Upcoming

Duncan Sheik to sing with the San Francisco Symphony

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Duncan Sheik’s “Barely Breathing” was ranked #88 on VH1’s 100 Greatest Songs of the 90s, but in the past decade, the singer and composer has been winning even fancier gold awards for his musical theater scores. This week Sheik’s singing with the San Francisco Symphony— Wed/7- Sat/10 at Davies Symphony Hall– and performing the world premiere of the orchestral arrangement of songs from The Whisper House.


The Whisper House is the story of a small boy, Christopher, who looses his father during World War II and must move into a lighthouse with his aunt in New England. The creepy coastal home is haunted and Christopher begins to build a rapport with the spirits. The ghosts sing all the songs during the show, exposing the subconscious secrets of the boy’s frightened mind.

Sheik, along with Kyle Jarrow, wrote the songs for the stage production of The Whisper House and the show premiered at The Old Globe in San Diego in January 2010. The SF Symphony commissioned new orchestration of the Whisper House songs, excited by Sheiks wild success with his score for the Broadway hit Spring Awakening, which won him two Tony Awards in 2007 and a Grammy in 2008.

http://www.youtube.com/watch?v=yqRu6TvosPY

Songs like “It’s Better To Be Dead” and “We’re Here To Tell You” are great examples of this new collection’s gentle nature; organic, slightly chilling and yet comforting. The songs are indeed perfect for The Whisper House’s stage setting, the soft guitar strums, purring clarinet, and padded drums inspire contrasting thoughts of cozy down blankets and cold, salty winds. The song lyrics inform young Christopher that there are in fact things in the lighthouse, and in the world, that are scary, contrary to what his aunt tells him. Fluid and serene, it’s easy to picture a bunch of ghosts whispering Sheik’s words high above the angry ocean waves, stirring around the lighthouse and taunting the child.

Sheik will be singing along with the Symphony during his string of performances in San Francisco, and although the story will not be told visually, the stage full of instruments will guide your mind in the right direction. Along with Sheik, the evening will also feature other music intended for the stage, including Poulenc’s Suite from Les Biches and Claude Vivier’s Zipangu.

 

Duncan Sheik w/ the San Francisco Symphony

Wed/7, 8pm

Thur/8, 8pm

Fri/9, 6:30pm

Sat/10, 8pm

$15 to $130

Davies Symphony Hall

201 Van Ness, SF

www.sfsymphony.org

 

RJD2’s music is a trip– even for him

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Skip the Blockbuster run of predictable action flicks and let an RJD2 album call the shots. The record may spin, but your mind will cartwheel with scenes of drama, horror and thrill of your choosing. Allow the blaring horns to signal a wild chase, the sampled soul to spur images of a powerful protagonist and the hip-hop bass to conjure up a dreary, urban setting: the music of RJD2 –playing Wed/7 at The Independent–  is a mind-driven movie reel.

Ramble John “RJ” Krohn has been making music as RJD2 since 1993, switching up his perfectionist tainted DJ process by not only sampling everything from ’70s disco and movie themes, but by also using his own vocals and live instrumentation. Last year RJ took on the boss role and started his own label, RJ’s Electrical Connections, putting out his fourth and latest record The Colossus in January. 

Colossus begins with “Let There Be Horns“, its hot Latin drum beat, humming strings, tiptoeing chimes and heavy synths immediately filling my mind’s projector with images from an underground business deal. I imagined film flickering with shots of Miami mobsters, blaring brass begetting cash exchanges and the electric guitar solo warming of police presence. I heard the medley of Russian-style strings as an audible indication of a fight between the pastel suited-men and the story’s dirty antagonists. The synth seemed to indicate when life was good in palm-laden city and the sampled clapping at the song’s end wrapped up my vision with high hopes. 

Each song on Colossus has a similar, industrial, urban story for me; I see factory workers, trains, smog filled cities and lover’s quarrels each time RJD2’s beats play. Is this weird? Maybe my over-active imagination should get back in the closet? I was hoping that RJ himself would understand.

Talking over the phone from his Ohio home, RJ was enjoying a small window of free time by repairing a broken synth, which he admitted was “pretty nerdy.” Not as nerdy as my “visions”, I thought. I asked him questions about owning the label and other slightly boring items, flirting around what I really wanted to ask. I felt like a kindergarten student with my hand-up, squirming with a question. And then, I just blurted it out. 

SFBG: So…do you ever think of your music as a story? I tend to think of the sounds, instruments and samples as characters– interacting, meeting, fighting, making love? Antagonists and Protagonists in a movie scene. Do you think of it like that? 

RJ: (Giggle). I think of things in a similar manner, yes. 

SFBG: (Sigh of relief).

RJ: The fun of instrumental music for me is the intention of release. The arrangement of the song is the most important thing– how it progresses. The tension and the release. Building drama. The medium I work in is drama. Two things might be working with each other, or against each other, and thinking of them as characters or playing roles makes sense to me. There’s a relationship between the two parts: between the drums and the groove, the intro and the base of the song. The bridge, the breakdowns, each section– where they fall next to each other and the transitions between them. 

SFBG: So if not in story-writting mode, where does your head go when you put together your songs?

RJ: I like to let things unfold on its own accord. I don’t like to force it. I find it fun and interesting and rewarding to let it take me along for the ride. I’m not the kind of guy who starts with a blueprint, or gets lyrics, chords and melodies in their sleep– I’m in total awe of that. Almost all of the time I’m recording, it’s an exploratory project– I don’t know what I’m looking for, shooting for as I go. I like to get the sensation that the experience is like going along for a ride in someone else’s movie, trip or story. 

No need for a pill, puff or embarrassment– looks like everybody gets a free trip from RJD2’s music.

 

RJD2

Wed/7, 8pm, $20

The Independent

628 Divisadero, SF

www.the independentsf.com

 

In Roma with Fishtank Ensemble

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In the United States, the term “gypsy” has come to signify a certain bohemian nomadry. A silver bangled, many skirted, sultry way of banging a tambourine. But more deeply,“gypsy” refers to a rich cultural Euro-Asian heritage, more correctly termed Roma — a culture that has brought to the world the frenetic riffs and musical arabesques of Roma tunesters Fishtank Ensemble, who will play at the DeYoung Museum Fri/9.


But first, let it be said: the members of Fishtank Ensemble are not themselves Roma. “The history of the group is that we’ve all had experience with Roma people and the music. It seemed like a natural transition to want to play, and though we know so little about the music, we’re always wanting to learn more,” says Ursula Knudson, Fishtank’s lead vocalist.


Fishtank bonded over roads from vastly different climes (members of the group hail from places as disparate as Serbia and Los Angeles) that culminated on a common plane; a love for Roma music. One had spent time volunteering in Roma villages, one learning the “styles and tricks” of their musical genre in Roma caves overlooking the Alhambra in Grenada, Spain.


Violinist Fabrice Martinez, now married to Knudson, traveled Europe in a covered wagon he made himself. “He wanted to travel, but he didn’t want to drive a car… or walk… or hitch hike,” explains Knudson. The two, who met one starstruck evening while Felice strummed his violin in Venice, eventually built a wagon of their own in Europe, and shipped it to California — where it is currently spending time housing a friend in Venice until the day Knudson and Martinez can afford a space to accommodate it.


There’s a reason that Fishtank must be clear about their connection to the upbeat tunes they play.


An autobiographical note: when I was but a young pup, cruising the Spanish calles for a smattering of “cultural experience,” I got robbed. A lot. This was no doubt due to my group’s penchant for public inebriation, and frankly, we probably deserved each pick-pocketing for our sheer opaqueness. Nevertheless, many Spaniards would blame it on the “gitanos,” their slur for “gypsy.” “Those good for nothings,” “Always be careful if you see the gypsies around, hold onto your valuables.” Roma ethnic groups have been historically derided and socio-economically isolated in many of their European home countries. In the States, advocacy groups like Voice of Roma work tirelessly to stop the spread of such prejudicial views of the Roma people.


Knudson gets it. “There’s a delicate balance between making this accessible to American audiences and respecting this rich musical heritage,” she tells me. She says cultural fidelity (in addition to a foot stomping good time) is one of Fishtank’s goals in their performances. “We want to make it as non diluted as possible.”


But Roma ditties, forged in the paradoxically inspiring heat of social marginalization, are too good not to share with the world. “There are somber songs [but] lots of [Roma songs] are about partying and dancing and joy — its real, look on the bright side music,” says Knudson. The group loves to bring their danceable folk beats to San Francisco, where Knudson says they have their best shows.


All the better for us. Fishtank’s klezmer-like whirlwinds of sound are twisting, twirling get downs that do us the distinct favor of reminding us that the ruling classes will never, ever, have the best parties.


Fri/9 6:30 p.m., free


DeYoung Museum


50 Hagiwara Tea Garden Drive, SF


415) 750-3600


www.fishtankensemble.org


www.famsf.org


 

Roundup of depressing environmental news

At the Guardian, we’re busy putting together our annual Green Issue to commemorate Earth Day. It’s great that recycling and general concern for the planet have been on the rise over the past 40 years, but I can’t help but notice a few Prozac-worthy reports on the environmental front recently.

First there was the bomb President Barack Obama dropped on environmentalists last week with plans to open up vast areas off the coast of the eastern seaboard and Alaska for offshore oil drilling.

Then there was the news that a host of Texas oil companies, in league with the Tea Party (Teabaggers?) and a group named for the guy who dreamed up Prop 13, are bankrolling an effort to suspend California’s landmark global warming legislation, AB 32, with a ballot initiative. (A few brave souls have launched a Boycott Valero campaign against Valero Oil Co., a major source of funding for the initiative to suspend AB 32.)

And finally, another tragic reminder that extracting and burning coal is a perilous way to keep the lights on: An explosion at a West Virginia coal mine owned by Massey Energy has killed six mine workers and trapped 21. This is why some communities in the coal-mining regions of Southern Appalachia think of themselves as residents of a national “sacrifice zone” for U.S. energy demand.

Let’s all hope the upcoming Green Festival in San Francisco this weekend is more inspiring than these headlines.

Did Fox dump Yee to spare Palin?

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Fox News seems to be having a hard time playing the victim card in the controversy over Sarah Palin’s upcoming speech at a cash-strapped California State University campus, for which she’s being paid an undisclosed — but likely huge — amount of money. And the network has been jerking around the chief critic of the deal, Sen. Leland Yee (D-SF), as it looks for a way to martyr poor Palin, a new Fox News commentator.

As we wrote, the issue that Yee raised and generated media attention for was why CSU-Stanislaus and its foundation were able to cut a secret deal with Palin. Yee was scheduled to appear on Fox’s America Live with Megyn Kelly on Wednesday about the controversy, but Yee chief of staff Adam Keigwin told us Fox News cancelled the appearance less than an hour before taping.

“They probably saw that this was indefensible and they didn’t want negative publicity for Palin,” Keigwin speculated.

But then Fox News representatives called again, and this time they wanted Yee to appear on tonight’s (April 2) The O’Reilly Factor with Bill O’Reilly, and Keigwin said Yee reluctantly agreed to do so: “I was a little hesitant to do it, knowing it’s a no-win situation, but we decided to do it,” Keirwin said of the show that O’Reilly dominates in bullying fashion.

But then, a couple hours later, Fox called back. “The producer called to ask, ‘Now you’re saying she shouldn’t speak, right?’” No, Keigwin explained, the issue was one of disclosing how much she was being paid and whether public funds were involved, and nobody was trying to censor her.

“So he said, ‘We’re looking for someone who doesn’t think she should speak at all,’” Keigwin said. Eventually, the producers decided to nix Yee again and instead tap some CSU students who were allied with Yee. They’ve already taped their interviews, so we’ll see what happens once they’re edited over several hours and turned into tonight’s broadcast.

Meanwhile, Yee is still waiting for a response from CSU officials about the Palin gig, and Keigwin said CalAware and the California First Amendment Coalition have also formally requested public records associated with the appearance, the disclosure deadline for which is next week.

Yee is the chair of the recently created Senate Select Committee on California’s Public Records and Open Meeting Laws, and Keigwin said, “This could be the subject of our first hearing.”

Learning to talk dirty from Mickey Avalon

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Dirty rappin’ about splooge, needles, dead friends and having sex with big-breasted inbred women– wow Mickey Avalon is a charmer. The Hollywood glam-rapper– playing Sat/3 at Roe Nightclub– is far from classy, in fact he’s the epitome of trashy and tragic, and yet kind of hot? Wait, wait, wait– hot? Well, kinda. Ew. I know. So if this is sexy, ladies and gentleman, maybe we should take a few notes.

It’s been four years since Avalon’s self-titled debut [MySpace Records, 2006] and to be honest, I kind of forgot that he existed. But he’s back, ready to penetrate crowds of dirty-minded dancers and apparently he’s got a new CD coming out this year, Electric Gigolo [MySpace Records]. As the Guardian has said before, Avalon manages to be simultaneously delightful and disgusting. I thought it was time to reminisce and look through his gritty, pornographic lyrics for a few Avalon gems. Here are five real winners. Mmm…talk dirty to me. 

1. “I sodomized your father in a federal penitentiary. And on the day I got out I went to your mother’s house and slept on the couch.” 

2. “I’ll bust through the shudders, masked in a rubber. Duct tape your mother and butt-rape your brother.” 

3. “Four seconds Avalon will give you what you need. Raw-doggin’ till we bleed. Force feed horse meat to your sweet buttercup.”

4. “I got a monkey on my back with his dick in my ass. Been tryin’ to fuck this monkey since algebra class.” 

5. “I’ll sperm on your perm, leave cigarette burns on your tits.” 

 

OK. Barf. Too dirty….

 

Mickey Avalon

Sat/3, 9pm, $20

Roe Nightclub

651 Howard, SF

www.roe-sf.com

Zion I is home and grown

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Marriage, jobs, cars— ten years can be a stretch for a lot of things in our world, but the hip-hop created by Zion I is still fresh after a decade, the signs of wear and tear only showing on the albums themselves. Producer AmpLive and emcee Zumbi make up the Bay Area duo—playing Thurs/1 at the Rickshaw Stop and Fri/2 at the Independent— who have just returned from a 35-city tour around the country. Zumbi says they’re officially “ready to vibe with the hometown crowd.”

“The tour was great, but I need to get my life and routine back together,” Zumbi said over the phone while prepping for his regular show on Oakland’s Youth Radio. Sharing the bill with Cali-raggae stars Rebelution and Soja, the laid-back hippy crowd proved to be quite different than the fans Zion I usually sees when they share the stage with other hip-hop artists. 

 

“A lot less ego and a lot more energy,” he said, noting that the tour consistently had an average of one to three thousand people in the audience. “Usually on a tour, it fluctuates. Some nights are big and others just have 50 people. The consistency brought out a lot of energy. Every night was so exciting— never a drag.”

 

His favorite stop on the tour was definitely New Orleans. The massive amounts of reconstruction throughout the city reminded him a lot of where he calls home— West Oakland. 

 

“The old Victorian houses, next to the new condos and all the construction. New Orleans was like my neighborhood three times over. It was nuts.”

 

Zion I

 

Back on his home turf, Zion I is the same cat you met back in the late ‘90s: prominently loaded with thick, luscious beats from AmpLive’s unpredictable bag of tricks and smooth, conscious lyrics from the mouth of Zumbi. Funk, soul, D&B, and space vibes remain as they have throughout Zion I’s career, but their sixth and most recent release, The Takeover (Gold Dust Media, 2009), really hits home by honing in on these qualities. Sharp hooks, anchored melodies and beats that bump make this album congruent with Kanye-style hits. 

 

“We switched up our process and did lots of revisions on this album. We’d change up one song like two, three or four times. I’d write three or four raps for each beat,” he said, which is quite a contrast to the previously process: Amp would make the beat, Zumbi would write the rhyme and they’d record. 

 

Such a drastic change in work ethic doesn’t just come out of nowhere. 

 

“Well, we’ve been in this for ten years…” he starts out. “And Amp just got married and had baby. And we both just bought houses.” The truth comes out: they’ve grown up. And so has their music. “We’re ready to take on more responsibilities. This is where we are. We are grown men with something to say.”

 

Zumbi considers each song like a journal entry, a story in each song that reflects where these two men have been, what they’ve seen and the thoughts the journey has inspired. 

 

And he wraps it up in one perfect statement: “One of the most beautiful things in life is to watch an artist evolve.”

 

 

Zion I


Thurs/April 1

Rickshaw Stop 

155 Fell St, SF

9pm, $18/20

www.rickshawstop.com

 

Fri/April 2

Independent

628 Divisadero Street, SF

9pm, $18/20

www.theindependentsf.com


Hump Day headliner: The White Mice

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The screaming, banging, clanging, and screeching I can handle for a couple minutes, but the big, bloody, rodent costumes? No way. Pretty sure I’m a masklophobe, meaning I’m already totally creeped out by people dressed up in oversized, animal and mascot costumes, even if they’re smiling and semi-cute. The grindcore metal-heads, The White Mice—playing Wed/31 at 21 Grand— take it to an all-new low with their chosen stage attire, beyond the crypt and into a the most terrifying science lab possible. 

Three guys in three red-stained lab coats, the Rhode Island Mice hide their faces behind papier-mâché mouse masks on stage, experimenting with their abrasive, totally rude, nasty metal sounds. 

Categorize them as you will, their brand of metal is industrial and distorted, a batch of chemically treated sounds concocted by the hand of a mad scientist. The guitars rip and rage with machismo. The vocals growl. The pounding bass and steadfast drums claw your organs from the inside out— sound appealing?

 

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The strangest part about The Mice is their “cheesy” sense of humor. Their song titles are often mice-related, like “Gouda and Evil” and “Cheesus Saves.” Funny and scary— these guys would be hot on the dating market. 

 

The show is being put on by Club Sandwich, an East Bay collective who organizes events for local, and touring, under-the-radar musicians. The show is all-ages, meaning you could tote along your whiney little brother and really scare the shit out of him, Donnie Darko style. 

 


The White Mice w/Lesbian and Nuclear Death Wish

Wed/31, 8pm, $6

21 Grand 

416 25th St., Oakland

www.21grand.org


There be more

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THEATER I don’t know from reclaiming rituals, but when I saw the gangling guy in the deer mask and beige unitard prancing around the stage once more, I knew the vernal equinox could not be far behind. Herald of this new season is none other than writer-performer Dan Carbone, a long-cherished and uniquely committed Bay Area talent who remarkably has eluded actually being committed. Back on March 6, Carbone was keeping it surreal in the Mission with a revival of two gems, Up from the Ground and There Be Monsters! (the latter featuring the aforementioned deer-man, among its varied and unexpected menagerie).

Carbone’s upcoming single-evening production lays these two works to bed while promising new dreams directly ahead. He returns to the Dark Room with entirely new material, including the premiere of something called Ol’ Blue Balls, pertaining to an encounter between Frank Sinatra and a little girl in the Eisenhower era, according to a press release, as well as a cross-cultural encounter called The Koreans and the piquantly titled Debbie and the Demons.

For those still woefully unfamiliar with Carbone’s idiosyncratic oeuvre, the March 6 evening proceeded by quiet but wild fits of storytelling and subconscious reverie into a genially demented and devilishly clever assemblage of monologue, nursery rhyme, and Dada dreamscape. Ideas rushed out of Carbone’s head amid a fit of logorrhea as bright and delighting as the silver tinsel yanked from the felt-lined anus of the well-soiled stuffed doggy in Monsters!

Befitting the late-night format, there were even some special guests. No less than Richard Chamberlain, ladies and gentlemen, was called out of the audience and onto the stage. And sure enough, bounding up with an aging, nearly forgotten celeb’s practiced modesty and eager step was a guy who looked at least not utterly unlike Chamberlain, the star of TV’s indelible Shogun miniseries, who let go a spiel too airily bizarre to recount here without much more coffee, its edge tempered by a vague mixture of nostalgia, regret, and that period ennui Jimmy Carter dubbed America’s malaise. Giddy days those might have seemed too from the vantage of today’s doom-clouded depravity, were it not for the growing suspicion that this guy isn’t Richard Chamberlain at all and probably insane.

The late-show slot at the Dark Room is altogether apt. Carbone’s stage occupies a space somewhere between Pee Wee’s Playhouse and Night Gallery. It’s such stuff as vaguely inappropriate dreams are made on. In so far as the Dark Room shows — which began in February with Carbone opening for Rick Shapiro — stand to be a regular thing, Satan and audiences willing, we can all rest uneasier.

NEW TALES OF MYSTERY AND IMAGINATION

Sat/3, 10 p.m., $8

Dark Room

2263 Mission, SF

(415) 401-7987

www.darkroomsf.com

 

Quick Lit: March 31-April 6

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Literary readings, book tours, and talks this week

Wednesday, March 31

Vito Acconci
Hear writer/visual artist turned designer and architect, Vito Acconci, talk about “Words/Action/Architecture,” where he will discuss recent and upcoming projects of Acconci Studio like an artificial island in Graz, an elevated subway station in Coney Island, and a street that runs through a building in Indianapolis.
7:30 p.m., free
Mills College
Lisser Theater
5000 MacArthur, Oak.
(510) 430-2164


Performing South Africa’s Truth Commission: Stages of Transition
Join author Catherine M. Cole as she discusses South Africa’s Truth and Reconciliation Commissions, which helped to end apartheid by providing a public forum to exposed human rights abuses, and how the truth commission as public ritual and national theater provided a medium for performing evidence and truth to legitimize a new South Africa.
5:30 p.m., free
University Press Books
2430 Bancroft, Berk.
(510) 548-0585


Thursday, April 1

James Hannaham and Andrew Sean Greer
McSweeney’s and Modern Times Bookstore present an April Fool’s Day evening of literary debauchery with James Hannaham reading from his award-winning novel, God Says No, and Andrew Sean Greer reading his acclaimed NASCAR piece from the McSweeney’s publication, San Francisco Panorama.
7 p.m., free
Amnesia
853 Valencia, SF
(415) 970-0012
www.mtbs.com

April Martin Chartrand
Attend this audio visual presentation of April Martin Chartrand’s book, Angel’s Destiny: A novel story of poems and illustrations, and experience the emotional life of a multi-cultural woman in the United States trying to overcome violent adversities and embrace self-love.
6 p.m., free
San Francisco Main Library
100 Larkin, SF
angelsdestiny2009.blogspot.com

K.M. Soehnlein
Hear Soehnlein read from his new book, Robin and Ruby, a sequel to The World of Normal Boys where he introduces the character Robin MacKenzie. In this new story of love and loss we meet Robin’s sister Ruby.
7:30 p.m., free
Books Inc.
2275 Market, SF
(415) 864-6777

Surviving the Dragon
Hear author Arjia Rinpoche share his inspiring survival story of the years he spent in Tibet during the Cultural Revolution at this reading for his book, Surviving the Dragon: A Tibetan Lama’s life under Chinese rule. Rinopoche witnessed the torture and arrest of his monastery family, spent 16 years in a forced labor camp, and endured many other hardships before he escaped to the United Stated in 1998.
7:30 p.m., free
The Booksmith
1644 Haight, SF
(415) 863-8688
www.booksmith.com

World Poetry Night in the Oral Tradition
Enjoy recited poetry from diverse cultures and time periods in the “oral tradition,” where one poem inspires another from classics such as Rumi, Sappho, Hafiz, Whitman, Shakespeare, T.S. Eliot, Dickinson, Neruda, and more.
7 p.m., $12
Mechanics’ Institute
57 Post, SF
(415) 393-0100
www.milibrary.org

Friday, April 2

Litpunk
Enjoy intense, punk-edged lit readings and music at this punk rock alternative to the popular Litquake annual reading series. Featuring Penelope Houston, lead singer of the Avengers, reading poetry, prose, and singing, John Shirley, author and former lead singer of SadoNation, Eddie Jetson, of Ice 9, “Jennifer Blowdryer,” Johnny Genocide, and more.
7:30 p.m., $5
Makeout Room
3225 22nd St., SF
(415) 647-2888


Reality Hunger: A manifesto

Author David Shields argues that our culture is obsessed with reality because we experience hardly any. At this reading, Shields will share his stance that aims to reframe how we think about “truthiness.”
7:30 p.m., free
The Booksmith
1644 Haight, SF
(415) 863-8688
www.booksmith.com

Saturday, April 3

Indivisible: An anthology of Contemporary South Asian American Poetry
Kick off national poetry month at this book launch, reading, and signing of this collection of poetry from contemporary American poets from different cultures and faiths who trace their origins back to Bangladesh, India, Nepal, Pakistan, and Sri Lanka. The anthology aims to capture the simultaneous tensions of belonging and not belonging in America.
Featured contributors: Ravi Chandra, Tanuja Mehrotra, and Swati Rana
7:30 p.m., free
Booksmith
1644 Haight, SF
(415) 863-8688
www.booksmith.com

Monday, April 5

The Hills in Berkeley
Attend this UC Berkeley geology talk where professor Dr. Doris Sloan will discuss the formation of the Hills in Berkeley.
7:30 p.m., $5
The Hillside Club
2286 Cedar, Berk.
(510) 848-3277
www.hillsideclub.org

Tuesday, April 6

Homero Aridjis with Lawrence Ferlinghetti
Hear Mexican poet, novelist, and environmentalist, Homero Aridjis read from his new collection of poetry, Solar Poems, addressing both his ecological concerns and a mystical relationship to the sun. Lawrence Ferlinghetti will also read several poems from the new bilingual edition of his book, What is Poetry?/¿Qué es la Poesía?, which Aridjis translated.
7 p.m., free
City Lights Bookstore
261 Columbus, SF
www.citylights.com

Biking Book Club
Join members of the SF Bike Coalition and other biking enthusiasts for this book club and discussion group about bike and transportation related books. The current book up for discussion is Traffic: Why we drive the way we do by Tom Vanderbilt. Bring ideas for future reads.
6:30 p.m., free
San Francisco Bicycle Coalition
995 Market, SF
www.sfbike.org/books

Insectopedia
Hear author Hugh Raffles discuss his new book that pays tribute to bugs of all kinds in this collection of 26 offbeat and bizarre essays and philosophical musings.
7 p.m., free
BookShop West Portal
80 West Portal, SF
(415) 564-8080

Bay Area Sistah Sound celebrate two years of femme beats

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The ladies of Bay Area Sistah Sound know their place — and it’s in the beat kitchen. The all female DJ crew (which includes DJ Zita, the legendary Pam the Funkstress and newest addition to the cast, DJ Similak Chyld) is celebrating its second anniversary at 111 Minna on Fri/2. It seemed like a good time to reflect with the women on their past two years.

A lot has changed around these parts since DJ Zita moved back to the Bay area after living for a spell in Hawaii. Upon her return to San Francisco, she found the famously inclusive city lacking on the female pride front. “I noticed the fact that the [hip hop DJ] scene was male dominated. There were a lot of women, but they were all doing their own thing. There was no solidarity.” Zita, a founding member of Sisters in Sound, the first all woman group of DJs on the islands, decided to change all that.

It’s still true that when you go into a lot of the larger hip hop/R & B clubs in town these days, you’ll still encounter a dude heavy clientele. But the number of women-run groups and women-featured nights — and no, we’re not talking about the Lusty Lady — is on the rise. You’ve got Coo-yah Wednesdays at Paradise Lounge, with resident reggae spinners Daneekah and Green B, RRS Feed, Peaches at Skylark on Thursday nights, a funky — a funky, souly, hip hop affair orchestrated by promoter Masaye Waugh, who formerly slung drinks at Everlasting B.A.S.S. when the party was at club 330 Ritch.

“I really love the B.A.S.S. party,” says Waugh. “That was right around when I was learning about what it means to be a female DJ in the business.” Later, Masaye texts me “I was so excited and inspired by [Everlasting B.A.S.S.] and it made me understand/appreciate more what I had gotten into. Have you seen Pam scratch with her boob? That’s a party!”

Waugh understands why more and more women are choosing to work together, B.A.S.S. style. “It’s that communal feeling of working with other women,” she says. That sentiment of solidarity was what led DJ Zita to round up Pam the Funkstress and DJ Neta, who has since left to pursue family life and a PhD, to form a mainland female DJ crew. “Pam [of activist hip hop duo The Coup] and Neta were veterans,” Zita tells me. “They’d been holding down for a minute.”

Zita started inviting female singers and B-girls to perform with them each month, and found they were able to spin their own kind of nightlife. “There’s more of a vibe of respect for women at our parties,” says Zita, whose B.A.S.S. crowds tend to be majority female.

The DJ is excited to see B.A.S.S.’s contribution to women run nightlife in the city. “We’re inspiring other female DJs to come out,” says Zita, who had to upgrade from last year’s anniversary space to two room 111 Minna in order to accommodate B.A.S.S.’s growing fan base and lineup (eighteen woman DJs will be featured on Friday).

So what does year three hold for the ladies of B.A.S.S.? The addition of DJ Similak Chyld, for one. Similak, whose also scratched with Future Primitive Sound, had never been in an all female project before, and initially had some hesitations. But after having done some shows with the crew, she’s noticed some upsides to a gender specific crowd. “There’s no dudes that are there just to gawk,” the diminutive DJ says. “If there’s so many women, they tend to just shut the fuck up.” Plus, it’s a chance to spin with some women she’s looked up to for awhile. “Zita called me [to ask me to be a part of B.A.S.S.]- who calls people anymore? I remember being humbled and blown away. I mean, I saw Pam’s shows over ten years ago!”

Zita says future plans include the continued expansion of B.A.S.S.’s lineup, as well as global takeover. “We’d like to start touring beyond the Bay- down to Southern California, across the country, or… world tour! It’s going to be exciting to see what 2010 brings.”

Everlasting B.A.S.S. Two Year Anniversary

Fri/2 9 p.m., $5-20

111 Minna

111 Minna, SF

www.bassladydjs.com

Think About Life and dance real hard

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A quality, happy-wild dance band like Think About Life—playing Fri/26 at Bottom of the Hill— is a gem to be treasured, or as the band themselves might say, “a pearl in my heart” or “the golden seashell in my dreams.” No matter how you quantify your sacred jewels, you had better put them deep in your fifth-pocket or that shit’s gonna fly out when the beat starts– arms and legs automatically doing half-cartwheels on the dance floor. 

Hailing from Montreal, Think About Life is a four-some of adorable nerds who don’t just come out of their shells onstage, they bust out, sending bits of energy and bedazzled hearts into the crowd for a set that will melt any and all dance-related inhibitions. Their latest album, Family [Alien8 Records, 2009] is jammed with front-man Martin Cesar’s bright vocals, hard bass beats and catchy melodies that race, skip rope, and double-dutch. 

 

I particularly enjoy the track “Sweet Sixteen” and its super geeky video. Pay close attention to bassist/vocalist Caila Thompson-Hannant’s sexy dance moves— looks quite similar to the show my aunt recently put on at a family wedding. Hotttie! 

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Think About Life

w/The Heavenly States and Kill Moi

Fri/26, 8:30pm, $10

Bottom of the Hill

1233 17th Street, SF

www.bottomofthehill.com


Our Weekly Picks

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>>WEDNESDAY 24

MUSIC

Mi Ami

I’m thankful for Mi Ami. Without the SF band that is two thirds ex-Black Eyes members, I’d be more wistful about that band’s untimely collapse. Listening to Mi Ami is like visiting an old friend; it’s even the next logical step in the evolution of that unmistakable Black Eyes sound. Sure, there are lots of drums and rhythmic bass, and the squealing vocals of Daniel Martin-McCormick are one-of-a-kind, but Mi Ami’s songs are longer, more about repetition and atmosphere. With a sophomore LP due this spring, Mi Ami’s abrasive sound isn’t ever going to snag an MTV spot — but they’ll always have a reliably loyal following of listeners to show for it. (Peter Galvin)

With High Places and Protect Me

8:00 p.m., $10

Rickshaw Stop

155 Fell, SF

(415) 861 2011

www.rickshawstop.com

 

EVENT

“Luna Negra: A Night of Performance for and by Women”

It’s only right that during Women’s History Month, we sit down and listen to writers like Roxanne Dunbar-Ortiz. Born to a landless father/farmer and Native American mother in Oklahoma, Dunbar-Ortiz built a life around supporting the struggle of the disenfranchised. She protested the Vietnam War and played major roles in the Native American civil rights movement and publicizing U.S. treachery against the Sandinistas during the contra war. She’ll be joined onstage by other spoken word voices, Afro-Caribbean music, dancers, an Ecuadorian curandera, and not one Y chromosome. (Caitlin Donohue)

7 p.m. , $5–$7

Mission Cultural Center for Latino Arts

2868 Mission, SF

(415) 643-5001

www.missionculturalcenter.org

 

>>THURSDAY 25

EVENT/MUSIC

Healing Haiti: An Evening of Arts and Culture

The Haiti benefits of recent weeks often bring together more talented artists than you’d normally find on a single bill. This one is no exception. The Berkeley label Wide Hive (celebrating its 10th anniversary) and the music workshop Own the Mic are uniting with the Element Lounge to put on a show that includes everything from belly dancing to new Bay Area R&B, with gift baskets and raffles thrown in. Tribal Mystics will bring the belly dance, while the music lineup includes DJing by Matt Cali and vocal turns by new voices Alexis Rose, Charito Soriano, Yvette Plant, and Guardian writer Lilan Kane. Radio mainstay Jamillions is one headliner — all proceeds go to Yele Haiti. (Johnny Ray Huston)

9 p.m., $5–$7

Element Lounge

1028 Geary, SF

(415) 440-1125

www.ownthemic.org/healing-haiti

 

DINE/EVENT

Querido Viejo Tequila Tasting Event

At some point, everyone has a bad run-in with tequila. It could be downing too many margaritas at your coworkers’ wedding or putting back shots because your friends thought you “weren’t quite drunk enough.” We all know this stuff is strong and not to be messed with. Fortunately, Querido Viejo Tequila is offering a tasting where you can actually enjoy the flavors and aromas and not feel pressured to pound one right after the other. This local distiller has been fermenting pure agave for years and is sharing its new line of hooch. The Terrace Room’s 180-degree view overlooks Lake Merritt, so be sure to bring a camera and enjoy the sunset. But remember: pace yourself. (Elise-Marie Brown)

6 p.m.; $2 tequila, $5 appetizer

Terrace Room

1800 Madison, Oakl.

(510) 903-3771

www.theterraceroom.com

 

MUSIC

Ana Tijoux

As one of Chile’s most respected lady MCs, Ana Tijoux is different from the summery South American songstresses who often breeze through town. Born into exile, Tijoux began life in France, where her Chilean father and French mother fled during Pinochet’s cruel regime. As a teenager, she returned to her father’s homeland and quickly found a home in Santiago’s burgeoning hip-hop scene. It was there that she earned her cred as a conscious “rapera.” Her upcoming solo release 1977 (Nacional Records) drops lyrics that reflect on the year of her birth, and that unique moment in Chile’s turbulent history that heavily influenced her own. (Mirissa Neff)

With Funky C and Joya; DJ set by Juan Data

8 p.m., $12–$15

La Peña Cultural Center

3105 Shattuck, Berk.

(510) 849-2568

www.lapena.org

 

>>FRIDAY 26

MUSIC

Nite Jewel

She pops in a blank 8-track cassette and takes a deep breath before pressing the ‘Record’ button. Romona Gonzalez, the L.A. lady behind Nite Jewel, insists on making and mixing her sound with old gadgets. She hits play on another deck, letting the beats of early ’90s hip-hop and R&B reverberate on the speakers, while her fingers plunk out lace-lined synth-sounds. Nite Jewel is absolutely ideal for a hazy discotheque or any smoky bedroom with glowing stars on the ceiling. Gonzalez sings and the ghostly melodies bounce and swirl, pulling listeners into a desirable, hypnotic state. She is Debbie Deb, Bronx pop, and alternative disco all at once, layering sounds and personalities that pulse and push, yet still manage to relax and soar. (Amber Schadewald)

With Neon Indian, DJ set by Jonas Reinhart

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

DANCE

Ballet Folclorico de Mexico de Amalia Hernandez

Ballet Folclorico de Mexico de Amalia Hernandez is one of the best in the grand tradition of researching indigenous dances and adapting them to the proscenium theater. It’s also a legendary family-run institution led by the daughter of anthropologist/dancer Amalia Hernandez, who founded the company in 1951. The dances still encompass a wide spectrum of the Mexican experience: an initial quasi-mystical encounter between Aztec gods and humans, the struggle for independence; and the carnivals associated with religious festivals. But they also include choreographies inspired by such mundane activities as games, hunting and wedding rituals. (Rita Felciano)

8 p.m., $25–$65

Marin Veterans Memorial Auditorium

10 Avenue of the Flags, San Rafael

(415) 499-6800

www.marincenter.org

 

FILM/SEX

Too Much Pussy! Feminist Sluts in The Queer X Show

What do you get when you put seven ladies — musicians, artists, activists, sex workers, and porn stars — in a van and send them around Europe with the duty to discover the line between art and pornography? You get Too Much Pussy, a sex-positive road movie by Emilie Jouvet. The camera follows the group of radical women in and out of nightclubs in Paris, Berlin and Stockholm during the summer of 2009. They span sexual (dis)orientations and gender expressions and the experiences they gather are just as diverse: political, inspiring, sexy and frustrating. Chat up two of the stars, Madison Young and Sadie Lune, after the film for even more dirty secrets. (Schadewald)

8 p.m., $10–$15

Femina Potens

2199 Market, SF

(415) 864-1558

www.feminapotens.org

 

>>SATURDAY 27

MUSIC

Audio Alchemy: Kid Koala

Who doesn’t love Dan the Automator? From Dr. Octagon to Handsome Boy Modeling School, Loveage, and Deltron 3030, this guy is one of our favorite DJs. Fess up. He is. And here’s another reason to love: he’s presenting Kid Koala in Audio Alchemy, a bimonthly mixing of live music with top DJs at Yoshi’s. Yoshi’s has been been on some other for a minute now. Last year’s sessions with 9th Wonder, Black Quarterback and Manicato in the front room; Alan Marshall, De La Soul, Gil Scot Heron, and Amiri Baraka in the auditorium; swank mixers thrown by the dandies at Brooklyn Circus — they’ve got a tight off-hours scene. One that seems to be fusing together some tastier elements of our desolate culture. (D. Scot Miller)

With DJ Shortkut and the Jazz Mafia All-Stars

10:30 p.m., $20

Yoshi’s SF

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

DANCE

ODC Pilot 56: “My Young Nostalgic Life”

ODC’s Pilot program showcases are a deal for audiences who like the thrill of discovery. They’re also a break for young choreographers, who get 11 weeks in a supportive environment to create work even as they learn ancillary skills such as marketing, program design, and production and box office management. Since the first Pilot in 1990, close to 300 choreographers have gone through this gentle boot camp. Pilot 56 features six women who collectively decided that “My Young Nostalgic Life” best describes ideas they want to explore through dance. (Felciano)

8 p.m. (also Sun/28, 5 and 8 p.m.), $12

ODC Commons

351 Shotwell, SF

(415) 863-9834

www.brownpapertickets.com

 

MUSIC

Soweto Gospel Choir

Times are tough in Soweto. Fault me for stating the obvious to provide context for the Soweto Gospel Choir. Are they joyful? Yes. Are they melodious? Uh-huh. Do their voices meld from ululatory to raspy to soaring to proud to a blend of gospel noise and traditional African rhythm? Do audiences come away clapping and laughing and smiling fit to beat the band? Sing it! Part of the group’s elation may have to do with the runaway success of their mission — providing shelter and hope to AIDS orphans in their home communities. So far they’ve toured the world performing for some pretty receptive big dogs — Nelson Mandela, Oprah and Archbishop Desmond Tutu, to name a few. (Donohue)

8 p.m., $25–$65

Paramount Theatre

2025 Broadway, Oakl.

(415) 575-6100

www.ciis.edu

 

EVENT

Pearls Over Shanghai Kabuki Makeup Class

If the only knowledge you have of Kabuki makeup comes from Memoirs of a Geisha, don’t droop your head in embarrassment — instead, take a class on the traditional Japanese art form. RetroFit Vintage is offering a chance to educated the misinformed or the curious on what it takes to create the perfect Noh heroine. Kegel Kater will apply the makeup for her role as a whore, angel, and lotus dancer in Thrillpeddlers’ Pearls Over Shanghai. (Brown)

3–5 p.m., free

RetroFit Vintage

910 Valencia, SF

(415) 550-1530

www.retrofityourworld.com

 

EVENT

Muchas Voces Una Vision/Many Voices One Vision”

What is the function of a poet laureate, exactly? I’m fairly certain I’ve never seen one designing fanciful special boards for the neighborhood diner, or doing anyone’s English homework. How can we put these decorated people of the pen to work? Happily, the dilemma is being resolved in fine fashion this weekend, when SF’s official bards past and present join forces and rattle off original lines to benefit the people of Haiti. Catch readings by poet laureate Diane di Prima and her predecessors Devorah Major and Jack Hirschman. They’ll be joined by more than 30 other artists. (Donohue)

7 p.m. , $10 (suggested donation)

La Peña Cultural Center

3105 Shattuck, Berk.

(415) 849-2568

www.lapena.org

 

>>MONDAY 29

MUSIC

Nellie McKay

You probably didn’t see it coming, but now that Nellie McKay’s As Normal as Blueberry Pie: A Tribute to Doris Day (Verve) is out, it’d be tough to come up with a more suitable pairing. Musician, comedienne, actress — if there’s one thing McKay isn’t, it’s predictable. But who knew she’d pay genuine homage to one of the swinginest singers of the 1950s? Setting aside her often self-depreciating wit, McKay reintroduces Day to a new generation of fans with irresistible exuberance and charm. To make it a truly classy affair, the Great American is going for the sit-down experience. (Galvin)

With Howard Fishman

8:00 p.m., $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

MUSIC

Taylor Texas Corrugators

As founder and leader of legendary Southern California punk rockers Black Flag — he started the band and its record label, SST — Greg Ginn has earned his place in the DIY underground pantheon. The famously hard-working artist has never been complacent, and he comes to the city tonight with his new project, the Taylor Texas Corrugators. The Corrugators finds the guitarist leaning in a more Western swing direction, but, as always, with a host of other musical influences thrown in to keep things evolving. (Sean McCourt)

With Guella and Barney Caldron

8 p.m., $10

Red Devil Lounge

1695 Polk, SF

(415) 447-4730 www.reddevillounge.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. We cannot guarantee the return of photos, but enclosing an SASE helps. 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.

Bless up, Sebastopol!

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The Hopmonk Tavern’s dance floor is packed in front of the DJ tables onstage. Reggae beats, dub tracks — the guy scratching gleefully up there even throws in a funk/soul number for good measure. Irie people groove, and couples grind to the sounds, which mingle with the smoke in the air. At the other end of the venue, the Hopmonk’s home brewed ales are poured and there’s an entrance to an expansive patio, where greenery of all stripes sets the scene. This is Monday Night Edutainment with DJ Jacques and DJ Guacamole. And this is Sebastopol?

Maybe I’m the only to be surprised by this- that a town with a population just under eight thousand that’s better known for its apple orchards and vineyards, has been having its Monday nights taken over by a reggae party for nine years straight. But Jacques and Guac’s brainchild, Monday Night Edutainment, is not just a small town scene. The party pulls in its share of guest stars like Sister Carol, Norris Man, Mega Banton- even Pam the Funkstress has been known to pass through the joint on occasion. Jacques and Guac recently threw a get-down for International Women’s Day featuring an all female lineup, and have an upcoming 4/20 eve blowout featuring British artists Mad Professor, Chukki Starr and Gappy Ranks (April 19).

But when the two DJs, who operate as the WBLK Dancehall Massive, first started scratching on Mondays, the music’s ascendency in town wasn’t quite as evident. “Reggae shows would sometimes come through the Mystic Theatre in Petaluma, or the Last Day Saloon in Santa Rosa, but there was never really a reggae presence in Sebastopol,” says DJ Jacques, whose gigs have taken him as far as High Times’ Cannabis Cup in Amsterdam.

That began to change when the duo met each other, initially as jam band percussionists, at local drum circles and shows. Jacques was a transplant from Boston, Guacamole a native Californian- but their musical tastes were complimentary enough that the two started looking into collaborative efforts. “We have different lists of favorites. There’s definitely crossover between us- but that makes it more fun,” explains Jacques.

Eventually, they started a weekly reggae/dancehall night, originally at Irish pub Jasper O’Farrell’s, that would feature a type of performance they dubbed a ‘DJ set,’ where guest artists would sing over the ‘version,’ beats selected by the DJ. When unaccompanied by a vocalist, Guac and Jacques would play sets, occasionally trying to one-up each other to see who could throw down the nicest flow. “That makes for a dope session where we’re constantly trying new things,” says Jacques.

The sets garnered a reputation that started attracting heads from beyond Sebastopol’s farm fields and sleepily upscale boho downtown. “We have folks that come through every week from all over the Bay area,” says Jacques. “Many of our crowd are musicians or people who work in the service industry that have Monday nights off. The night of the party often attracts artists in the area for big name weekend shows. They drop into the Hopmonk, Jacques says, “to hang out and enjoy the vibes” as well as perform. Nowadays, Sebastopol reggae parties are increasing in popularity, perhaps an inevitable progression for an area heavy in ganja culture.

Even as they helped to expand the area’s musical horizons, for the WBLK Dancehall Massive duo the mission continues- not only to play reggae’s best new jams, but to bring freshness to the Sebastopol music scene. “As the person who introduces music to the masses, we have a responsibility to seek new songs, artist and styles,” philosophizes Jacques. “In the immortal words of George Clinton, ‘free your mind and your ass will follow.’” All the way up to Sonoma County? As the prime minister of funk commands, so shall it be.

 

Monday Night Edutainment w/ Jacques & Guac

9 p.m. every Monday, $5

Hopmonk Tavern

230 Petaluma, Sebastopol

(707) 829-7300

www.hopmonk.com

Mom was a mess (and then she rubbed all up on me)

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Going in to Thee Parkside on Fri/5, I didn’t know what to expect from the show’s openers. Considering Mom’s antics, it’s probably best that I didn’t do any pre-show research. In a nutshell, Mom was a mess.

Mom slithered and writhed around on- and offstage (mostly off). She wore a red dress that ended up beer-soaked, while she sort of sang into a microphone with heavily distorted cartoonish effects. It was like a demonic version of Minnie Mouse (she had the ears and everything). The whole experience was surreal. Maybe nightmarish is a better word. Mom’s trashed red dress would slide up over her waist, exposing all of her, since she wore no panties. Her one ruby red slipper slid around the floor while the other foot remained bare and got all gunked up from cement during some staggered dance moves.

If shock value was what Mom was going for…then mission accomplished. Just when I thought the spectacle was winding down, I went to the smoking patio to answer my brother’s phone call. I figured I’d chat him up about my parents’ upcoming visit from the Midwest. Immersed in conversation, I was suddenly interrupted by a sweaty, messy Mom, who accosted me and began to rub herself on me as I laughed and backed away while onlookers got an eyeful. Considering that the ‘Loin is now my home base, it didn’t phase me much. I continued talking on the phone, giving my brother the play-by-play. Mom quickly lost interest and stumbled away. I have a feeling real Mom wouldn’t approve.

After the onslaught, I hung out a bit longer on the patio. I was offered some sympathy by a certain unmasked someone who may or may not have been the show’s headliner. He asked if Mom had gotten any blood on me. I replied “No,” adding that I actually had gotten egged. Apparently she threw one at the ceiling and got some yolk and shell on me. Another audience member initially thought it was the sound of breaking glass.

Act two was traditional by comparison, considering it involved drum, bass and guitar. I didn’t think I had seen them before, based on their name, but once I went back inside to check them out I recognized the front man of the Outdoorsmen. They had improved. They did Misfits covers and it was sort of endearing how the lead singer/ guitarist would crack bad jokes into the mike. He mostly cracked himself up. The highlight of their set was a Standells-sounding number dedicated to “cock suckers of the middle of the night”. He was referring to cops.

The outstanding performance of the night came from Indiana’s TV Ghost. The Midwest was represented well here when they took to the stage. Their lanky lead man twitched about with great presence; his guitar in tow and a Dwyer-esque oral fixation with his microphone (inserts into mouth). I guess it sounded like Link Wray meets post-punk, or maybe the Cramps in surf style. In any event it was good to see them again. The first time I witnessed their live act was at the Hemlock, where they played to a nearly empty hall, but they had performed as if they the bar was at capacity or like it was for a televised performance. Such showmanship.

Last but not least, Nobunny seemed to have a stash of new material and it was stage antics and comical-shtick as usual when the costumed “boys and squirrels” played rock and roll that had the crowd eating it up with a spoon. All in all it was a good night — even if Mom took me by surprise.

Joyful noise

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Even if Music by Prudence’s recent Oscar win for Best Documentary Short is currently garnering more blog pixels for its producer’s Kanye-like acceptance speech takedown, African music is experiencing an upsurge in attention these days. We could all use some uplift every now and again, and artists from the developing world, many of them singing through years of conflict and soul crushing poverty, somehow make that missed bus- even that found pink slip- seem like less of an end game.

Plus, some of them sing with the conviction and force of angels.

I’d like to introduce you to the Soweto Gospel Choir. A 26 singer strong troupe of some of the best singers in South Africa, the Grammy award winning Choir performs in big bright dashikis an interesting blend of traditional Zulu songs and “Many Rivers to Cross,” a combination that when stirred together in an exuberant pot yields African gospel. They’re coming to the Paramount Theater (Sat/27), and the show should be great. Their music gets soaring, it gets heartfelt, it gets jazzy- it’s an epic listening experience that recalls what it means when the people you’re watching onstage are singing to carry out their mission on earth.

So what is that mission? Well, besides to have what looks to be a grand old time dancing and singing with their bandmates in front of audiences that have included Nelson Mandela, Archbishop Desmond Tutu (the group’s “patron”) and Oprah, the aim of the Soweto Gospel Choir is to give back to the community that birthed them.

Children in South Africa nosh down thanks to Soweto Gospel Choir

South Africa has the highest amount of children left without parents from AIDS in Africa- 1.4 million by 2007 estimates- a cloudy future for the country’s next generation. Every performance by the Soweto Gospel Choir sends 50% of their net earnings towards helping these overlooked victims of the AIDS epidemic.

In 2003, the group created Nkosi’s Haven Vukani, a long term residential care center that provides safe shelter for infected mothers and their children, shelter that remains available to the children in the event that the mother passes away. So far, the group’s ecstatic sounds have garnered over $3 million for Nkosi’s- helping to feed over 9,000 kids.

Which means that watching the troupe rock and roll through their soul clapping renditions of “Amazing Grace” and “O Nkosi Yam” might get a ‘hallejuah’ out of even the nonbelievers in the stands. 

Soweto Gospel Choir

8 p.m., $25-$65

Paramount Theatre

2025 Broadway, Oakland

(415) 575-6100

www.ciis.edu

Light into darkness

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arts@sfbg.com

MUSIC High Places’ upcoming release High Places vs. Mankind (Thrill Jockey) opens with the slow-tempered "The Longest Shadow." The chorus offers a supine first-person perspective of the sun’s effect on the earth at dusk. The first verse focuses on letting love in, but by the second verse Mary Pearson’s lyrics narrate the end of a relationship, which includes that universal nostalgia (a.k.a. confusion) of not really knowing why a relationship terminates, and includes the ritual stages of longing, wondering, and finally, remembering.

High Places’ music is designed to be lost in; it infiltrates and instigates meditation, but it also manages to keep the listener constantly moving. That’s how good the beat is as it weaves in and out of Pearson’s vocals. When the second track "On Giving Up" begins, it’s hard to determine if Pearson’s extending the last poem, and is talking about the actual breakup night, or if she’s talking about quitting cigarettes, booze, or some addiction, as she sings: "It’s all because I feel everything that’s gone. It’s all gone. Well, tonight is going to be the night." But that ambivalence is part of the charm, allowing the listener to relate and reflect.

Pearson and Rob Barber are High Places. The pair explored the natural world on the 2008 compilation 03/07-09/07, and on their self-titled album from the same year (both on Thrill Jockey). But on High Places vs. Mankind, there is a clear shift toward "humanity," as Pearson defines it, "for lack of a better word."

Weather — the hot, the cold — as well as spatial relationships, and differences, have a large impact on how we as humans live and operate. The band moved from New York to Los Angeles roughly a year ago. "We really had no good reason to, other than the weather," Barber says when I ask him over the phone why they decided to move. L.A. literally exists because it averages 320 sunny days a year, which made it the ideal location to film, and thus Hollywood emerged. After settling down in L.A. and taking a pause from touring, the duo suddenly had a great deal more space and time. They began writing and recording. But curiously, the warmth, space, and time led to icier sounds and darker themes in its new recording.

Pearson explains that High Places’ music made in New York "is based on escapism and trying to create our ideal environment. But because it’s so beautiful in L.A. all the time, we don’t need to talk about that stuff quite as much." This allowed the band to explore new ideas.

On High Places vs. Mankind, the blissed-out melodies and undeniable dance rhythms along with the complex layering and tidbits of dub are still apparent. But there is more: guitars sounding like guitars, unlike before, when they could’ve been mistaken for steel drums or sitars. And Pearson’s vocals are less affected, allowing them to be vividly heard.

The back of High Places’ self-titled release reads: "recorded at home by High Places." In New York, the band/best friends lived together. "I think that made us write every note together," says Pearson. In L.A., where they no longer share an apartment, they’ve taken a different approach. The pair discovered that they desired different types of workspaces. "I would work at home, and she would work in an outside studio," Barber explains. "We’d meet up and smash it all together. We’d go back and forth with it, responding to each other like call-and-response."

The change in sound is cooler at times, but it is also more direct in its message. "It was much more based on human relationships, and life and death," says Pearson. The album is dark and light at the same time — tragic contemplations are matched with stretched-out synths, as well as those bouncing beats and rhythmic hooks High Places has utilized in the past to keep things airy. The music makes you pause, get lost, question your own mortality, think about your last heartache, and when the daze is over, you feel one step closer to the infinite.

High Places’ forthcoming show will add one more twinge in its exploration of human relationships by including Pearson’s sister Laura on vocals for the first time, and she’ll continue on most of the U.S. tour. Pearson explains that she and her sister have been singing together informally all their lives — "Karaoke," interrupts Barber — and that HP has wanted to include her on tour for a long time now. *

HIGH PLACES

with Mi Ami and Protect Me

Wed/24, 8 p.m., $10/$12

Rickshaw Stop

155 Fell St., SF

www.rickshawstop.com

Alerts

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By Jobert Poblete


alert@sfbg.com

WEDNESDAY, MARCH 17

Citywide community meeting


Advocates for homeless youth in San Francisco discuss the upcoming supervisor elections and the proposed sit/lie ordinance, a proposal by Mayor Gavin Newsom to criminalize sitting on sidewalks.

5:30–7 p.m., free

LGBT Community Center

1800 Market, SF

smashbangboom@gmail.com

"Shout! Art by Women Veterans"


The peace and social justice group Swords to Plowshares hosts this two-day event to honor women veterans and bring together community members working to serve them.

6–-9 p.m., $10

1632 C Market, SF

www.swords-to-plowshares.org

THURSDAY, MARCH 18

Poizner on Poizner


The Commonwealth Club hosts Steven Poizner, California’s insurance commissioner and a candidate to be the Republican nominee for governor this June. Poizner has stirred controversy recently with his anti-immigrant position, so come listen to or protest his plans for California.

5:30 p.m., $7–$45

Lafayette Veterans Memorial Hall

3780 Mount Diablo Blvd., Lafayette

www.commonwealthclub.org

Bilingually speaking


The Piedmont Appreciating Diversity Committee, Piedmont League of Women Voters, and Diversityworks screens Speaking in Tongues, a film about bilingual programs in Bay Area Schools and a 2009 SF International Film Festival Audience Award winner.

6:30–9 p.m., free

Wildwood School Auditorium

301 Wildwood, Piedmont

www.diversityfilmseries.org

FRIDAY, MARCH 19

Planetary grooving


Stomp the Stumps! brings together political rock dance bands to raise money for environmental causes. This year’s concert features the Quilt, the Funky Nixons, and the Gary Gates Band. Proceeds go to the Bay Area Coalition for Headwaters and Earth First!

8 p.m., $10 adv/$12-15 at the door

Ashkenaz

1317 San Pablo, Berk.

www.ashkenaz.com

SATURDAY, MARCH 20

Antiwar march and rally


Another year, another Iraq war anniversary. This one marks the seventh anniversary of the start of the Iraq war. This year’s march also supports city hotel workers’ contract fights by paying visits to two hotels being boycotted by their union, UNITE HERE Local 2.

11 a.m., free

Civic Center Plaza, SF

www.answersf.org

SUNDAY, MARCH 21

Great American Meatout


Thinking about going vegetarian? To get you started, the San Francisco Vegetarian Society and Unitarian Universalist Church will host its fifth Meatout Celebration, complete with a vegetarian lunch and free recipes.

12:15–3:30 p.m., $5

Unitarian Center

1187 Franklin, SF

www.sfvs.org

TUESDAY, MARCH 23

UC Regents Meeting


Today is the first day of the UC Board of Regents’ three-day meeting at UCSF. Inside, the regents will discuss buildings, grounds, and capital projects; outside, there will be fireworks of sorts as activists mobilize for protests.

2:30 p.m., free

Community Center, UCSF Mission Bay

1675 Owens, SF

www.universityofcalifornia.edu/regents

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Rapera rules everything around her: Ana Tijoux rising

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As ever and ever the divide grows between what we hear on the radio versus what’s truly fly in hip hop these days, Ana Tijoux plots her coming to America. Born to Chilean parents who fled from the brutal reign of Augusto Pinochet, the MC’s life reads as the manifesto for the counterculture universality of hip hop. How to express the feelings stirred up by moving across the world at 14? How about coming to a country whose democratically elected president was slaughtered, replaced by a dissident-torturing dictator, that happens to be where your parents grew up? Tijoux found her anger reflected in the rhymes of the American rappers of the early ’90s- and shortly after, used their “force” to raise her own voice. She’s been a player on the South American hip hop scene ever since, and is releasing her second solo album, 1977, which may be her most personal project yet, looping scenes from a remarkable life story with her direct, staccato flows. Here in the Bay, we’re getting a chance to catch her beats live (Thurs/25, La Peña Cultural Center), not too long after her debut among the gringos at South by Southwest. She wanted me to tell you that if you were born in 1977, you get into the Berkeley show for free. Read on to our telephone chat with Tijoux, an awesome conversation tweaked but a little by the intricacies of chatting with a translator and my own gradually stiffening Spanish.

San Francisco Bay Guardian: Your family fled Chile to escape Pinochet’s dictatorship. How old were you when your family moved back to? What led them to move back at that time?

Ana Tijoux: I was born in Peru, but after the coup my parents moved to France. I was 14, and it was 1990 when we moved back to Chile. It was always our plan that when we could come back to Chile, we would come back as a family. My childhood was fantastic, but all I knew of Chile were the stories my parents had told me. I had an image of the country, but when I got back, it was very different. There was another way for everything, another way to go to school. Now that I’m older, though, I can see that [adjusting to my new life] was one the things that made me strong.

SFBG: Tell me about how you got involved in hip hop.

AT: I began to rhyme in Chile, but when we lived in France my mother used to work with [homeless teenagers], who loved to listen to hip hop. I used to go with mother to her work and listen to NWA and other hip hop groups from France. I began to listen to hip hop thanks to my mother! In Chile I found the way to say everything that I was feeling through rhyming. I began to rhyme when I was 18 or 19.

 

Dig Tijoux’s life, animated- and the sexiest Public Enemy tee ever- on the video from 1977’s title track

 

SFBG: What was the hip hop scene like in Chile back in those days?

AT: What happened with Chile in hip hop, the scene is very strong in relation to the rest of Latin America. It was very strong then, but it’s even bigger now.

 

SFBG: What, if any, challenges did being a rapera in a budding hip hop scene bring?

AT: There were none. I always felt the support of my friends. I never felt different because I was a female. Maybe there was more respect, they wouldn’t say bad words in front of me. My colleagues were proud there was a woman on stage.

 

SFBG: Your upcoming tour will be the first time you’ve performed in the United States. What are your feelings on bringing your music up here?

AT: I’m happy and more anxious than nervous, because whenever I travel to another country there’s a new energy. I’ve toured in France, Spain, Switzerland, Argentina, Venezuela, Cuba, Mexico- all over.

 

SFBG: Is hip hop culture different here in the States?

AT: Of course it will be different- different and similar. But it will be the same music and the same energy.

 

SFBG: You mentioned in one article I read that you wanted to bring back the hip hop of ’92-’95- what is it about that era that you like?

AT: I feel that hip hop was more simple then, more to the point. It was more personal, the golden age of hip hop. For me, all the albums from that time are classic. I like the force and anger. I’m sure it’s nostalgic too- those were the years I learned I could make something, say what I was thinking. One of my favorite albums is Enter the Wu Tang (36 Chambers), but there are so many good ones.

 

SFBG: What shows will you be checking out when you’re not performing at South by Southwest?

AT: Flying Lotus.

 

SFBG: Why’d you name your album 1977— I know that’s the year of your birth, what were you trying to say by invoking that time?

AT: That’s also the name of a song on the album. I wanted to make a number in the album.

 

ANA TIJOUX

Thur/25 8 p.m., $12-15

La Peña Cultural Center

3105 Shattuck, Berkeley

(510) 849-2568

www.lapena.org

Melissa Febos whips it good

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Whip Smart
By Melissa Febos
(Thomas Dunne Books)

In her new memoir, Whip Smart, Melissa Febos — who’ll be reading at Eros on April 4 — examines, with frankness, generosity, and unexpected grace, the four years she spent working as a dominatrix in a midtown Manhattan dungeon. Readers are invited into the world of high-price humiliation, in dungeon rooms decked to the nines in the accoutrements of masochistic fantasy, where Wall Street types pay huge sums to be flogged, diapered, and pissed on. Her revelations are often funny, occasionally sad, and fearlessly candid. Febos also writes of the heroin habit that led her to accept the job, and details the emotional strain and psychological effort of kicking addiction. She speaks with the SFBG about life as a professional domme and the process of turning that life into memoir.


SFBG: What is the single most frequent question you get asked when people confront your history as a dominatrix?

Melissa Febose: There’s really a list, and they usually come in rapid succession, and they are basically the same questions I answered repeatedly when I was a domme: What did your clients most commonly want? What did you wear? Did your parents know? How much money did you make?  People are pretty predictable.  I get really excited when people ask original questions, when people ask about the writing process, or the experience of publishing such a personal story.  It has been so long since I was a domme, and all the questions are answered very quickly in the actual book.  To me, the process of creating art out that experience is much more interesting than the actual job was. 

SFBG: Before your sessions, you write that you’d be in a state of “happy absence, whose vacancy made room for some other, unnamed thing”. You were free of all sexual desire and you “reveled in its absence”. This seems to me almost like a description of Zen, a sort of ’emptying out’ of ones desires. As you were writing about your experiences.

MF: Well, I don’t think my mental state pre-session could most accurately be described as Zen. I think of a Zen state as actually being a very present state.  There was a way that working as a domme necessitated a kind of presence, a clearheadedness, but I also think I was pretty detached emotionally from a lot of those experiences.  When I showed people early versions of chapters, they all loved the material, were intrigued and compelled, but felt there was an emotional element missing; they sensed that absence.



SFBG:
How did you access the highly specific memories, both physical and emotional, that you describe in your book? What was it like to enter, from a state of “absence”, one of presence?

MF: So when I really dug into writing it, I knew I had to enter, as you say, a state of presence with the experiences I was recounting.  Essentially, I had to experience them emotionally for the first time.  I think this was possible only with the distance I had from those years.  I had thawed out a lot between quitting and writing the book.  Frankly, I wouldn’t have been able to write this book, do the story justice, without a good therapist.  People don’t imagine memoirists doing much research, but that’s a misconception.  I did a lot of research for this book, and some of it was internal.

SFBG: What were the things you enjoyed the most about being a dominatrix, and what did you enjoy the least?

MF: I loved the feeling of power that it gave me, that having a secret life gave me.  I genuinely enjoyed the work, a lot of the time, and I loved many of the women whom I worked with.  Now, I love how much I learned about myself, and the way it made my heart bigger. I didn’t love a lot of the sessions – the way that I compromised what I was comfortable with in some of them. Clients who topped from the bottom also drove me bananas.

SFBG: Judging from the experiences you describe in your book, you pretty much saw the extremes of human sexual behavior. What was the craziest thing you saw during your days as a pro-domme? Does anything surprise you in the bedroom anymore?

MF: Well, I’ve always kept my personal sex life and my work in the sex industry pretty separate. Many of the things I did in session never came up in my own bed, and probably never will.  And if they do, it’s a very different experience. At work, I saw pretty much everything – sweater fetishes, bug fetishes, poop fetishes. You have to read the book for the goods on that front.

SFBG: Have any of your former clients contacted you since your memoir was published?

MF: Yeah, I’ve gotten a couple emails. All friendly. Though they haven’t read the book yet.

SFBG: Once you made the decision to publish your work under your real name, was there a moment between when you signed the contracts and before the book hit the stands, that you had a legitimate freak out?

MF: No, actually that moment didn’t happen until the book hit the stands.  Intellectually, I understood that the book was very, very candid, and that it would probably end up being a lightening rod for all sorts of opinions, judgments, projections, assumptions, and more.  But when the fact of that really hit my heart, it was pretty staggering.  I’m actually a very sensitive person; I want to be liked, I want to be considered for my full complexity as a human being, and when you publish a book about a single narrative from your past, inevitably, the public’s perception of you will be reductive.  That’s unavoidable.  But still pretty painful. 

I seriously considered publishing it under a pseudonym, but I couldn’t stomach the irony of publishing a book partly about eschewing secrecy under a secret identity.  Also, it was important to me that it be clear that I saw my experiences as valuable, not something to be ashamed of.  I love the fact that I am a living example that you can be a sex worker, a heroin addict (now former heroin addict), and also a college professor, a writer, a thoughtful person, an emotionally balanced person, a feminist – these identities are not in conflict. My past and present are all part of a continuum that makes perfect sense.  I want that to be visible.

SFBG: What are you working on now that we should keep our eyes out for?

MF: I’ve got a few novels gestating – when I have time to delve into a long-term project, I’ll see which one calls the loudest. In the meantime, I’ve been working on a bunch of short essays, which will probably be enough in number for a collection at some point. I blog regularly for The Nervous Breakdown, which is a fabulous site, full of great writing.

 


Those interested can meet the author in person during one of her upcoming San Francisco book readings. She will be reading at Eros (2501 Market, SF) on Sunday, April 4, as part of the K’vetsh Reading Series, at 8pm. On Tuesday, April 6, she will read at a RADAR Reading Series event at the San Francisco Public Library, Main Branch, at 7pm.

How’d you get so fly, SambaDa?

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Pop quiz! 

Q. A woman with the mic croons the bloco afro riddims of her childhood growing up in Salvador. Around her, percussion reigns king and it’s possible that a capoeira or samba dancer has snuck onstage to accentuate the party energy. Your body jumps to the beat. SambaDa has you in its grasp. But from whence does this musical group hail?

A. (Choose one)

-Rio de Janeiro, Brazil

-Santa Cruz, California

 

If you picked Santa Cruz, you owe yourself a pat on the back and a spangled samba getup. The crew, a hometown fave, is steeped well in the legacies of reggae, Brazilian worship of sun and sand, and Cali funk. SambaDa got its start as a capoeira group and with the arrival of lead vocalist Dandha de Hora from her home town of Salvador, Brazil, have become a celebration of surf culture and the wonder of the natural world. They’re celebrating the release of their fourth album, Gente!, a tribute to the community that has sponsored their musical success.

Sambada tears it down, Carnival style. Shows attract a multi-generational crowd, and inspire foot stomping, hip swaying and a healthy, hearty dose of dance. The best place to watch this music performed is on a beach, feet stomping some white sand… but until the Outer Sunset gains a beach bar and 40 degrees, the stage at the Independent (Sat/13) will more than do for this weekend. 

 

Sat/13 9 p.m., $13-15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com