Happy Friday! Here's what you're doing:

Anna Halprin: Parades and Changes
How times change. When choreographer Anna Halprin's company performed Parades and Changes in New York in 1967, its nude sequences resulted in a summons for her arrest. When the dancers performed it at the opening of the Berkeley Art Museum and Pacific Film Archive in 1970, the nudity was simply groovy. And Friday through Sunday, Feb. 15-17, when 92-year-old Halprin restages it at the museum, it will be the end of an era — its last-ever performances and a postmodern ritual honoring both the piece and the building, which will close in 2015. Dancers from around the globe will convene to perform the work, which is loosely choreographed around mundane tasks like unrolling sheets of plastic, dressing, and, it goes without saying, undressing. Original composer Morton Subotnick plays the score live, and a gallery exhibition about Parades and Changes runs through April 21. 7:30 p.m.; $7 Fri., included with museum admission Sat.-Sun. 510-642-0808 or BAMPFA.Berkeley.edu — Claudia Bauer

Phil Lapsley
Well before the word "Internet" entered the popular lexicon, the incredibly elaborate technological system capable of connecting people across land and water — the world's largest machine — was the telephone system. And although it was also well before the term "hacker" meant much to anybody, telephones ended up inadvertently producing a motley crew of pranksters who sought to outsmart the system: the proto-hackers who called themselves the "phone phreaks." Join engineer, hacker, and author Phil Lapsley at Diesel on Friday, Feb. 15, as he discusses his new book, Exploding the Phone: The Untold Story of the Teenagers and Outlaws Who Hacked Ma Bell. 7 p.m., free. DieselBookstore.com — Azeen Ghorayshi

Freddie Gibbs
One of the best rappers to come out of the Midwest in recent years, Freddie Gibbs has been skulking just below the surface of mainstream for about a decade now. He boasts an impressive cache of releases: a dozen mixtapes (with titles like The Miseducation of Freddie Gibbs and midwestgangstaboxframe-cadillacmuzik, homages to albums by Lauryn Hill after OutKast, respectively); a handful of EPs; and a couple of collaborations (including one with Madlib of Madvillainy fame). Gibbs' lyrics at times recall greats like Rakim, with his penchant for complicated internal rhyme and unusual rhythms. One of Gibbs' most popular tracks, "National Anthem (Fuck the World)," off his 2010 EP Str8 Killa, ponders his transition from a drug dealer in his hometown of Gary, Indiana, to an acclaimed underground rapper, effortlessly moving in and out of double-time flow over gentle synths and the simple rattling of a snare. Later this year, Gibbs will finally release his debut studio album, The Neck Tie Party, which will undoubtedly find the rapper more seasoned in his approach, but no less raw in his talent. Catch him before his fanbase swells when he performs with Killing Time at The New Parish on Friday, Feb. 15. 9 p.m., $15, $18. TheNewParish.com — Lenika Cruz

OMCA's Lunar New Year Celebration
Pound some mochi, play mahjong, or learn to dance "Gangnam Style" on Sunday, Feb. 17, at the Oakland Museum of California's annual Lunar New Year Celebration. The event, which marks the beginning of the Year of the Snake, will feature a seemingly endless list of special sights, tastes, and sounds, from Chinese acrobats and a Vietnamese spring-roll workshop to plate spinners, face painting, an opera troupe, and the traditional fiery-dragon dance. Noon-4:30 p.m., free with museum admission. 510-318-8400 or MuseumCA.org — A.G.

"Rudolf de Crignis / MATRIX 245"
Gazing at a painting by Rudolf de Crignis, one cannot help but assume a suspect posture. Did we not dispense with the monochrome square back in the Sixties? On what merit do thirteen such works, in varying shades of blue and gray, make up a whole exhibition today? Granted, de Crignis' works are not monochrome per se, but rather agglomerations of thin, semi-transparent washes of various oil pigments — ultramarine blue, cobalt blue, royal blue, copper, zinc white, dianthus pink, cinnabar green and others — that, layered meditatively and extemporaneously over the course of several weeks, add up to a seemingly pure hue. That's something, and perhaps it does account for the paintings' special qualities of shimmer and depth. But what really makes this exhibition, de Crignis' first solo show in the United States, worth seeing does not inhere in individual paintings at all. As the artist says, "[the paintings] are just catalysts to create the space and the light." Indeed, these canvases frame an ambience of sensuous grip; once inside, for reasons hard to articulate, it becomes very difficult to leave. Matrix 245: Rudolf de Crignis runs through May 5 at Berkeley Art Museum. 510-642-0808 or BAMPFA.Berkeley.edu — Alex Bigman

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