The long and winding road

For my faithful, few readers, I apologize for neglecting you. But I have news! Or rather, I’ve been writing news. A review too. Where did we last leave off? 

Ages ago, it seems, I was tracking the imminent demise of San Francisco’s Mission District cultural life, with another aside on (tangentially) related developments in SOMA.

I’ve also attempted to catalog the trials of those privy to the death of California public education, an experience, I’d add, that has been especially troubling since I grew up in South Carolina, at one time (no longer!) the laughing stock of American public education.

For a brief moment, I like to think I single-handedly influenced the Police Commission’s decision to deny the SFPD the use of tasers. Oh, zap!

In addition, my sleuthing on the increasingly labyrinthine scandal involving the SF public utility’s attempt to greenwash compost made of human poo and industrial pollutants has been well documented.

But lest one think I’ve abandoned all pursuits not related to the the doings of Downtown or sourced from smoking guns in underground parking lots, I found time to pen a review of the fun little firecracker of an art show at CCA’s Wattis Institute for the Arts.  

And all month, beneath my nom de plume “BW,” I can be read hyping the certifiably hypable events going down at NYC’s Thirty Days Gallery. I know not from where these people’s money and connections come from, but they have managed to corral Kim Gordon, Thurston Moore, Gary Panter, Art Speigelman, Will Oldham, and an arc-load of other cultural and artistic icons under one roof for the entire month of April, and then some.