Archive for san francisco

David Baker and the Art of Community

Posted in Art, Blogroll, philosophy with tags , , , on November 3, 2010 by Jack

This article originally appeared in the June 2010 issue of inGen Magazine.

Architecture is more than simply the design and building of structures for habitation and commerce. In dense urban environments, architecture becomes the environment. From the corner store to the new apartment building, the urban dweller cannot escape from the reality of the surrounding city. For the working poor, the architecture of their surroundings is often a burden, and sometimes, even a threat. For those whose only means of survival are the housing projects, their lives are often defined by the stark nature of their apartments and the crime outside their door.

The infamous Cabrini Green housing project in Chicago

This has been the reality for many people in the last half-century since the beginning of the “projects” under the Housing Act of 1937. This law established the first Public Housing Authorities (PHAs) in large cities around the United States. These PHAs built housing projects to house the working poor and the unemployed. But these massive apartment units became centralized locations for gangs and the drug trade. Over time, the “PJ’s” became synonymous with crime and gang warfare.

With the Housing Acts of 1965 and 1968, the move towards privatization of low-income housing began with the subsidization of developers and the guarantee of rent to property managers on behalf of low-income residents. The Section 8 Rental Assistance Program of 1974 further progressed privatization by giving vouchers to low-income families who could then use them in acquiring a residence of their choice. It also gave greater control to local governments in the development and administration of affordable housing. One of the goals in privatizing affordable housing was to allow the private sector the opportunity to solve local housing issues.

San Francisco has the second most dense population in the United States behind New York City. With just over 800,000 people in just under 49 square miles, housing is at a premium. Even the barest of accommodations can be out of reach for many working-class families. In response to the need for affordable housing, the City has created agencies like the San Francisco Redevelopment Agency and the SF Mayor’s Office of Housing (MOH). These agencies are working in conjunction with private architecture firms and developers to tackle the issue of creating low-income housing at a reasonable cost.

SOMA Studios and Family Apartments

San Francisco architect David Baker has been at the forefront of this affordable housing movement in the Bay Area. Baker’s firm, David Baker and Partners, has the unique ability of creating low-cost structures that combine sustainable building techniques with a high aesthetic value. Baker’s approach to urban architecture is based on the principle of “better living through density.” Data has shown the carbon footprint of an urban area is inversely proportional to its population: the higher the population per square mile, the lower the amount of energy used. One reason is people can walk or take public transportation to their destination instead of using a car; another reason is more people share the same resources, such as water and sewage systems.

With this principle in mind, Baker seeks to create better urban environments for everyone, not just those who can afford it. Working closely with the MOH, Bakers’ firm has created some of the most innovative and cost-conscious affordable housing projects in San Francisco. One such project is SOMA Studios and Family Apartments at the corner of 8th and Howard streets. The colorful geometry of this five-story building houses an eclectic mix of the young and old, from artists to immigrants. The bottom floor houses an organic food market. This combination of commercial and residential space is the key to building neighborhoods with lower carbon footprints by minimizing the distance between sale and consumption. SOMA Studios, built in 2003, was chosen as part of the SF Chronicle’s Top 10 list for architecture of the past decade.

Another project is the Folsom + Dore Supportive Apartments located on Folsom Street and Dore Alley. This innovative multi-family building serves those with special needs, people living with HIV/AIDS, and the chronically homeless. It was the first new building in Northern California to receive a LEED Silver Certification for its use of green principles in its design. The use of plants and open space in this structure create a distinctive sense of place, and this, in turn, creates a sense of pride and ownership in those who live there. When people care about where they live, they become involved with the maintenance and upkeep of their residence.

Folsom & Dore apartments

Baker achieves sustainability in his projects, he says, by “minimizing energy expended in the manufacturing process.” This includes choosing materials that combine low-cost functionality with high-impact aesthetics – integral color concrete, for instance. The use of local artisans and designers allows for the variety and individuality necessary to create the personality of a vibrant community. This in turn puts money back into the local economy as well as minimizes the energy consumed to get materials from where they are fabricated to the actual project site.

Across San Francisco, Baker’s designs have brought color and playfulness to areas once smothered by decrepit tenements and crack hotels. Instead of gentrifying the neighborhood into high-market condominiums for the wealthy, though, these projects are serving the people who call these neighborhoods home. Compare SOMA Studios with the Soviet Bloc-style architecture of traditional housing projects and it’s clear to see why David Baker is part of a revolution in transforming our urban landscape.

Dubstep in SF: the rise of bass culture

Posted in Blogroll, Music with tags , , , , , on April 29, 2010 by Jack

This article originally appeared in the March 2010 issue of inGen Magazine.

In the ever-shifting sonics of electronic dance music, a new sound emerges every so often that separates itself from its predecessors and becomes more than the sum of its influences. As the second decade of the century begins the new sound is called dubstep. Over the past ten years dubstep has evolved and matured; now it is poised to break through the boundaries of its scene and cross-over into mass appeal. Although dubstep has its roots in London, San Francisco’s vital dubstep scene is at the vanguard in the propagation of this cutting-edge sound.

Dubstep is the endpoint of a mutation of sounds that began in London back in the 90′s. First there was hardcore and then drum’n'bass, a combination of hyperactive drum breaks and thick, rolling bass lines. As that scene settled into a dark niche in the late 90′s, 2-step garage emerged with a slower tempo and the swing of its sparser beats. Then came grime which, as the name implies, took a darker approach to the 2-step sound by incorporating elements of hip-hop and dancehall into the equation. Then, a subtle shift occurred when the bass got bigger, more complex and moodier: dubstep was born.

Dubstep’s history in San Francisco’s clubs began with a monthly called Grime City, started by Ben Enzyme and Emcee Child. Already hooked on the 2-step and grime sound, the infiltration of dubstep records onto the decks was a natural progression. Juju, a well-established drum’n'bass DJ, also began to push the sound at his Narco.Hz events. Then in 2005, DJ and promoter Ripple threw the now-legendary party, Superheroes and Supervillians, which was the first party to fly in top UK dubstep DJs.

Promoters soon took notice of this new sound and began to push forward with monthlies and one-offs. The Full Melt parties along with events thrown by promoters such as Surefire Sound and An-ten-nae put down the foundation upon which the current scene thrives. The sound spread outside the city as well to Northern California’s vibrant festival circuit including Symbiosis, Raindance and Lightning in a Bottle. Spearheaded by Lorin and his Bassnectar project, dubstep along with its mutant cousin – a sound called glitch – has become an integral part of main stage music at outdoor events.

As these events began to create a stir in the club scene, behind the scenes, local producers began making tracks that were finding their way onto the UK’s airwaves such as DJ Mary Ann Hobbs highly-respected BBC Radio1 show. San Francisco now boasts a bevy of established producers: Antiserum, Djunya, Babylon Systems and Eskmo are a few of the artists who have been making waves both in the US and internationally with their productions.

As the scene continues to grow a new wave of artists and fans are being drawn to dubstep’s massive low-end frequency manipulations. In addition, San Francisco now boasts the largest vinyl dubstep record shop on the West Coast. Red Sky Records (224 7th St.) was opened in September 2009 by co-owners Jon Holliday and Beau Bales aka General Nao. The store has also become a nexus for the scene, hosting local up-and-coming acts like the Spit Brothers as well as international stars such as Boxcutter and Ramadanman.

One of the main factors in the rise of San Francisco as a major player in dubstep culture is Surefire Agency. Started by Miro and Sam Supa, Surefire has become the number one booking agency in the world of dubstep. One look at its roster reveals a who’s who of dubstep producers and DJs, including UK artists Shackleton and Peverelist who both released critically-acclaimed full-length albums in 2009. With this accessibility to so many top dubstep acts, Surefire Sound, the production side of the company, is able to bring to the Bay Area the most current and important artists from around the world.

What makes the San Francisco’s dubstep scene the most interesting though is the rate at which it is growing. As Sam Supa explained to me, the dubstep scene today has changed from what it was six months ago to a year ago and beyond. With a whole new generation of kids getting turned on to electronic music, for many of them dubstep is becoming the first underground sound they are listening to.

Most recently, some of hip-hop’s top artists, such as the Wu-Tang Clan and Lil’ Jon, have begun to collaborate with dubstep producers. This cross-pollination of scenes only heightens dubstep’s visibility within the US and abroad and raises the chances for cross-over appeal. As dubstep continues to expand beyond the boundaries of its underground sub-culture roots, San Francisco is already leading the way into the future of electronic music.

The End of the SF Underground Party Scene?

Posted in Blogroll, Music with tags , , , , , on July 22, 2009 by Jack

Summertime in San Francisco means it’s time for Burning Man fundraisers. This past weekend was no different with two separate parties raising money for Burning Man camps and art projects. But, unfortunately, one of those parties was an underground, and, following a recent trend in San Francisco, it was busted by the cops before it even got started.

Anesthesia III was a fundraiser for a Burning man art project. It was being held in a space on 5th St. and Folsom in the SOMA district. A friend of mine who was an eyewitness to the unfolding of events told me that apparently an undercover police officer bought a ticket and then went inside the venue. Once inside, he called backup and five undercover officers rushed the space. Once inside, they arrested the door girl, the sound guy, and a couple of other people and, worse, they confiscated the sound system! I’ve been involved in throwing underground parties here in SF for the past 8 years and I have never heard of the police confiscating the sound system.

But, there recently has been a trend of underground parties being busted. One of those promoters actually contacted me after a piece I wrote for Resident Advisor and we talked a bit about how the police have been cracking down on the underground scene. Back in April, a Bang the Box party was busted in Chinatown. A blog I was referred to (and can’t seem to locate and link to) said the issue is that the police chief is retiring so there is currently a lot of posturing among various department heads to be the next pick for chief. Illegal warehouse parties are an easy target: it’s fairly easy to find out about one and there is little chance for any violence or resistance from the party-goers. In essence, it’s an easy score on a soft target for the police.

The trend seems to have gotten out of hand though. I was told that in one weekend recently, five parties were busted by the police. Usually, the promoters are given tickets and the party shut down. But with people being led away in handcuffs and equipment confiscated it seems that the war on the warehouse party has escalated to a level I’ve never seen before. It’s unfortunate though since these parties don’t pose any real threat to the welfare of the city. These are events that provide after-hours entertainment in a city that essentially closes at 2 am. It also allows many promoters the ability to bring in artists from around the world and provide them with a space to play extended sets in a safe atmosphere. Much of what gives San Francisco such a dynamic music scene are the various underground events that run after the legal venues have closed down for the night.

But, like all things, this trend will eventually pass. A new police chief will be chosen and slowly but surely, the underground scene will start up again, one party at a time. When that will happen, though, is anyone’s guess. But for now it seems that the underground party scene is officially dead.

Vinyl Revenge: The Return of the Record Store to San Francisco

Posted in Blogroll with tags , , , , , , on July 15, 2009 by Jack

This Saturday, July 18th from 11 am – 9 pm will be the opening mixer for Red Sky Records, a new shop specializing in Techno and Dubstep vinyl. I’ll be playing from 11 am – 2 pm, ironically, on CDJs. I might have to wipe the dust off some of my classic techno records, though. I recently played some vinyl records and I do have to say, I miss the tactility of the medium. Being able to see the grooves, moving the tone arm with unrestricted quickness – that being said, I don’t miss dirty needles deteriorating the analogue quality of the signal.

It’s exciting to see that vinyl will still live on in the city. Dubstep music as a genre is difficult to obtain in any other format other than vinyl, so it will be good to finally have direct access to the music. I’m actually shifting away from CDJs though and moving towards a streamlined digital format – a computer, music software and a big hard drive. The reason: vinyl is both heavy and expensive, and CDs, they scratch and are a pain to keep organized. Perhaps it’s time to get Native Instruments Traktor Scratch Pro. The best of all worlds…

Clubbed with Love

Posted in Blogroll, Music with tags , , , , , , , , , on April 17, 2008 by Jack

Do you remember your first clubbing experience? For me, it was at this club called the Odyssey, it was in a strip mall in a white trash section of Dayton, Ohio. I had just moved from rural North Carolina and didn’t assimilate very well into the affluent redneck culture that I had been dropped into. But some new friends took me to this club, and even then I was beyond excitement at the prospect of dancing, of escaping for a few hours from the dull grey scenery that seemed to pull Dayton down into a deep depression.

Ah, but this wasn’t a big city club – it was a late-80′s, top 40 hot springs. I remember drinking beers in the parking lot before hand, looking out for cops. We’d walk in to a mix of acid-washed jeans and Vanilla Ice look-alikes, the smell of Aqua Net lingering in the air. But we’d dance our asses off, especially to Soul II Soul’s “Keep on Moving.” I loved that song. Unfortunately, I never learned all the moves to the electric slide that everyone would start doing as soon as that song came on.

I soon moved on to a club in Dayton called 1470′s that was a gay club six nights out of the week, except Thursday’s, which was their industrial night – Front 242, Ministry, Pigface, Meat Beat Manifesto, along with New Wave, like Soft Cell, were mixed alongside early European sample-heavy techno (anyone remember “The Running Man” remix). This club was my church for a while – I could be myself, I could be expressive, enhanced by the excitement of witnessing a new form of music evolve.

Then a friend suggested we go see this guy Plastikman in Louisville. I was game even though I really didn’t know who he was. How was I to know I was to have my mind blown? The black plastic lining the entire room, the minimal lasers, and the music – Richie’s live PA was unbelievable, the way he manipulated and worked the crowd, and the way they responded, they were freaking out. Up until I heard the Plus 8 music, I always had the impression that the music was just silly and fun – until I heard F.U.S.E.’s “Substance Abuse.” It was then I realized this was more than about the music, it was a way of life, an escape from the stagnant attitudes and droll stripmalls that defined the Midwest back then. The music was talking about technology, capitalism and consumption and how these ideals are ultimately what will be our downfall as a society.

I have no idea while music affects me so much, but here I had found a music based around energy and sounds that brought together every cross-section of youth to these early parties. The music is serious and it is making a statement about the world we live in: The music is soulfully designed from cold, inorganic machines, yet these circuits were designed by humans and therefore will always reflect our own idiosyncrasies and nuances that make us unique as a race. The soul in the machine – another medium for humans to express themselves. I was hooked from then on to the sound and the scene, searching every club and party to experience that vibe again. The beauty of it is that it is constantly revealing itself time and again with the right combination of DJ, environment, and the expressiveness of everyone who is there – a truly synchronistic event.

But now I live in the Castro in San Francisco – one of the gayest neighborhoods in the world, and I love living here and I feel lucky there is still a vibrant scene here. Unfortunately, the gay clubs have changed since the early days where they were basically the only outlet for new music. Now they generally only play really awful repetitive NRG music. Back in the day, the only place to hear techno or house was either at a gay club or a rave, and now, both of these have fallen victim to genrefication – the belief that they have to play what the crowd wants rather than being confident enough that their crowd wants the new sound, or even, a mix of the old and new put together in intelligent ways.

But I have to give a shout out to the gay clubs of the 80′s and early 90′s, they helped to spread the new gospel to gay and straight, black and white, they were inviting and ultimately they helped to shape the musical and club landscape that is an outlet for the ever-evolving sounds and rhythms that still bring so many different people together.

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