By Ian S. Port
By Cory Sklar
By Godofredo Vasquez
By Gil Riego Jr.
By Ian S. Port
By Ian S. Port
By Christopher Victorio
By Ian S. Port
Or, the Whale, a sprawling septet of slide guitars, accordions, washboards, and beyond, began drawing attention when the band released its first album, Light Poles and Pines, in May. Filled with danceable, country-charged rock, reflective ballads, and indie-pop gems, the debut was received warmly by local media, and was even mentioned on VH1's Best Week Ever and a blog for USA Today. Listeners fell hard for Or, the Whale's thrilling four-part vocal harmonies at boisterous live shows, and the band, still in its public infancy, has developed a well-deserved local following.
Zeph & Azeem
J-Boogie's Dubtronic Science
Alex 'Zanders' Andreas — Boom Boom Room
Kevin Arnold — Noise Pop
Monika Bernstein, William Linn — Blasthaus
Will Bronson — SMC Recordings
Christian Cunningham, Ben Van Houten — The Bay Bridged
Marshall Lamm — Marshall Lamm Promotions & Public Relations
Jennifer Maerz — Music Editor, SF Weekly
Audra Morse — Incredibly Strange Wrestling, Thee Parkside
Ryan Romana — Six Degrees Records
Katy St. Clair — Bouncer columnist, SF Weekly
Special thanks to the following: Lotus Vodka: presenting sponsor
Vespa San Francisco, Going.com,
SF Institute of Esthetics and Cosmetology, Varcose Travel Incentives: sponsors
SF Weekly 2007 Music Awards Staff
Executive Producer: Josh Fromson
Producer: Sunset Promotions
and Tania Celante
Associate Producer: Jennifer Maerz
Web Maestro: David Downs
Editorial Operations Manager: Vicky Walker
Writers: Eric K. Arnold, Jonah Bayer, Grant Brissey, John Garmon, Michael Alan Goldberg, John Graham, Evan James, Maya Kroth, Mark Keresman, Toph One, Tamara Palmer,Frances Reade, Mike Rowell, Dan Strachota, Ben Westhoff
Art Director: Darrick Rainey
Layout Editor: Audrey Fukuman
Sponsored by HBI
Every last Friday of the month, "Remedy" takes over San Francisco's DNA Lounge to provide a place where, as promoters Chadwick, Xavier, Christopher Vera, and Essential Nightlife are fond of saying, "Music is the cure." This exciting, high-energy evening of deep house music (which began as a weekly event) serves as a leader of the international house scene, often featuring top guest DJs and live performers from all over. "Remedy" recently celebrated its eighth birthday, a milestone vote of confidence in this city's fickle nightlife landscape.
After exploring the cultural outlands of club music with residencies at Dubmission and Dhamaal, DJ Maneesh the Twister came up with the unified dub theory; namely, that dub — originally a drum-and-bass-oriented remixed instrumental offshoot of reggae, later a production style emphasizing echo, reverb, and dropouts — was the unifying principle connecting roots reggae, dancehall, bhangra, two-step, dubstep, hip-hop, and, of course, dub itself. Assembling a rotating crew of experimental-minded selectors (like Kid Kameleon, Kush Aurora, and Ross Hogg), he began presenting Surya Dub at Club Six in February. The night offers two rooms of mind-blowing musical madness linking dub's cultural roots and its offshoots in one venue.
Even after several years of consistent success, Tubesteak Connection has managed to keep its determinedly dirty edge, thrusting Aunt Charlie's into a late-'70s and early-'80s time warp every Thursday night. Led by DJ Bus Station John, whose collection of extremely rare jams ranges from gay bathhouse obscurities to New York electro and Eurodisco, the Tenderloin dive transforms into a cruisey dance party that pulls in queers of all kinds. The drinks are dirt cheap and almost illegally strong, and the scene calls to mind a revolutionary and storied era of gay San Francisco.
Saturday Night Soul Party
On the first and third Saturdays of each month, the Elbo Room transforms itself into a '70s English discotheque. On these nights, DJs Pink Panzer, Paul Paul, and Phengren Oswald unleash the kind of '60s soul 45s that spawned all-night dance parties in northern British cities like Manchester and Blackpool. Decked out in swank suits, the Saturday Night selectors deliver obscure, high-energy stompers like Doug Clark & the Hot Nuts' "Baby Let Me Bang Your Box" and Shirley Ellis' "Soul Time." The crowds — a surprisingly diverse mix of modded-out hipsters, herb-an soul fans, and Gap-sporting fitness experts — respond in kind, frugging with the kind of fervor that would make the Wigan Casino proud.
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