Wolfgang Voigt’s music as Gas is inexorably tied to the forest. The project was inspired by Voigt’s youthful acid trips in Germany’s Königsforst, and appropriately the sleeves for the project’s six albums (with the exception of its apocryphal self-titled debut) are adorned with psychedelically blurred trees and shrubs, all bathed in unnatural colors coordinated to the mood of the music and stamped with the name Gas in a formidable serif font. How this specifically sylvan music would translate to the spartan constraints of the live electronic show intrigued me. It seemed inappropriate to have a Gas show anywhere but the most remote and tangled stretches of the Black Forest, maybe with a trail of breadcrumbs leading to the stage.
Gas’s first-ever San Francisco show was part of the first night of the Recombinant Festival, an ongoing multimedia and experimental music event at Mission Street’s Gray Area. While most of the artists aren’t well-known outside deep avant-music nerd-dom, Gas was undoubtedly the popular headliner. His music enjoys the same critical acclaim and rare crossover appeal outside ambient music as Brian Eno or Tim Hecker, and 2016’s sumptuous Box set of his 90s albums was enough to bring him out of a decade-and-a-half hiatus to drop 2017’s Narkopop and this year’s Rausch. By popular demand he’d added a second early show after I’d bought my tickets for the late show at 9 pm.
Opener Marcus Schmickler, was not an artist I was previously familiar with—and not one I’ll easily forget. His performance was defined by bone-rattling bass, emanating up from the floor through our bodies, numbing us for minutes at a time at prodigious volume. Every now and again he’d let up for a couple minutes, his tones would settle somewhere in an eerie treble range, and our bodies had a moment to breathe. Then the waves would come crashing down again. Some of the noises he made resembled sirens or alarms, and I initially thought he might be trying to evoke some sort of dystopian prison, but it soon became clear that what the sound was “of” was moot. What mattered was the pure fact of the sound, and the generosity with which it was delivered.
Even the mighty Gas seemed a bit dainty coming after Schmickler. Voigt started in orthodox Rausch mode, and the visuals emerged from a sort of Matrix murk, not dissimilar to what you’d see projected at a run-of-the-mill noise show. But then dendrites began to form, and soon we were seeing abstracted sapling-fairies dancing in a weird, circular sort of pagan motion, bathed in the gold of his Königsforst sleeve. Instead of taking us deeper on a linear route, he’d show us bits of forest, then let the trees disappear into clumps of data, which sometimes resembled gnarled witch-faces—or maybe my imagination was just inflamed by grotesque Germanic thoughts of Hansel and Gretel and erlkings and babes lost in the woods. At one point he circled in monochrome around what appeared to be a dead tree, like the one in Lord of the Rings. Later he’d give us clear footage of a forest, then blur it until we were looking at endless dark passages between snaking gray pillars that could have as easily been stone. It was a snapshot of what makes the Gas project so good: the experience of being lost from the comfort of our chairs.
The music itself was a thick soup from various records that progressed the way his records do: placid plains of beatless drift, divided by long stretches of linear material defined by the thrum of a four-on-the-floor kick that sometimes sounds like a will-o-wisp bouncing just ahead and sometimes sounds like a malevolent emanation from the earth itself. For a while towards the end some letters appeared in the fractal fudge behind him, and he seemed to be teasing the end, when of course the name Gas would come onscreen. But then he meandered back down the scenic route for a few minutes, with more kick drum and an intriguing lavender color palette onscreen that might grace the cover of a future album. At the end the man stepped down from the podium and bowed, looking as hermetic as you’d hope: white hair, white beard, black clothes.
Gray Area, a nonprofit which occupies an old movie palace, was founded 10 years ago to promote the connections between art and technology, and it’s an ideal place for this kind of audiovisual experience. Speakers are positioned all over the room, and sounds travel swiftly from one to the other. The performances I’ve seen there have all been dominated by a towering screen, often filled with fractals and other psychedelic accoutrements. The space can host an 800-capacity dancefloor, but tonight 500 seats had been laid out for us, allowing us to focus on the music far more easily than were we standing—and to better feel its impact on a physical level. For Gas’s music to work well live, the audience has to forget they’re in a room with other people. And, yes, there were times when the walls of the pitch-black venue started to shrink away, as if the forests of Voigt’s imagination had left the screen and started to take root right there in the building.
Hundreds packed into relatively new and quite lovely venue August Hall (formerly Ruby Skye) on Friday, October 19 for DJs Black Madonna, Honey Dijon, and David Harness. The Black Madonna, a Chicago party stalwart who plays classic house and disco grooves as if they were deep techno (pyrotechnic on the fader, all about the driving beat) sparked the place rave-y after hometown opener David Harness fired up some soul. She’s also a tireless advocate for inclusion as the prime principle of dance music ethics, bless her flying Twitter fingers, so the atmosphere was more than vibing.
Closing it all out was the awesome Honey Dijon, one of the few huge touring DJs with actual roots in the frenetic ’90s big room house she pumps into crazed dancers’ veins. She was a regular at the End Up with David Harness back in the Fag Fridays days, and it’s been so lovely to see her get the recognition she deserves while staying outspoken about black, trans, and womens’ rights. Oh yeah, and the crowd that night was cute, too. Photographer David Schnur caught the excitement. — Marke B.
The night features live music from the Deadliners, a band of local writers you just may recognize:
Jonathan Alford, keyboards
Zoe Carter, rhythm guitar and lead vocal
Mark Hertsgaard, rhythm guitar and another lead vocal
Gary Kamiya, lead guitar
Dan Keller, bass
Greg McRae, drums
Mark Schapiro, harmonica
The Bay Guardian and others local organizations will also be on hand to distribute voters’ guides, and there will be lots of rallying energy to face the midterms! Oh, and a full bar!
Come out and support local media, so we can keep getting the word out about what matters.
THE DEADLINERS: A ROCKIN’ BENEFIT FOR 48 HILLS Thu/18, 7pm-10pm, $10 (but we’ll take more!) The Bindery in the Haight, SF. More info here!
ALL EARS The first thing you hear when you call Patrick Brown is “please enjoy this ringback tone,” followed by Louisiana rapper Kevin Gates belting the hook to his hit “2 Phones.”
Brown probably won’t answer. He doesn’t pick up phone calls; he’s usually in the studio anyway. The name of his record label is Text Me, one of the most productive outfits in San Francisco: Brown wanted to name it after something he always says.
Brown, 40, came of age in New York during the hip-hop boom of the ‘90s, and his musical education had as much room for Prince Paul as Paul Simon. This eclecticism is reflected not only in the roster of Text Me’s dozens of artists, but also on his approach to breaking down genre walls and production barriers—all in service of putting records out from a broad spectrum of local artists (and getting those artists paid). He moved to San Francisco in 1998 to study graphic design at Academy of Art. Then he studied film. Then he ran an art gallery.
Finally, he settled on the one constant in his life: music. After an early attempt at starting a label, he enrolled in a two-year program at music production school Ex’pression in 2002 before getting an internship at venerable Mission studio Different Fur, which just celebrated its 50th anniversary. He now lives and works above the studio, in a space that seems to consist mostly of keyboards.
Before releasing music, Text Me functioned as a song-publishing company while also putting on shows—notably booking cult-favorite Chicago rapper CupcakKe at Eli’s Mile High Club for one of her earliest Bay Area shows.
The label now boasts a post-genre roster with everyone from punk band Coke and oddball pop group Dot Vom to Christian rapper Van Gammon. Many of the label’s artists also serve as in-house writers and producers, a rarity for a small label in an indie scene that often prides itself on DIY authenticity.
“A lot of people are like ‘oh shit, that’s a punk band opening for Soulja Boy!’,” says Brown. “But it’s the same kind of energy. That’s the kinda show I wanna go see.” We spoke with him about
48 HILLS How does a record on Text Me typically come together?
PATRICK BROWN Our writers can book a six-hour block and come in, but there are also collaborations happening. Someone will make something and one of the singers will be there and it kinda happens organically. You might come out of a session with an instrumental and a hook and then step back, rework it.
Normally someone comes in and says “I have five songs I wanna finish,” or “I have five songs and I wanna make it ten songs,” and we’ll block an amount of time, they can get as much done as they want. If they want my opinion they get my opinion; we get it mastered; we’re done. We have access to the studio, so that removes a lot of steps.
48H It’s unusual for a small indie label to have an in-house roster of writers and producers.
PB That’s a classic model. It’s what Motown was, it’s what those old studios all did. Even with EMI and the Beatles, George Martin was a house producer for classical music.
My thing has always been how to set artists up to make money. I think it’s great when someone wants to be purely an artist, but unless you blow up it’s a hard road to take. Songwriting is like being a painter and taking commissions on the side.
My whole thing is trying to set it up so people have income. Musicians are obsessed with getting on a label and having it release a record. Half the time they don’t even know whether or not their shit’s published. They don’t know there are performance royalties they should sign up for and collect. They’re not huge amounts of money, but it’s at least a check.
48H With the do-it-yourself focus on writing your own songs and playing your own instruments in indie music, some people might call this model inauthentic.
PB Why, because there’s a mixing of styles, because more than two people wrote the song? How is that inauthentic? We did a writing camp recently, we released a mixtape Group Chat: A Back To School Mixtape, we had 40 people rotating between three rooms. And that was fun! No one’s like “whose song is this?”
Kanye is always a loaded example, but when he made My Beautiful Dark Twisted Fantasy he rented a studio in Hawaii, he put a producer in each room, he flew everyone out to work nonstop. If he wants to bring out the top rappers in the industry and the top producers, he’s still leading it. If anything, people say he’s overly involved. Even if you have DJ Premier in the room he’s still telling DJ Premier what to do.
48H What are the biggest misconceptions artists have about the music industry?
PB I don’t think people should be overly obsessed with the business end of things, but I think it’s a mistake to not learn about it at all. If you get to a certain point in your career you need a manager, a label, a booking agent. But starting out you don’t need all those things. Sometimes they’re prohibitive. You could get a manager because you think you need a manager and your manager could be blowing opportunities for you because they don’t actually know what they’re doing.
People should be really cautious of documents, especially if you don’t understand them. Every musician should find a lawyer that should review contracts for them for a couple hundred bucks. One of my goals is making sure people educated in this field.
48H What was the impetus for the show with Soulja Boy?
PB I started talking about dreaming bigger with shows. What would I wanna see? We were looking into the idea of Soulja Boy for the Dipset reunion, but that was recently booked, so we said “let’s get the fucking Soulja Boy show!”
For a lot of people we work with he’s a legend. He helped create the Internet music sound and style and direction that everyone goes in now, whether they want to admit it or not. One of things he credits with blowing him up was he’d go on these peer-to-peer file-sharing sites and name his songs after the top search. So people would download a song they thought was some other song and they’d be like, “What the fuck is this?” Then they’d be like, “This is tight!”
He’s not hurting anyone, no one’s paying for it. I love shit like that. He’s super influential in that way. And it’s a good show for us to establish where our brains are at with things.
TEXT ME RECORDS PRESENTS SOULJA BOY Fri/5, 9pm, $25-$30 Mezzanine, SF. More info here.
I remember her most on the Eagle patio, where she singlehandedly rescued a generation (or two) of leatherfolk from succumbing to the afternoon-long beer busts in full sun.
First the word would go out: “The Tamale Lady’s here!” Then in she would trundle, pulling her red wheeled-cooler behind her, undaunted by the fanny-flashing chaps and extended makeout sessions roiling all around her. We’d flock to her, downing the pollo, verduras, or whatever she had on offer, waving our little forks excitedly and wiping the sauce off our fingers, smiling back at her as she fished for change. “Honey, you look like you need another one,” she’d say, poking me in the ribs while I giggled like a Pillsbury doughboy who hadn’t really eaten in three days.
One specific memory, probably my favorite of all San Francisco memories. After she’d fed us, she would hang out, cajoling, smiling, resting: Once under an early full moon, the cigar-smoked air turning lavender, a strapping leatherman swept her up in his arms and they danced a slow tango to Grace Jones’ ‘La Vie en Rose.’ Probably no more perfectly sweet moment to be had in this city’s resilient subbaculture.
Virginia Ramos, aka the Tamale Lady, has passed away at the age of 65, and memories like the above have been pouring out online in honor of the San Francisco icon. Before gourmet food trucks, before even bacon hot dog carts, treading through SoMa, Mission, and Market bars like Lucky 13, El Rio, Virgil’s, and Zeitgeist, Ramos dished out sustenance and zingers, plus a whole lot of hugs to thousands of nightlife denizens.
The Tamale Lady was a true friend indeed, a symbol of the crazy-good diversity of the San Francisco nightlife scene, a uniter of so many different, yet hungry, scenes, many of which have vanished as well. We’ll miss her dearly. Thoughts go out to her family. Viva la Tamale Lady.
MUSIC A night of Stevie Nicks’ music, performed by awesome live bands, benefitting Access: Women’s Health Justice? Stop dragging’ your feet around and hit up the second annual “Night of 1,001 Stevies,” Fri/25 at Bottom of the Hill, for plenty of scarves draped over microphones, tons of bewitching feminine energy, and a magickal lineup—including Everyone Is Dirty, Lapel, Katie Day, Jeremi Rebecca Hush, Josiah Johnson, and Marston, plus Tarot card readings by LouReads and artwork by Sister Stranger.
The brainchild of Tracey Holland of the evening’s fantastic headlining act Vandella (whose rock sound is inspired by Fleetwood Mac among others), “Night of 1,001 Stevies” pairs her love of live performance in a tight-knit community with her passion for women’s access to health care and abortion. We spoke over email about the genesis of the idea, the resonance of Stevie’s music, and how it all comes together for one night. (Check out the “Night of 1,001 Stevies” Instagram for more.)
48 HILLS How did you come up with this great (and hilarious) idea?
TRACEY HOLLAND Several pieces sort of dovetailed all around the same time for me to bring the whole concept into what it’s grown into. First, I’d gotten wind of the NY event called “Night of 1,000 Stevies,” which has been going on for several years now. It’s apparently a big dance party they throw every year on Stevie’s birthday, May 26th, and has a big drag focus. As a huge Stevie and Fleetwood Mac fan, I was instantly in love with this whole idea, and knew that the West Coast absolutely needed our own version of this. Of course, as a musician, I wanted to make it more of a live show and use it as an opportunity to bring together a bunch of incredible musicians I know all in one place, as a means of also celebrating our music community which, particularly in SF in recent years, has taken something of a hit, as I know everyone is well aware.
The 2016 election really shook me, and was the catalyst for myself and so many other people trying to get more involved in politics in their communities and on a larger scale—so I then got really excited about turning the whole thing into a benefit for women’s-centric causes, and a celebration of women, and intersectional feminism, and music, and community. Basically it felt like a way to make some small difference, and take a stand, and highlight all these things that I’m really passionate about.
Access: Women’s Health Justice does amazing work that is targeted towards focusing on underprivileged communities and women who have limited resources and access to getting abortion and reproductive needs met. I wanted to make sure we were benefiting an organization that took into account women for whom Planned Parenthood (while wonderful, and whom I fully stand behind) is still a barrier to care. Access coordinates financial pieces, as well as even coordinating transportation and lodging for women who may need to travel, or may have a more sensitive situation. And to me, that is such an important, direct, hands-on piece of really caring for women having to do this. I really respect and admire their work and am really so passionate about abortion access for ALL women, and am really excited to be able to partner with Access for this particular reason.
And it’s also just an awesome, epic party with Stevie as the catalyst. So. What’s not to love?!
48HI love that the Night of 1,001 Stevies aims to actively-embrace and harness the powers of music, feminine energy, and activism—can you tell me more about how you’ve experienced this connection to Stevie’s music, and has this resonated with the other musicians involved?
TH I’ve always been really drawn to darker complexities and emotions, the mystical, and exploring the messiness of humans and how we live and relate, and I think this is a piece of Stevie’s music that clearly a lot of people are drawn to, and really appreciate, first off. As a woman in the music business, it took me years (until recently, really) to understand that a lot of my experience was based in misogyny, being written off or undervalued or dismissed simply because I’m a woman. I’m fortunate to have an amazing band of brothers whom are all progressive; but there’s still a wide swath of my musical and business experience that has this underlying current always running through it.
Stevie, to me, is this amazing embodiment of feminine energy that is purely her energy—I think there is sometimes this rhetoric surrounding feminism that sort of misses the point, and forces women and girls to be pigeon-holed into a way that feminism is supposed to look, act, and “be.” So, as a woman, it ends up feeling like no matter where you turn, you’re supposed to fit into some sort of box or else you’re not a part of the “club” (whatever that club may be). Stevie’s music explores this darkness, and complex emotions, and is sort of unapologetic in that way, and that’s something that personally has always resonated with me—the permission to not feel or be “nice” or “easy”—to be allowed to be difficult, and to have dark emotions, to be drawn to that—the permission to not have to always “make sense” because other people demand it of you.
I think part of what captivates people about Stevie and her music is that she is this strong figure, but she’s strong in a very unapologetically feminine sense. “Strength” is so commonly associated with being more “masculine” and I’ve always rejected that and hated that notion. You can be soft, and you can be sexy, and you can be all these traditionally “feminine” things—and still be a badass. You don’t have to do feminism any one way, and that’s something I’ve always felt very strongly about. I think in our current climate, as we’re talking more about gender roles and identities, trans rights and issues, LGBTQ issues, and feminism that does need to be inclusive of ALL the forms of feminism, that this mindset is starting to shift, and I’m so glad our larger discussions are starting to include some more of that nuance.
The other musicians who are onboard for these shows are all such embodiments of this larger vision. The lineup is heavily female, though I always made clear from the start that my feminism is not at all about not including and loving men—there will be a lot of males onstage as well, and this is a mindful choice on my part. I feel very strongly that I want men who to be a part of the discussion, and the solutions, around feminist and women’s issues. I believe the patriarchy, as it were, does a disservice to both men and women. So for me, including men who are positive supporters of women, including myself and others, was a conscious choice meant to keep the discussion open.
Every one of the featured artists hopped onboard immediately and have been so excited and gracious. Every one has been touched by Stevie’s music in a similar fashion to what I’ve described above, and I think it’s just such a beautiful and special thing to recognize and get to revel in together.
48HHow was the first time you did this? Can you describe the scene and what you hope to replicate with the second installment?
TH This is a very indie, DIY-benefit in the early stages of its infancy, so it’s really been a labor of love and has that really exciting, buzzy camaraderie that comes with things like this, that are borne out of a passion for something and a hairbrained idea, and it gets all pulled together somehow. Last year was a small show in SF, but to a PACKED crowd. We had some amazing musicians play, and everyone was just so supportive, and again, just kind of buzzing. It felt like a really special night and it felt like the energy in the room around that was palpable.
We had Tarot readings going on, lots of scarves we’d hung from mic stands, impromptu face and glitter-painting going on in the crowd: It was pretty magical. We have some incredible volunteers this year (shoutouts to Kevin White, Allie Hunt, and Emily Zitin!) who are helping us with overall planning, promotion, and vibe – we’re going to have a lot more surprises in store at the two shows that I think will really make it more of an experience.
We’re also hoping to just spread the word of Night of 1,001 Stevies—not just for the fact that it’s benefitting an incredible organization, Access: Women’s Health Justice, but to spread the message, too, because honestly even when I just am telling people about it on the street, it really gets people excited. I think just the fact that you can have a hairbrained scheme (my bread and butter, if we’re being honest) and then execute on it in your own small way to make a small impact. I think that gets people excited, and hopefully gets them to thinking of what they love and what pieces of their world they can pull together and get creative with to do some small bit of good, too?
My larger dream is to take this event annually to different cities along the West Coast and/or make it a small one-day festival where we get to celebrate all these things and continue to highlight, benefit, and talk about the issues we face in our current political and social climate. We’re on Instagram at @1001stevies, which has been an awesome way to highlight all the artists and have a little more of a homebase to build on the community as it takes shape.
48HHow do you decide which songs each act plays? or are there multiple Landslides?
TH Ha, there will not be multiple Landslides—everyone will be playing a short set of songs of their choosing. The opening sets will be short sets of either Stevie/FM songs and a couple originals, followed by Vandella playing a headlining set deep with Stevie/FM jams, as well as some originals in the FM vein. The song choices are honestly pretty heavily Stevie-centric. Her solo catalogue has some amazing hits, and deep cuts, that are going to be featured throughout the night. it’s a really eclectic span of her career, quite honestly. Everyone has impeccable taste in their song choices! There will of course be a lot of the hits because, come on. But it’ll really showcase a lot of the different Stevie eras.
48HWhat’s your own favorite Stevie song?
TH Oh wow. Ever? Of all time? Just ONE? Rhiannon is so beautiful and is representative to me of the kind of woman I want to be, if that makes sense. But I suppose if I’m picking the one that means the most to me personally, on a really deep and vulnerable level, I’d have to say “Storms.” The lyric “Never have I been a blue calm sea / I have always been a storm” just slays me because it feels like it was written for me. That’s the power of our girl Stevie. I’m sure a lot of people feel one of her lyrics so deep to their core like that; and that’s part of what makes music so damn special, isn’t it? OK, that was two. Sorry.
NIGHT OF 1,001 STEVIES Fri/25, 8pm, $12/$15 Bottom of the Hill, SF. More info here.
If you’ve ever danced with abandon to Salt-N-Pepa’s “Push-It,” or jammed out in your room to an extended mix of “Axel F”—and who here among us has not—then you’ve been touched by genius Bay Area DJ and producer Cameron Paul, who passed away Monday at the age of 60 after an illness. His passing was announced on his Facebook page by his sister, who was helping to take care of him in Tulsa.
Cameron Paul’s importance went far beyond those pop triumphs: To an entire generation of club-goers in the late ’70s and early ’80s, he was the whole reason to step out to spots like City Nights and the Broadway Power and Light Club—or bop at home to master mixes on KSOL and KMEL.
He was a crucial link between disco (he played the first promo copy of the Saturday Night Fever soundtrack here in 1977) and electro and beyond (his classic version of CCCP’s “American Soviets” crushed dance floors from underground gay goth to bougie penthouse)—at a time when “DJ” was becoming more than just a service occupation, and more of an artistic calling. Beyond the incredible DJ, radio, and dancefloor-friendly remixes and medleys he produced through his Mixx-It service, he also pioneered the “how-to” video series for DJs. He worked with almost every local DJ or remixer of consequence in the 1980s, and is still revered for his technical expertise.
“Cameron was one of my earliest contacts to the SF dance music production scene,” says Jim Hopkins, another legendary spinner and remixer, who now heads up the essential San Francisco Disco Preservation Society, which archives classic mixes by local DJs, including the two you can hear by Cameron Paul on this page, both remastered by Jim.
“We both started doing tape re-editing for Hot Tracks DJ remix service around the same time in 1985,” said Hopkins. “I was living in Sacramento, CA at the time, While he was in the Bay Area.
“He was the technical guy that I dealt with when I first started submitting my reel-to-reel edits to Hot Tracks. He was the one that told me the gear that I needed to buy to start tape editing professionally. We spoke on the phone quite a bit, talking about techniques. He was an inspiration and gave me some good advice on editing techniques.”
The early electro, or “Beat” style—which was actually an eclectic, beyond-niche melding of sounds that were being marketed as freestyle, breakdance, hip-house, New Wave, etc—has been overlooked by many writers and modern-day musical excavators, passed over in favor of the well-worn narratives of hip-hop, house, and techno. But for a few halcyon years, Beat connected dance floors from Dallas to Paris. With Cameron’s passing, I’m hoping that the freedom and abandon of these years (if not the hyper-cumulus clouds of AquaNet) will be rediscovered. RIP, Cameron!
Full announcement from Cameron’s Facebook page:
Cameron Paul 5/31/1957-3/26/2018 Cameron Paul, born and raised in San Francisco, CA passed away in peace with Christ on March 26, 2018 in Tulsa, Oklahoma. Cameron was a music producer and legendary DJ who, under the stage name Cameron Paul, revolutionized club music and introduced the world to a new form of entertainment, “Mixx-It”. Cameron’s music could be heard on the legendary Bay Area radio stations KSOL and KMEL-FM, and he earned gold records for his remixes of iconic songs like Salt n Pepa’s “Push It” and George Michaels’ “I Want Your Sex”.
In the 1980’s and 1990’s his music drew enormous crowds to San Francisco dance clubs like City Nights and Studio West where the masses danced the nights away to his unique style of music. Cameron’s irreplicable contribution to the music industry resulted in him being inducted into the Legends of Vinyl DJ Hall of Fame, solidifying his reign as an artist whose music will inspire others all over the world for generations to come.
Cameron was preceded in death by his loving sister Laura, and leaves behind his loving parents, Larry and Caroline of San Francisco, CA, his devoted sister Suzanne and her husband Steve, his niece Kirsten, two nephews, Brandon and Jordan, and many cousins.
A simple memorial will be held in San Mateo, CA and will be announced on his Facebook page “Cameron Paul.”
Cameron had a compassionate heart and shared his love for animals with his sisters, Laura and Suzanne. In lieu of flowers, he requested donations be made to Alley Cat Allies, a charity that assists shelters in saving cats and kittens around the US. Donations can be made under Cameron’s name directly to [email protected] or to the Porta Caeli Hospice house in Tulsa, Oklahoma where he was lovingly cared for in his final days.
MUSIC I was just watching the iconic 1985 video of the Damned’s performance of “Eloise” on Top of the Pops—how on earth did David Vartanian keep those skin-tight white jeans pee-stain free?—when the word came down: The iconic 1970s punk band turned ’80s goth-pop heroes (and soft-synth political romantics) are headlining our best and most Oakland-y rock fest, Burger Boogaloo, June 30 and July 1 at Mosswood Park.
They’ll be joined by beloved oddballs Devo at the top of the bill, perfectly expanding Boogaloo’s template of death-rockabilly/subterranean-soul, and weird enough to climax a fest hosted by John Waters. And they’ll be complemented by on-brand Boogaloo acts The Mummies, Hunx And His Punx, Mudhoney, Dwarves, The Dickies, Le Shok,and many more, as well as awesome outliers like Quintron and Francis Lau.
(Quick sidetone: Seeing Devo perform randomly one workday afternoon in front of SF City Hall, as leader Mark Mothersbaugh inveighed against the Bush Administration, was one of the few amazing political protest memories I retain of those dark, tacky years.)
PARTY RADAR As always, but especially in the last politically horrific year, the dance floor is a beacon for and a bastion of love, peace, and unity that transcends race, sexuality, and gender. Even the harshest noise show and the most clinical techno underground offers a communal warmth the outside world does its best to shut out and up. This weekend, set aside to honor Rev. Martin Luther King, Jr. offers plenty of opportunity to spread his message through music, dancing, and some glorious carrying on.
FRI/12: MARTINEZ BROTHERS The adorable Bronx duo rocketed to fame as teens full-bent on reviving classic house vibes: That’s a ubiquitous goal these days, but the Brothers keep rocketing ahead of the pack with a sunny attitude and serious skills. 9pm-3:30am, $15-$25. Public Works, SF. More info here.
FRI/12: SWAGGER LIKE US PRESENTS JIBBZ The Bay’s most vibrant queer hip-hop etc. party brings in Oakland global bass and Afrobeat producer to swag the decks. Don’t miss this. 9pm-2am, $10-$12. White Horse, Oakland. More info here.
FRI/12: EDDIE C, MARK E. QUARK Fabulous disco-rave vibes from classic DJ Eddie C, while another legend, Mark E. Quark, brings the funky techno. Local duo Diskoalition opens up. 9:30-late, $10-$15. Monarch, SF. More info here.
FRI/12: WETWARE, ENTRO SENESTRE The Surface Tension parties always guarantee a boundary-pushing experience, and experimental-techno-noise act Wetware and lauded Bank NYC label conch Entro Senestre will not disappoint. 10pm-4am, $12-$15. the Stud, SF. More info here.
FRI/12: NEON BLACK Sexy synthy retro and future grooves at this party that feels like you’re floating through the Drive soundtrack inside a vintage Tron arcade game. With DJs Pendaison, Wyram, Danny Dolorean, and Fact.50. 9:30pm-3am, $5-$10. Cat Club, SF. More info here.
FRI/12: VRIL “Seemingly out of nothing, through dust and with no bang, Vril appeared on the scene.” The burbling-techno Giegling label brought this “shadowy German” to light, the Modular party brings him to the Midway. Don’t miss opener Lily Ackerman, one of our most exciting rising DJ stars. 9:30pm-4am, $20. Midway, SF. More info here.
FRI/12: LAST NITE This fantastic and popular 2000s revival night will have you Strokes-ing out all over again. “It’s like we ate Pitchfork, stole your iPod and then rode off on your track bike.” 10pm-2am, $5-$10. Make-Out Room, SF. More info here.
SAT/13: KETIOV AT VIVVY’S GRAND OPENING Vivvy’s Grand Opening is our most surreal drag night, with enormous concepts a Payless budget. Ketiov is a solo project by Voitek, half of incredible techno duo Catz ‘n Dogz. Vivvy will be dropping jaws, Ketiov will be dropping deep disco-update jams. 10pm-4am, $10. The Stud, SF. More info here.
SAT/13: EVIGT MÖRKER Swedish techno wiz wows with incredible selection and mixing skills — I’d expect nothing less from the awesome Sure Thing party. The back room on this one will be an ambient wonderland, with Topazu, Experimental Housewife, and more. 10pm-4am, $15-$20. F8, SF. More info here.
SAT/13: NICO STOJAN (AND FAREWELL PETER BLICK) One of the most awesome people on the scene, Public Works honcho Peter Blick, is moving to Colorado (he’ll still be popping in to throw some great parties) — say farewell as he DJs alongside Berlin expansive-technoist Nico Stojan, with Oceanvs Orientalis and Ramona Wouters. 9pm-4am, $15-$20. Public Works, SF. More info here.
SAT/13: POUND PUPPY Woof, woof, sailor. This monthly scruffy circle-sniff is all about cute beards and very good music. DJ Jeremy Castillo from Club Lonely paws the decks this time around, with space jams galore. 10pm-2am, $10. Eagle, SF. More info here.
SUN/14: LANDO AT WERD Aw, nice one! One of my favorite local producers of the aughts is back in town for this semi-union of the great Icee Hot party at weekly techno joint Werd. With Elexos Park and CZ. 9pm-2am, $5. Monarch, SF. More info here.
SUN/14: MISS WHO WHO’S CELEBRATION OF LIFE A beautiful and legendary presence on the dance floors of SF left us last month. I’ve known Miss Who Who (and her ever-present handkerchief) for decades, since we danced together every weekend, all weekend, at the End Up. The SF scene is diminished with her passing, but this celebration of life will be a joyous reunion in her honor. With DJ David Harness. 5pm-10pm, free (donations encouraged). The Midway, SF. More info here.
SUN/14: RESIST – THE DOWNWARD SPIRAL A dazzling troupe of drag performers — Dia Dear, Profundity, Nikki Jizz, Miss Rahni, Uphoria, Qween, Reverend Lysol, Kuntrol Alt-V, Glamamore, more — taking on the seminal Nine Inch Nails album in its entirety? In order to make a powerful political statement? Sign me up, tie me down(ward). Sun/14, 8pm, $15-$25. Rickshaw Stop, SF. More info here.
SUN/14: MLK & HNY Honey Soundsystem’s annual MLK Weekend celebration comes into its 10th year (!) I’m dying to tell you the special guests, but suffice it to say they represent the incredible diversity of the underground queer dance music scene. One of my favorite parties of the year. 9pm-4am, $20. Audio, SF. More info here.
This was a truly unsettling year, from the election of Donald Trump and the resurgence of white supremacist movements to the sudden death of Mayor Ed Lee and the ongoing crisis of homelessness and displacement — a time when independent, local media proved itself more essential than ever. (Unfortunately, we continued to lose voices on the scene when we needed them most.)
NOTHING LIKE THIS HAS EVER HAPPENED BEFORE
Donald Trump was declared President of the United States, and no one was having it. The Women’s March brought the communal heat to San Francisco’s street on a cold, windy day — and, as part of the national happening, was the largest political protest in this country’s history. Read more.
SF SENDS THE WHITE SUPREMACISTS PACKING The resilience of SF’s resistance network and history shone through on August 26. Tens of thousands of protestors, from the Marina to the Castro, took to the streets to protest a “free speech” rally by a group associated with white supremacists. It was glorious — also horrifying that we even had to be there. Read more.
TEARS (AND BUBBLY) FOR BUBBLES One of San Francisco’s most recognizable free spirits, and a nightlife legend, was shot to death point blank in the Tenderloin. We reported from the wake/party on the streets celebrating Bubbles’ life. Read more.
SAN FRANCISCO BRACES FOR THE POSSIBILITY OF IMMIGRATION RAIDS
Of all the horrible possibilities of the unhinged Trump administration, the threat of armed agents of the government hauling away our neighbors was one that affected the Bay Area mightily. After President Trump signed an executive order aiming to block federal funding to sanctuary cities, we reported from a legal training to help understand what ICE could and couldn’t do. Read more.
The GHOST SHIP FIRE, ONE YEAR LATER
As the anniversary of the Bay Area’s worst nightlife tragedy neared, we interviewed Andy Kershaw, the husband of victim Amanda Allen, who updated us on the case and opened up about how it had affected him. Read more.
BAY GUARDIAN BEST OF THE BAY 2017 The 42nd installment of Best of the Bay — and the second that 48 Hills hosted after the Bay Guardian stopped publishing weekly in print — was a wonderful compilation of beloved SF institutions and new businesses that proved we still live in the best place on earth. Read more.
INSIDE THE YIMBY CONFERENCE
The push for unchecked, market-rate development put on a youthful, tech-ready face at an Oakland conference called Yimbytown 2017. We were there to report on the civil discussion on the surface — and the nastiness behind the scenes. Read more.
LEE’S DEATH SHOCKS THE CITY Tim Redmond reported live from City Hall as stunned officials gathered to mourn the mayor after his sudden passing and figure out next steps. Read more.