sfjff.org

 

MUSIC

Black Dynamic Sound Orchestra

“Blaxsploitation” cinema is as much prized for its music as for its leather-wearing, Afro-having, ass-kicking heroes and the vengeance that they wreak. What would Shaft (1971) be without its theme song? How could justice be adequately dispensed, or love properly made, without exceptionally funky grooves? It was with questions such as these in mind that the producers of Black Dynamite (2009) must have chosen Adrian Younge to score their filmic love song to black belts and pointy collars. Younge, who also edited Black Dynamite, created a perfect backdrop to a ridiculous movie, and wrote some great songs doing it. With Younge at the helm, Black Dynamite Sound Orchestra takes his vision on the road, performing selections from the Black Dynamite original soundtrack as well as unreleased tracks from a forthcoming album. (Cooper Berkmoyer)

With Lord Loves a Working Man and the Struts

10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

EVENT

Phono Del Sol Music and Food Festival

Music festivals can totally suck. They cost an Xbox 360, take half a week of your life (that’s never coming back) to see four bands that were in town at small venues the month before, make you realize Kanye is better on YouTube, force you to fend off that bro who won’t stop asking for drugs, and camp in a in a parking lot next to Porta-Potties. It’s a little much. Thankfully the folks at the Bay Bridged blog and Tiny Telephone have you covered with this darling, commitment-free fest that combines two SF passions: music and food. They’ll bring musicians including Aesop Rock, Mirah, and Appetite, and you bring your appetite (plus cash for Off the Grid’s food trucks.) (Ryan Prendiville)

Noon-7 p.m., free

Potrero Del Sol Park

25th St. at San Bruno, SF

www.thebaybridged.com

 

SUNDAY 17

 

VISUAL ART/EVENT

“Google Family Day”

In its “Doodle 4 Google: What I’d Like To Do Someday … ” exhibit (through July 19), the San Francisco Museum of Modern Art linked up with Google to showcase the works of 40 student artists. The works (selected from more than 100,000 submissions) were inspired by a prompt for kids to envision what they would like to do in the future — and channel that energy into redesigning a logo for the website’s continually changing home page. The moon-themed winner (which earned its seven-year-old creator, South San Francisco’s Matteo Lopez, $15,000 in college money plus a technology grant for his school) hit Google in May. The 39 other contestants have the pretty nifty consolation prize of having had their artwork hung in a museum before they’ve even hit 18. Today’s “Google Family Day” event offers free entry for families with kids under 12, with special hands-on activities, performances, and more aimed at young artists. (Getman)

11 a.m.–4 p.m., free for families with children under 12

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

 

TUESDAY 19

 

MUSIC

Parenthetical Girls

Pop music. To some these two words together bring to fore images of cloying sweetness, a toothy smile in high gloss shrink-wrap bearing down on contented mall shoppers. Parenthetical Girls is here to remind us that pop still has cards up its sleeve, if not revel in the antagonism. The willfully obscure recording project (usually) from the Pacific Northwest warps complex operatic composition à la Sparks and Eno, adds a dash of Morrissey’s infamous ego, and ends up with songs that are almost caustically intellectual. Experimental it is, but not so much that the essential framework is smothered. Instead, Parenthetical Girls emerges as something uncanny; it draws you in with familiar pop music tropes but leaves you pleasantly unsettled. (Berkmoyer)

With Extra Life and Sam Mickens

9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com 

 

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Big solar, little solar

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rebeccab@sfbg.com

At a business conference this past May hosted by Wired Magazine, Bill Gates, the billionaire chair of Microsoft and an influential philanthropist, offered his two cents on solar energy. “If you’re going for cuteness,” he told Wired, “the stuff in the home is the place to go. It’s really kind of cool to have solar panels on your roof. But if you’re really interested in the energy problem, it’s those big things in the desert.”

Those big things in the desert are solar farms, designed to concentrate energy from the sun using arrays of mirrors or parabolic troughs spanning vast swaths of land. They’re green versions of the types of power plants big energy companies have always relied on — centralized, dependent on transmission lines, and requiring billions of dollars in investment. Some rely on water from desert aquifers for cooling, cleaning, and steam generation. Yet the plants can replace electricity that traditionally has been derived from burning coal, representing a significant advancement away from fossil fuels.

It’s too early to say whether California’s energy future will follow Gates’ maxim that rooftop solar is “cute” while desert solar represents the serious stuff. Others have argued just the opposite, and momentum is building on both fronts. Gov. Jerry Brown has endorsed the idea of installing 12,000 megawatts of rooftop solar, and was expected to bring stakeholders together in late July to discuss how to accomplish that goal.

At the same time, large-scale desert solar is attracting billions in investment, and big-name companies such as Bechtel, Chevron, AECOM, and Pacific Gas & Electric Co. are engaged in its development. The California Energy Commission approved nine desert solar-thermal projects last year, capable of producing 4,100 megawatts.

As California moves toward fulfilling a mandate of generating 33 percent of electricity from renewable power sources by 2020, there’s bound to be a political edge to solar development too. Giant utility companies profit by sending power along their transmission lines from desert solar farms to the grid. On the other hand, if energy-conscious customers generate more power than they use with rooftop solar panels, the utility company has to cut them a check. So there’s little incentive for utilities to encourage customer-owned, distributed generation of renewable power.

Jeanine Cotter, CEO of San Francisco-based Luminalt, a small solar installer, says it takes her work crew about a day and a half to mount new panels onto a rooftop. “That will produce power for that home for the next several decades,” Cotter notes. “It’s a rapidly deployable technology that is durable and will last a long time.”

Cotter practices what she preaches. “At my house, if you turn on all the appliances, you can look at the meter and see that we’re still relying on PG&E to bring us power,” she says. Cutting down results in the meter showing that the panels are producing electricity for the grid.

Self-empowerment is a major draw for proponents of rooftop solar. “The choice is pretty clear: pay for the ongoing cost of remote central-station renewable power or pocket the savings of locally-generated renewable power,” Al Weinrub of the Sierra Club writes in a pitch for decentralized solar generation in a January 2011 report. “Businesses with large rooftops or parking lots can become small power companies that feed electricity into the grid. Community cooperatives can pool the rooftop area of their neighborhoods to form, for example, an East Oakland Power Company.” The revenue could be rolled into job creation and more green-energy development.

Rooftop solar has gained traction in California over the past five years with a $3 billion program to subsidize installations. The California Public Utilities Commission recently touted the California Solar Initiative (CSI) program’s success — a 47 percent growth in installations since 2009. All told, the Golden State boasts 924 megawatts of solar generation capability, installed at 94,891 locations. Consultants for the California Public Utilities Commission found that 11,543 megawatts of solar could be generated on large urban rooftops statewide, while another 27,000 megawatts could be generated on empty lots near rural substations.

The potential is huge, but a cost barrier remains. Even with incentives, residential solar remains largely inaccessible to people who aren’t rich enough to own property or finance the upfront cost. In San Francisco — recently declared the greenest city in North America by Siemens — roughly 70 percent of residents are renters who almost never have the option of going solar. Proponents of desert solar farms claim that the large-scale, centralized technology offers something that rooftop panels can’t — the potential to bring renewable energy to the masses.

The largest desert solar plant under construction worldwide is BrightSource’s Ivanpah plant, which Bechtel is building in the Mojave Desert. Spearheaded by an Oakland company, the plant uses sunlight and mirrors to generate steam to power a turbine. The energy will flow onto the grid to serve PG&E and Southern California Edison customers. It’s a dramatic improvement compared with burning coal, but there are other issues. On a yearly basis, it will use enough groundwater in the arid desert to cover 100 acres, one-foot deep. And it riled environmentalists who worried that it would affect the habitat of an endangered tortoise.

No one disputes that on a per-watt basis, it’s cheaper to install desert solar than rooftop solar. According to estimates from Go Solar California, it costs more than $8 per watt to install small-scale rooftop solar systems, while recent costs for desert solar farms have been calculated at around $4 per watt. “Because they have the economy of scale, they can be built at less cost,” notes John White, executive director of the Sacramento-based Center for Energy Efficiency and Renewable Technologies.

Yet a renewable energy expert who formerly worked for the California Energy Commission (CEC) says comparing costs of desert and rooftop solar from the point of view of the customer tells a different story. In April, Sanford Miller delivered a presentation at UC Davis that could have been considered subversive. His analysis essentially found that ratepayers shell out less to subsidize rooftop solar installations than they do to finance the purchase of energy from desert solar farms once the full cost of transmission and environmental mitigation are factored in.

“From a ratepayers’ perspective, rooftop solar would be significantly cheaper than the desert solar,” Miller says. When he sent his findings around to his colleagues at the CEC, “no one disputed it,” he said. “But the view was that desert solar was inevitable.”

But that still leaves the question of who can afford solar — and this is where Tom Price, former executive director of Black Rock Solar and now part of a solar investment firm called CleanPath, believes he’s found a middle way. As things stand, every utility customer chips in to subsidize the cost of individualized solar panels for the lucky few who are installing them, he points out, and those same customers are footing the bill for energy companies to buy power from giant solar farms. He’s pushing the Community Solar Gardens bill as an alternative.

Introduced as Senate Bill 843 by Sen. Lois Wolk (D-Davis), the bill would allow any customer to purchase a subscription to a centralized renewable energy facility, and receive credit on their utility bill in exchange for the monthly fee.

White takes the view that all the different solar technologies are needed — rooftop, desert, and “intermediary” — the kind of small-scale, centralized facility that is located closer to the customers who will use it, like the solar array at the Sunset Reservoir in San Francisco. “After Fukushima [Daiichi Nuclear Power Plant in Japan], we need to begin talking seriously about reducing our dependence on nuclear power,” White says. “When you look at what we’re trying to replace and what we’re trying to avoid, it’s like we’re trying to assemble a new portfolio.”

 

Na Nach hey hey

2

marke@sfbg.com

SUPER EGO My ever-ahead Hunky Beau just introduced me to Na Nach techno — and I’ve been kinda freaking out about it, like I would about 3-D animated GIF nail polish, that you could upload Hipstamatic photo booth pics of you and your friends to, reenacting tacky 1980s movie dance montages, but happening on your nails, in 3-D, if it even existed, which it doesn’t, so why don’t you just get off your boring global warming-proving ass and do something fabulous about that, Mr. Scientist. I already know the weather’s weird. I want Footloose on my fingernails!

Na Nach is the name of a newish Hasidic Jewish subsect of followers of Rebbe Nachman of Breslov, the kabbalist mystic who lived 200 years ago. But unlike the larger Breslovian following, it has mobile rave units. Driving around Israel in white vans graffitied with giant Hebrew letters, the Na Nach stop at intersections and come tumbling out, blasting homemade electro trance, chanting “Na Nach Nachma Nachman Me’uman” (the Rebbe’s name spelled out), and dancing ecstatically in outfits that are part typical Orthodox dude and part Ali G. It’s basically a glorious logical conclusion to the whole “trance music as religious experience” thing. Of course the Sufis already got there centuries ago but, one suspects, without the aid of JBL 18-inch portable subwoofers and a pirated copy of Ableton Live.

The happy, energetic music and mood are actually pretty infectious. And the Na Nach, some of them former ravers and gangsters, have become so ubiquitous that hilarious parodies have started springing up — including one by the great gay Tel Aviv party Arisa (whose video flyers rule the homo Web right now.) Have a Na Nach look and listen at www.sfbg.com/nanach.

 

TABOO

DJ David Harness’s lovely, deep-yet-breezy party anchored San Francisco’s soulful house scene throughout the early 2000s, one of those joints where you could use the words “vibe” and “spiritual” and not feel like you were tossing up disco clichés. Yes, there were candles and, er, incense involved, and quite a few flowers tucked behind perked-up ears — hands snaking luxuriously up into the air as well. Now the party returns, finding a new biweekly Oakland evening home at the spacious Bench and Bar. Organic sounds, no labels.

Thurs/7, 6 p.m.–midnight, free. Bench and Bar, 510 17th St., Oakl. www.bench-and-bar.com

 

TIPPER SOUND EXPERIENCE

Cosmic, Burner-like blasts of time-warped bass and cheeky step from multimedia mindblower Tipper, the modest Brit who takes his audio technology fetish to another level. Gotta love it when he drops the lingo: “Featuring a five-way crossover sound system in a Quadraphonic Array with specialized subwoofers dedicated to 45 hertz and below … ” With a six-screen projection rig thrown in, you’ll basically be entering the electronic space-pod of your ear dreams. It’s an experience.

Fri/8, 8 p.m., $22.50. Regency Ballroom, 1290 Sutter, SF. www.theregencyballroom.com

 

LEE BURRIDGE

The bloke from Bournemouth who was crucial in spreading the acid house gospel in the ’80s — and brought rave to Asia, with his storied seven-year stint in Hong Kong — has become a reliably sunny, techno-twisty force on Top 100 DJs lists and better global dance floors. Good, solid fun is had whenever he gets to town (and sometimes I just randomly prance around and drop to his xylo-yummy 2010 track “Wongel” in my head) so go already. Nikola Baytala, Rooz, and other locals work the build-up.

Fri/8, 10 p.m.–late, $15. Mighty, 119 Utah, SF. www.mighty119.com

 

LEE FOSS

Guess it’s a battle of the Lees this week — luckily there’s some after-hours leeway to hit up both. This Lee comes to us from the Midwest via Los Angeles and London, were his chiseled looks and dreamboat eyes were at first as much of a talking point as his music. Luckily he overcame that crippling handicap to inject some bouncy tech-funk flavor into the trademark R ‘n’ B house of the Wolf and Lamb set. Call it the new New Jack Swing sound if you like. And you will like, especially when grouped at Public Works with Beats in Space radio host Tim Sweeney and my not-so-secret French house crush, Le Loup. (I love his little fuzzy mustache!)

Fri/8, 10 p.m.–3 a.m., $12. Public Works, 161 Erie, SF. www.publicsf.com

Punk prophet

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arts@sfbg.com

LIT Perhaps the biggest faux pas in critical art writing is using the artist’s first name when addressing his or her work. Countless teachers, critics, and editors have embedded this notion deep into the recesses of the right side of my brain. However, when writing this essay I continuously found myself wanting to address Mark Morrisroe only by Mark — as if I were having a personal conversation with him about his work. It could be that after spending a great deal of time with the artist’s recently published posthumous monograph Mark Morrisroe (JRP-Ringier, 512 pages, $65), that a bond, strong enough to diminish such formalities, seems to have formed between us. I feel as if we would have been the best of friends had Mark survived his untimely death from AIDS in 1989.

This mammoth publication spans the artist’s relatively short but undeniably influential oeuvre and includes 500 impeccably printed reproductions of his photographs, photograms, Polaroids, Super 8mm films, and signature “sandwich prints.” The resulting survey is nothing short of breathtaking. Mark’s dynamic approach to image-making is showcased alongside several poignant theoretical and explanatory essays reminiscent of Felix Gonzales-Torres’ retrospective monograph published by Nancy Spector and the Guggenheim Museum in 1995. As Gonzales-Torres would say, this is a book you would want to bring on leisurely day at the beach.

The monograph is divided into several sections, each encapsulating a portion of Morrisroe’s career and augmented with an essay detailing the importance of the specific subject matter in defining his artistic vision. I found myself spending countless hours examining each section and noting how Morrisroe’s hand is so vividly present throughout. Even in his most straightforward portraits, the notion of his human presence behind the camera — like so many other artists in the history of photography — is not lost. He is not simply producing likenesses of his subjects, he is simultaneously projecting reflections of himself onto the surface of the paper.

To be honest, I have yet to give the literary portion of the book its due diligence because I have been so blindingly seduced by the imagery. There is potential for this to happen to you as well, but keep in mind that the biographical knowledge available greatly informs the work and provides essential historical context that considerably heightens its cultural significance. I won’t go into too much detail of Morrisroe’s biography here because I feel that a few short sentences on the matter won’t do him justice. Besides, it would be far more entertaining for you to discover his story on your own among the pages of drag queens, hustlers, X-ray images, and vintage porn photo montages.

As a young photographic artist myself, I was struck most by Morrisroe’s visceral interest in understanding the alchemical processes of his chosen medium and the unflagging beauty of the individuals and peripheral culture he aligned himself with. Morrisroe’s photographs might be considered off-center — infused with the tumultuous happenings of his extraordinary life story. Yet the immediate sense of tragedy present within much of the work is lyrically transcended through his bold use of color and dreamlike, oftentimes surreal, and pictorial imagery.

Today Morrisroe’s palette could be read as reminiscent of the 1980s, a consciously busted queer-punk aesthetic. But it also serves as an elegiac reminder of dying analog photographic processes. (For those who aren’t photonerds: many of the techniques used by Morrisroe over the course of his career have become nearly extinct with the rise of digital technology and rapidly increasing cost of maintaining a strictly analog practice.)

The last section of the book features installation images from various solo exhibitions of Morrisroe’s work before and after his death. I can’t help but think of the myriad possible trajectories that would have been available had he survived the AIDS epidemic. It seems as if he was just beginning to come into his own and to fully understand his potential as a maker and progenitor of culture. Instead we are left with an impressive and spontaneous collection of work that was light-years ahead of its time. It seems appropriate that a monograph of this caliber would come to fruition now to allow a younger generation to connect with Mark’s spirit found in every lush-hued image.

Easy steps to open government

1

I missed the mayoral candidates forum on open government and technology, but sfist had a lively and fun report on it. I like David Chiu’s idea of lighting up all the city’s fiber optic cable — but why not go further, and lay cable everywhere that we’re tearing up the streets for sewer replacement? The biggest cost of laying cable is trenching and filling — and we’re already doing that. Mayor Lee wants a big street-repair bond for the fall, but a bond act to run public fiber under all the city streets would be far more valuable in the long term.


Here’s an even easier one: Make the basic city finance and property records available on a searchable database.


Our reporter Rebecca Bowe has been trying for a week to get the SFPD or the controller’s office to give her salary and overtime information for a couple of cops. Everyone’s too busy. It’s too much of a hassle. They can’t get to the records. We hear that all the time.


So why do city employees have to bother with this sort of request? Why isn’t there a public database of all the salaries of all city employees? The Chronicle did its own in 2009. How hard would it be for the city to post that data?


Same goes for Assessor’s Office records. I can pay a private company like LexisNexis a monthly fee, and get instant, searchable access to public records of property ownership and transfers, but why should I have to? Why isn’t all that data on line, too?


The Health Department has a nifty database to search for restaurant inspection records. There’s a fun GIS system that lets you look an a parcel of land and find out who owns it and track all the building permits. But there’s no place to simply type in a name and get a list of all the property that person owns, or track ownership transfers or any of that other stuff that can be done easily with a paid service.


Some sunshine advocates, including Kimo Crossman, have gone even further, suggesting that every document that a city employee creates (with the exception of certain personnel, law-enforcement and other exempt records) be automatically stored in a publicly accessible database. 


There’s some expense, obviously, in setting this all up and maintaining it — but considering how overworked and harried the staff at SFPD and the Controller’s Office seem to be, the savings in the long run in worker time would be well worth it. 

The ol’ Vic-trola

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arts@sfbg.com

SOUND TO SPARE The potential closing of Haight Street’s Red Vic Theater has unsettled me. With one less place to go out and enjoy, what’s a shut-in-prone type like me to do?

Fortunately, when I spoke to Sam Sharkey, one of the co-op’s managing partners, he offered a ray of hope by saying that the Red Vic Movie House is here, organized — it just partnered with the Haight Street Fair and the California Jug Band Association for a benefit — and best of all, still screening movies, some of them music-related.

Let me take a breath for a minute to reflect and appreciate some of the carefully curated films I’ve encountered at this fine establishment. I’ve transcended the mundane through Ziggy Stardust’s gender-bending, screwed-up-eyes stage persona in Ziggy Stardust and the Spiders from Mars. Director D.A. Pennebaker, better known for documenting Bob Dylan in the 1960s, tried his hand at capturing the Bowie in full glam garb during a 1973 tour. Mick Ronson shreds on guitar to undeniably comical proportions. I recall the audience cracking up, something you just don’t get when you’ve opted to Netflix at home.

The less acclaimed — but equally gorgeous — somber sounds of a pop-star- turned-recluse proved to be quite a treat. Scott Walker: 30th Century Man (2006) was one of those films I didn’t know I needed to see, until the rainy day someone sent me a YouTube link to his song “It’s Raining Today.” The opening atmospheric sounds alone on this track are enough to captivate, but as it moves forward into Walker’s commanding crooning voice, you realize that he has the ability to convey dread and beauty at once. The film is a concrete testament to his influence on contemporary musicians.

Later I was given the soundtrack to boxing’s “Rumble in the Jungle,” set in early 1970s Zaire, where a showcase of mostly familiar soul artists pulled off a hugely successful stadium concert. Soul Power (2008) sort of serves as a musical counterpart to 1996’s When We Were Kings, which was the cinematic predecessor dealing with the same Ali vs. George fight. The symbolic implications of the event for African and African American pride are brought to the fore, and the concept of power is examined, whether it is achieved physically, politically or even musically.

Sharkey said that declining attendance was the Red Vic’s main obstacle. Single-screen theaters aren’t as much of a sustainable business anymore, as evidenced by the number that have closed in the last 10 to 20 years. The Castro Theatre and the Roxie in the Mission seem to be surviving, though — I wondered why people weren’t coming out for movies in the Haight anymore. Was it a bad rap from all the sit-lie buzz? Sharkey didn’t seem convinced on that argument, trusting that his patrons wouldn’t buy into that hype. He leaned toward more technology, calling this an age of competition and noting that the accessibility of movies via broadband Internet is just too convenient.

If you’re a music fan who wants to help curb the trend against local establishments falling by the wayside, then the no-brainer is to hit the Red Vic for the following music films. Rock out for the cause — or you may end up drowning in a sea of Whole Foods.

June 26-28, Phil Ochs: There But for Fortune. The unsung 1960s antiwar folksinger (who doesn’t mind taking a backseat to Dylan) gets the full doc treatment.

July 14, The Hippie Temptation. Vintage 1967 footage of the Haight-Ashbury scene in its glorious heyday as seen through the eyes of CBS News. Originally aired on TV, this “hilariously biased” take on flower power should have you craving the street peddlers’ wares immediately after the show.

July 15-16, Stop Making Sense. Classic Talking Heads circa 1984 at L.A.’s Pantages Theatre. Watching a jittery David Byrne working the crowd in his oversized boxy white suit should be worth the price of admission alone.

July 19-20, The Last Waltz. This one’s cool for a couple of reasons. First, it’s directed by Martin Scorsese and, second, it captures The Band’s final show at San Francisco’s old Winterland Ballroom, a place I’ve often dreamed of seeing a show.

Play the game, preserve the wetlands for your grandkids

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Things we like: halting environmentally harmful development projects, healthy waterways, online timesucks, and free booze. So Save The Bay, thanks bunches for your new fundraising Internet game — but in the future, thanksmuch for staying out of our heads, regardless of the potential benefits of whatever mind reading technology you’ve got your benevolent little mitts on.

At the risk of revealing the pathway to our sasstivist hearts, meet Battle for the Bay. It’s Save The Bay’s newest gizmo, giving water-loving point-and-clickers the chance to journey from the 1960s (when the bay advocacy group was founded) to present day times, all the while besting historically accurate environmental menaces to our local lands, from David Rockefeller’s 1970s bid to level the San Bruno Mountains and create a Manhattanized version of the San Mateo County shoreline, to the Costco Busan spill, to Cargill’s current ploy to transform 1,436 acres of Redwood City salt ponds to suit its freaky agribusiness needs. (Coincidentally, Save The Bay is not in favor of this plan.)

You’ll never get your stubby fingers on Bair Island, 1980s Mobil man! 

And it’s not just an opportunity to crusade against cartoonized powers that be! Trivia questions give you a chance to brush up on your ephemeral wisdom of the Bay Area (from brothel main drags to historical transportation lines), and there are prizes: the Bay city with the most players will win a free happy hour at a watering hole in their ‘hood. 

Genius. “We worked with Free Range Studios to design the game,” says Cara Longpre, online communications manager at Save the Bay. “We heart them.” (You’ll heart them too after watching The Meatrix, the company’s viral video hit from 2003). 

Other people Longpre hearts: George A. Miller and Janet McKinley, two longtime Save The Bay members who’ve agreed to front up to $10,000 in $1 increments each time you (you!) click over to the site to defeat the evil Pete Wilson beast. 

So quick, go! We’ve already lost 90 percent of our tidal marsh to development. And we want our free happy hour, dammit. Longpre told us not to count our chickens before we hatch on that one, but hey, we know some people in the media. 

 

Not the face!

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marke@sfbg.com

SUPER EGO Henny, I don’t even know where to start. I leave the country for a lousy two months and I come back to this? No more Eagle Tavern to blow my mind on Thursday nights and blow my other parts on Sunday afternoon? No more Ti Couz for a hot bowl of pear cider when it’s pissing down rain? Straight people from Richmond puking all over the Castro on the regular? (Actually not too sad about this. I love my Richmond girls — and their unattended purses and boyfriends.)

Perhaps worst of all — um, Kreayshawn? Wow. At least we’re balancing out that catastrophe with a healthy, sleazy obsession with the Weeknd.

OK, I’m gonna move it all along, not dig my claws into bygones. I just flew in and my arms are too short to box with blah. It’s actually great to be back in blackout among my SF dance floor family. So let’s toast the future by getting toasted, because there’s a Jeroboam-load of parties sparkling in the fridge. Hiya!

 

BAWDY STORYTELLING: “LIBERTINE!”

“Carnal chronicler” Dixe De Tour’s over-the-top scandalous, sexy Bawdy Storytelling reading series is so successful it just expanded to Los Angeles. But home is where its, er, heart remains as Oakland’s infamous Ouchy the Clown joins a bevy of ear-burners for a no-holes-barred night of free speech.

Wed/8, 7 p.m. doors, 8 p.m. storytime, $10. Blue Macaw, 2565 Mission, SF. www.bawdystorytelling.com

 

WIG OUT: KIM KONG BENEFIT

Beloved DJ and promoter Kim Kong of Non-Fat and Bitches with Stitches was just diagnosed with lymphoma, and the SF scene is stepping up to lend support at this bonkers fundraiser. The Housepitality, dirtybird, and Non-fat crews are bringing heavy hitters Mr. C and Claude VonStroke to the decks — you throw on your favorite wig and dance around.

Wed/8, 8 p.m., donation requested. Icon, 1192 Folsom, SF. www.wigoutwednesday.com

 

BLOW UP SIX-YEAR ANNIVERSARY

You mean our seminal electro banger glamourpuss joint is already six years old? That’s almost the age most of the kids who went there were during its insane early Rickshaw Stop days, what? Blow Up power couple Ava Berlin and Jeffrey Paradise join the Tenderlions, Nisus, Trevor Simpson, Holy Mountain, and more for the hands-up blur.

Fri/10, 10 p.m., $16 under 21, $12.50 over. DNA Lounge, 375 11th St., SF. www.blowupsf.com

 

DAVE NADA

The godfather of Moombahton — pitching Dutch house down to its deliciously tropical (and far less annoying/wannabe gangsta) roots — hits the raucous Lights Down Low party, not previously known for its reggaeton or Netherlandish leanings. But dude, when it gets darker anything goes. U.K. funky beatsplitter Canblaster and IHEARTCOMIX’s Franki Chan open up, local locos Deevice, Sleazemore, and Eli Glad preside.

Fri/10, 9:30 p.m.-3 a.m., $10. SOM, 2925 16th St., SF. www.lightsdownlow.net

 

EVOLVE ANNIVERSARY

Monthly party Evolve has grabbed the crown for deep yet spirit-raising soulful house in the Bay. (Was there ever any doubt Oakland would reign supreme?) And while the emphasis is on the “sacred element of music,” DJs David Harness and Soul Luciani don’t stint on the more earthly pleasures of a friendly, packed dance floor.

Fri/10, 9 p.m., $10. Era Art Bar, 19 Grand, Oakl. www.oaklandera.com

 

LEE DOUGLAS

Sophisticated nu-disco and deeper house funkiness from this Brooklynite, who has garnered a star-studded following by unashamedly embracing the lo-fi analog techniques of yore. (No fear of the wah-wah here!) He’ll be at the monthly No Way Back party with DJs Conor and Navid.

Fri/10, 9:30 p.m., $5–$7. 222 Hyde, SF. www.222hyde.com

 

LOOSE JOINTS THREE-YEAR ANNIVERSARY

One of the funkiest parties in the city — a real topper combining secret sampled classics with up-to-the minute edits into a heady yet hip-swinging brew — hits the triple. Guest star: live beatboxer, producer, and instrumentalist James “Ayro” Ellison of Ubiquity Records, with residents Tom Thump, Damon Bell, and Centipede.

Fri/10, 10 p.m., $5. Make-Out Room, 3225 22nd St., SF. www.makeoutroom.com

 

MALL MADNESS

The totally not ironic, awesomely gnarly, giddily drag-ridden tribute to 1990s boy bands, ’80s Spandex pop, and ’70s unicorns on roller skates (bonus Bieber nods!) is folding up its Sunglass Hut and moving on with its life. Hostess Oxana Olsen serves up Glamour Shots and Hot Topics for the final installment.

Sat/11, 10 p.m., $7. UndergroundSF, 424 Haight, SF.

 

FADE TO MIND

Those wacky Tormenta Tropical kids are at it again, expanding the signature electro-cumbia sound of their monthly gig with some warped global bass action. This Fade to Mind showcase flies in the L.A. label’s biggest draws: rave ‘n’ b king Kingdom, bouncy duo Nguzunguzu, and kooky pixellator Total Freedom.

Sat/11, 10 p.m., $10. Elbo Room, 647 Valencia, SF. www.elbo.com

 

THIRD ANNUAL SUNSET MUSIC AND ARTS PICNIC

It doesn’t exactly feel like summer as I write this — most likely because one of the Bay’s most adored free summer-launching events hasn’t occurred yet, right? The Sunset crew is once again taking over Treasure Island for a daytime dance and chill extravaganza, featuring a live set by the actually legendary house and jungle pioneer A Guy Called Gerald of “Voodoo Ray” and “Black Secret Technology” fame. DJs Solar, Galen, J-Bird, and (yay!) Primo Preems support.

Sun/12, noon–8:30 p.m., free. Treasure Island. www.pacificsound.net 2

 

Wanderlust

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arts@sfbg.com

DANCE In the sunlit studio at 499 Alabama St., Jessica Swanson affixed her blonde wig atop loose pin curls to rehearse a scene from Joe Goode’s new work, The Rambler, premiering at Yerba Buena Center for the Arts Friday, June 10. She recited a line about how freedom skips a generation as Goode, clutching a cup of coffee, closed his eyes to listen. Then meticulously, word-by-word, he adjusted the script, recording each edit on his open laptop. The rigor continued to clarify every movement and tune for Swanson, who plays a character left behind by a certain rambler.

“We started very simply with the peripatetic impulse to roam in a general way, and then I became interested in what it means for the person who is attached,” Goode said. “The rambler is a romantic figure, particularly in American culture, the wanderer and seeker. So we’ve been asking questions on both ends — about being the rebel and being left.” In addition, his team explored the redemptive quality of moving forward, even without a clear direction, versus staying still. “Dancing is also that — not really about going anywhere, but about movement, feeling the body and its ability to be alive and move.”

Joining forces with Goode, puppeteer Basil Twist created a photographic lens with curtains that will serve as a moving frame to zoom in and scope out, following the action onstage. In the role of scenic designer, Twist provides possibilities for Goode to amplify certain aspects of the production with the aperture. In a rehearsal three weeks prior to the premiere, Swanson also manipulated a life-size puppet of Twist’s making, although its presence in The Rambler is still to be determined.

“We always have about 100 pieces of material and end up using about 20, and decisions really can’t happen until the end when we have all the variables,” Goode explained. Continuing to direct each detail, Goode demonstrated precise and dramatic gestures as Swanson translated the choreography for the puppet. She grasped the molded hand with her human one, skillfully performing for two characters simultaneously. Alongside the puppets, The Rambler also features an original score composed by Jesse Olsen Bay, lighting design by Jack Carpenter, and costumes by Wendy Sparks.

Goode constantly edits his work even after performances begin. “My pieces look very different three years after opening. For me, nothing is fixed,” he said. “I’m not interested in having masterworks that can be caught and frozen in the Louvre.”

The impulse to update and stay current permeates his attitude about legacy as well. “I feel at this point in my career, I want to codify that technique and find some ways to disseminate it. I’m not interested in having my works performed by people who didn’t originally make them, say 25 years from now. I’m more interested in passing along a technique of how to approach work, build it, and keep art-making an exciting pastime. Sharing that journey and discovery is a real service to provide to the world.”

His technique entails taking an idea’s temperature and acknowledging a personal perspective, then approaching the results like a collision, juxtaposing stories and ideas that don’t necessarily go together to render new possibilities.

Now in its 25th year, Joe Goode Performance Group enjoys its new Alabama Street home and dedicated facility. “One of the reasons for having my own space is that I feel in San Francisco we are a little bit bereft of international conversation about dance theater and interdisciplinary art-making. I really want to do a lot of exchange and present an opportunity for people to come, talk about, and show their work — particularly people from out of the country,” Goode said.

“I’d also like to present some kind of a platform series where more established artists can curate and mentor a younger artist and present them while trying to explain their work and why he or she is attracted to it,” he continued. “Again, it’s something you’ll see a lot in Europe — artists curating series — and I think it’s an important thing to do.”

Furthermore, Goode acknowledges the potential for installation work in the vast new space. With impossibly high ceilings, the building can be transformed to accommodate a variety of installations and sets, also of increasing interest to the choreographer: “The proscenium assumes that we’re the professional and you’re the person who gives us money. The separation of feeling and the distance takes away some of the volition of the viewer. When you think about installation work, you have to get involved. You have to make decisions and discover on your own — and then it’s much more personal.”

Mining human terrain to develop his work, Goode champions going deeply into tactile, embodied, and sensual moments. He considers the practice especially relevant in a society that tends toward thinking and technology. “I’m really beginning to understand after so many years my own values about making folk art and the simple connection of delving into material that people can understand,” he said. “I do want to start beating the drum very loudly for this kind of work — an alternative approach that really values the human experience, especially in our troubled times.”

For Goode, making art is a sort of survival technique for living in a world that’s dangerous, threatening, and bewildering. “Its a way of locating myself and understanding where I am in a given time — and hopefully providing others with a kind of perspective.”

THE RAMBLER

Fri/10–Sat/11 and June 16–18, 8 p.m.;

Sun/12, 7 p.m., $19–$49

Yerba Buena Center for the Arts

Novellus Theater

701 Mission, SF

(415) 978-2787

www.joegoode.org