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Olden Days

Andrew Lam
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Olden Days

le.chicken.farmer@gmail.com

CHEAP EATS There are however hazards of hanging out with people young enough to be your sister’s best friend’s daughter. I’m not talking about going roller skating in my underwear, riding on the handlebars of a bike in a skirt and heels at night, or even eating at a vegan soul food restaurant in Oakland.

No, my most harrowing moment since falling in with my new adopted family came two nights ago, on a sturdy and all-around stationary bar stool at my friendly neighborhood sports bar, the Phoenix. Where I am generally comfortable and at home, if not drunk.

In this case, Coach was there with her just-graduated-from-sex-school cohorts, and she and one of the “trainers” were talking about a particular practice called sounding, which made me want to either die or order wings and watch football.

I chose the latter. And then, when the wings came, because this is the kind of gal I am, I went around with the plate and offered some to all the vegetarians. We’re supposed to live in the moment, right, so you never know … is my thinking.

Well, here comes the harrowing part, and it has nothing to do with vegetarians or urethras. One of Coach’s friends started talking about some guy she’s sleeping with who won’t put out. And everyone’s like: Wow. Whoa. Imagine that. Dude don’t want sex.

I said, “How old is he?” I don’t know why I said this, I guess because I’ve appreciated older men myself.

“Old,” my friend’s friend said.

“How old?”

“Really old,” she said.

Ostensibly I wanted to get to the bottom of this no-sex situation, because I care, but it’s not like I didn’t know I was, in the process, setting myself up for something truly disastrous. “How old,” I said, “is really old?”

Now it was Coach’s turn to watch TV.

“Really really old,” the young woman said. Then I knew she was going to say the age of really really old, and held my breath. “Forty-eight,” she said.

I exhaled. Forty-eight is older than me. Yay, I would not have to kill myself! I have, in fact, six more months of youthful happy living left before I am really really old, according to her.

Kids can be so careless. I love them, but San Francisco is a tiny town, and I have been steeping in it since this ‘un was seven. Of course I knew her old man! I didn’t realize it at the time, but later figured it out: I have known him since she was 12. Not biblically. We’ve crossed paths. But I considered him a catch in the 1990s, and the last time I saw him, just a month or so ago, I thought the same thing: catch. Then again, he’s a lot younger and way cooler than most of the really really really older men I have dated — one of whom was old enough to be my first cousin’s maid-of-honor’s father.

I got sick. It started that night, and the next morning, yesterday, it had me — by the throat. Usually when I get sick, I simply try to pretend I’m not sick until it’s no longer necessary to pretend, which sometimes takes weeks. This time, however, I decided to act sick, in part because I was house sitting a house with very comfortable beds in it. I saw this once in a movie: You start by calling in sick, then go back to bed.

While I was in bed, I didn’t masturbate. I’m old. I read a book until I fell asleep, and then I woke up and read some more until I slept some more, then I got up and started making chicken soup, which came out great.

The book I read was called The Old Man Who Read Love Stories. I loved it, and I’m sure the soup is even better today, but the truth is that I feel pretty much better too. It worked! Who knew? You can get back in bed and get better quicker than if you go about your business, playing soccer in the rain and so forth.

Not for its dry oven-barbecued ribs, collard greens and cornbread, but for its strangely sweet duck soup.

LAO THAI SOUL FOOD KITCHEN

Lunch: Mon.–Fri. 11 a.m.–3 p.m.;

Dinner: daily 5–9:30 p.m.

1406 Solano, Albany

(510) 559-3276

MC,V

Beer and wine

 

DREAM on

Andrew Lam
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2
DREAM on

sarah@sfbg.com

Spurred by congressional Democratic leaders’ promises to hold a vote on the DREAM (Development, Relief, and Education for Alien Minors) Act before the end of Congress’ lame-duck session this month, immigrant and civil rights advocates are pushing for the passage of bipartisan legislation that would give undocumented youth a shot at citizenship if they go to college or serve in the military for two years.

On Nov. 29 in San Francisco, several undocumented young people joined members of the Bay Area Coalition for Immigration Reform outside Mission High School — where as much as 20 percent of the student population may be undocumented, according to principal Eric Guthertz — to explain why it makes sense to give youth who grew up in the United States a shot at legal status.

“We are not asking you to give us a green card,” Anna, a student from Guatemala, said at the event. “All we want is a chance to succeed and give back to this country. We live here, we pay taxes, we’re smart, we go to college, but afterward we can’t work and give back.”

Mario, a 22-year-old gay student who was born in Peru to a Chinese father and Peruvian mother, graduated from UC Berkeley with a civil engineering degree. He explained that because of his lack of documentation, he can’t get a job to pay his bills or save up to pursue a master’s degree, and fears being deported to a homophobic country.

“It would be a waste of talent because I’ve learned California-specific engineering rules and the U.S. building code,” Mario said. “Sometimes I wake up from a nightmare about being detained. I came out here, but in Peru, I’d probably be back in the closet.

Joining Anna and Mario was Shing Ma “Steve” Li, a nursing student at City College, who was released Nov. 19 after two months in federal detention, shortly before he was to be deported to Peru. San Francisco Democrat Sen. Dianne Feinstein introduced legislation to halt his removal, saying it would be “unjust” to deport Li before a DREAM Act vote takes place.

Li, who speaks Cantonese, English, French, and Spanish, grew up reciting the Pledge of Allegiance and dreams of opening a clinic to serve low-income San Franciscans. But recently, federal immigration authorities flew him 800 miles to a jail in Arizona, all because his parents brought him here when he was 12 and he lacks documentation.

“We were handcuffed and shackled to our seats, and I wondered what would happen if the plane went down,” Li recalled.

Li believes the main barriers to the legislation’s passage is lack of accurate information. “People need to know the facts, see the people, and hear their stories,” Li said. “Then they’ll know it is a human rights issue.”

Guthertz said that as principal of Mission High, every year he sees undocumented youth who have great grades and lots of advanced placement classes “hit the wall” of their status. “Over and over, I’ve seen the heartbreaking effect of their situation,” Guthertz said. “The DREAM Act is yet another avenue to help these students.”

Eric Quezada, executive director of Dolores Street Community Services, noted that congressional leaders did not agree to the DREAM Act vote “out of the goodness of their heart — it’s because of the hard work of immigrant advocates.”

Quezada said the push to force a DREAM Act vote in Congress this year began when undocumented youth staged a sit-in in Sen. John McCain’s (R-Ariz.) office in May. “And the vote of Latinos saved the Senate from a Republican takeover on Nov. 2,” he said.

“But we understand this window is closing,” Quezada added, referring to the reality that Republicans will take control of the House in January. “So we’re not taking one vote for granted. And this is the first step. If we are able to pass the DREAM Act, it will be a downpayment for comprehensive immigration reform.”

Sup. John Avalos says the DREAM Act recognizes the contribution immigrants make to the community, and to the creation of economic opportunities for everybody. “Immigrants here support themselves and their families across the water, so it makes sense that we make proper investments and support,” Avalos said. “Education is one way to make the world a more stable place.”

Sup. David Campos, who came to the U.S. from Guatemala as an undocumented teenager, sees the DREAM Act as a piece of commonsense legislation.

“It’s so modest,” Campos said. “Even those who are against comprehensive immigration reform should be for something that recognizes that young people, who came here not by choice but because of their parents’ issues, should be given a chance to give back.”

Campos said his father was able to gain legal status for his whole family because of his employment, but that many undocumented youth aren’t so lucky.

“We open the doors to our public schools, we invest in their education, and then, when they are ready to give back to us, we say, ‘No, we don’t want you here,'” Campos said. “The best and brightest, the risk-takers, come here. As a country, we cannot go forward unless we realize that this influx of creativity and entrepreneurship made this country what it is.”

Live Shots: Yard Dogs Road Show, The Independent, 11/27/10

Andrew Lam
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0

All photos by Allen David

Note to self: stuff pockets with glitter. The concept was out in full force for Yard Dogs Road Show’s “Glitter and Gold” Thanksgiving weekend show at The Independent (on Saturday, the second of a two-night run). And those prancing, bejeweled pony girls sure didn’t disappoint — neither did the dancing, singing marionette girls, or the multi-cannon explosions of confetti with which the show climaxed. Great visuals, them. The music ranged from Broadway D-Liscious’ rubber-ankled lounge rendition of “The Life of the Party,” to head bangers, to sexy, warbled somethings — which sounded sexier (like they always do) when sung by a woman on an accordian. Here’s hoping we don’t have to wait another two years for the Dogs to get let out in the Bay once more. 

Live Shots: Robyn, The Warfield, 11/23/2010

Jesse Hawthorne Ficks
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2

It’s not until I really started thinking about it that I realized how much I love Sweden. My best friend Karin is part Swedish. The American Girl Doll I had when I was little was the Swedish immigrant girl Kristen, decked out in her Saint Lucia holiday outfit. I used to work at a cafe in Seattle that served the best Swedish pancakes, ever, topped with lingonberry sauce. And the gorgeous singer Robyn is from Sweden, too.

She took the stage at the Warfield Theater last night as part of her US tour for her new three part album entitled Body Talk. Everyone and their hot boyfriends were at the show, some waving Swedish flags of robin egg blue and lemon yellow. Robyn has incredible energy on stage and authentic dance moves that make it obvious that she’s really having too much fun.

Her music appeals to everyone and on that note I’d like to mention the adorable 12 year old and her mom who I was standing next to during the show. 12-year-old-cutie was so excited to be there, along with the hordes of 20 to 30 somethings, who were serious about throwing back those cocktails. I dig all of Robyn’s new tracks, including the super hot “Dancing on My Own,” but then I remembered being thirteen again and listening to “Show Me Love” just really brings it all back.

 

Released, Steve Li urges passage of DREAM Act

Mary Magee
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8

On a cold and sunny morning in late November, as sharp winds stirred up fallen leaves, and most folks were beginning to slow down in anticipation of Thanksgiving, Shing Ma “Steve” Li, a 20-year-old nursing student from San Francisco who narrowly avoided deportation to Peru, whipped the local media into a energized frenzy by advocating for the passage of the DREAM Act during a press conference at the Asian Law Caucus, whose offices sits close to the Transamerica Pyramid, and a stone’s throw from the lantern-decorated streets of Chinatown and the neon-lit strip clubs of North Beach, in San Francisco.

The purpose of the press conference was to give thanks for Li’s release four days earlier from a federal detention facility in Arizona, outline why a hardworking student who has lived in San Francisco since he was 12, has no criminal record, and speaks Cantonese, English, French and Spanish, was incarcerated for two months and threatened with deportation. And ultimately, the event was aimed to stir up support for the DREAM ((Development, Relief and Education for Alien Minors) Act, bi-partisan legislation that leading congressional Democrats plan to put to a vote this month.

Senate Majority leader Harry Reid and House Speaker Nancy Pelosi have promised to move to a vote on the DREAM Act on November 29, during Congress’ lame duck session, a brief window of opportunity to complete action on stalled bills, before Republicans take charge of the House, and Democrats see their majority in the Senate shrink, come January 2011.

Li, his family and his legal counsel Sin Yen Ling, a senior staff attorney at the Asian Law Caucus, kicked off the press conference by acknowledging the many supporters whose phone-calling, letter writing and protesting outside Sen. Barbara Boxer’s offices in San Francisco, helped secure Li’s Nov. 19 release from a federal detention center in Arizona, after Sen. Dianne Feinstein introduced a private bill to delay Li’s deportation.

“I believe his removal would be unjust before the Senate gets to vote on the DREAM Act,” Feinstein said in a Nov. 19 press statement. Feinstein’s bill guarantees Li protection for 75 days after Congress’ lame-duck session end. And Li’s attorney Ling says Feinstein may reintroduce her private bill next year, and that ICE isn’t likely to deport Li in future, now that he is no longer considered a fugitive.

“We don’t feel that Feinstein’s private bill will pass, because of the result of the Nov. 2 election and the reality of partisan politics, but it’s unlikely that Steve will get deported again,” Ling said.

If passed, the DREAM Act would grant undocumented immigrants a pathway to citizenship, if they entered the United States before age 15 and have attended college or served in the military for two years.

Li’s ordeal—and his ensuing conversion to an ardent DREAM Act advocate—is happening against the backdrop of an increasingly anti-immigrant mood in the United States, as witnessed in Arizona, where state legislators passed SB 1070 earlier this year, and now in California, where a Tea Party member from Belmont wants California voters to weigh in on a similar initiative in 2012. And then there’s the sobering reality that come January, congressional Republicans, who are facing challenges from the far right-wing Tea Party,  take control of the House and are unlikely to advocate for immigration reform.

But Li, who is ethnically Chinese, and was born and raised in Peru until he was eleven years old, after his parents left China in the 1980s to escape its one-child policy, remained optimistic, as he drew on his recent experience to illustrate why Congress needs to passes the bi-partisan DREAM Act now.

“I’m still at risk of being deported,” Li said, noting that, each year, about 65,000 U.S.-raised students graduate from high school and would qualify for the DREAM Act, which addresses the fact that federal immigration law has no mechanism to consider the circumstances of youth who were brought here as minors and call the U.S. home, but can’t work legally, face barriers to accessing higher education, and live in constant fear of deportation.

“We have to work to do something to stop these students from being deported,” said Li, who wasn’t aware that a final deportation order had been issued against his family, when he was 14 years old and the U.S. denied his parents’ application for political asylum. “It’s important we push Congress, so no other student has to go through the same thing I did.”

“How many future doctors, engineers and scientists will the US lose,” Li added, questioning whether the US could end up deporting geniuses who might otherwise have discovered a cure for cancer, or invented ground-breaking sustainable energy technologies. “We are America’s future and we want to make a difference,” he said. “I still believe America is a great nation, a moral nation, and that Americans, if given all the information, will do the right thing.”

Li’s legal counsel Ling, recalled how Li and his parents were arrested on Sept. 15 by Immigration and Customs Enforcement (ICE) agents, and detained at ICE’s offices in downtown San Francisco, before being transferred to a jail in Sacramento County. “They were arrested as part of ICE’s fugitive operations program, which targets people who have failed to comply with final deportation orders,” she said.

The family was held there for three weeks, Ling said, before Li’s parents were released back to San Francisco, wearing electronic monitoring anklets. But Li was involuntarily transferred to a federal detention facility in Florence, Arizona, where he remained until mid-November. His transfer also made it impossible for his parents to visit, since, under the terms of their electronically monitored release by ICE, they are not allowed to leave San Francisco.

Ling said ICE blames a lack of bed space in the Bay Area for why they must transfer folks from San Francisco to Arizona, Texas or a facility near Bakersfield, California. But either way, the practice serves to isolate immigrant detainees from family and friends as they await deportation.

“Steve was released from Florence, Arizona, on Friday, Nov. 19, and then took a Greyhound bus, which arrived in San Francisco Saturday afternoon,” Ling said, noting that ICE wasn’t planning to notify her or Li’s family of his release, and that they typically drive folks to Phoenix and drop them off at the bus station.

Li’s mother Maria addressed the media in Cantonese, as she thanked Sen. Feinstein for allowing her son “to return to his mother’s embrace.”

And then Li, who says he is “a huge Giants fan” and “grew up reciting the pledge of allegiance at school, just like everybody else”, described his ordeal
.
“I always viewed myself as an American,” Li said, recalling how that perception was challenged when ICE raided his home and threw him in jail, this fall.
“I was shocked and confused, I felt it must have been a mistake” Li said, recalling that he was in the bathroom getting ready for school when the doorbell rang on Sept. 15.
“I didn’t expect anyone, so I woke up my mother, and she answered the door,” Li said.“Next thing, immigration agents came into the house. I didn’t know what was going on.They said they had to take me somewhere, that I had to be deported. “

Li said he was immediately separated from his mother and not allowed to ask ICE questions.
‘They searched me, threw me in the car, handcuffed me and took me to the immigration center,” Li said, referring to ICE’s office in downtown San Francisco.
“It was intimidating. I was scared of what was going to happen to me,” Li continued, describing how he was held for the rest of the day in a cell that contained 20 other people, some of whom had been transferred from other detention facilities and were already wearing prison clothing.

“I was fingerprinted, my photograph was taken and my situation was explained to me,” Li said, describing his shock at then being transferred in handcuffs and shackles by bus to a jail in Sacramento County with his parents, who were also handcuffed and shackled.
“It was traumatic to see my parents, who are hard-working people, be treated like that,” he said,

In Sacramento County, Li and another detainee were placed in a cell that contained bunk beds, a small table, a toilet and a sink.
“We could only go to the day room and watch TV for one hour a day,” he said. “The immigration authorities didn’t tell me anything, they just threw me from place to place.”

After three weeks, Li thought he was going to be released, when the prison authorities returned his clothes and got him to sign some paperwork. But instead, he was transferred to ICE’s San Francisco office on Sansome Street, put him in a holding cell, and told him he was being sent to Arizona to be processed for deportation,

“My whole world came down,” Li said. “I couldn’t talk to my parents, who had already been released. I thought of never being able to see my family and friends again. It was depressing.”

Things got worse when he was shackled, handcuffed, and loaded onto a bus which took him to Oakland airport, where he was put on a plane with a bunch of other deportation detainees.
“We were handcuffed and shackled to our seats, and I wondered what would happen if the plane went down,” Li said, describing a seemingly interminable journey to Arizona, which involved making landings in Los Angeles and San Diego.
“In San Diego, they took Mexicans off the bus, presumably to drive them to the border,” Li said.

Arriving in Arizona the following morning, Li was driven to an isolated federal detention facility in Florence, which is about 800 miles from San Francisco, where he was only allowed outside his cell for an hour a day.
“We were incarcerated all day and body searched multiple times in a facility, where there were three toilets and four showers between 64 people,” he said.

Locked up with 400 fellow detainees, Li heard a lot of stories that were similar to his: students who’d received a higher education and were very talented, but didn’t have legal status.

In particular, Li remembers one student he met during his Arizona incarceration.
“Like me, he came here with his parents and had no say in that decision, but was picked up as a result of new legislation in Arizona, “ he said.

Li’s arrest means he missed a semester of school, but he vows to continue his studies. And despite his traumatic experience, Li says he is not bitter.
“It went through my mind,” he said, “But I have learned a lot, including the fact that we have a broken immigration system. I urge everyone who qualifies for the DREAM Act to use their voice. They need to find the courage to use it and fight to change the law.”

 
 

 

Good for the Jews vs. the San Franciscan Nazi

Andrew Lam
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0

Rob Tannenbaum is a man with opinions on holidays. Thanksgiving, transcendent: “if it were up to me, I would be drinking turkey gravy.” Christmas, yawn: “it’s the most boring time of year. There’s not too much to do past stay at home and watch It’s a Wonderful Life on TV. 

And Hanukkah, time to go see his comedy-music duo Good for the Jews (Cafe Du Nord, Dec. 1): “There’s a long and storied tradition of Jews in San Francisco. I hope that we will see evidence of that.” Tickets would make a great present for the first of those eight crazy nights… 

Tannenbaum and partner David Fagin (who respectively moonlight as music editor of Blender and frontman for nice guy-pop band The Rosenbergs) sing well placed mockeries of Jewaphrenalia, my favorite of which being “Rueben the Hook-Nosed Reindeer,” though I’m also partial to the lounge stylings of “Going Down to Boca.” Their work comes as a follow up to Tannenbaum’s previous comedy project: What I Like About Jew, an act performed at New York’s The Knitting Factory that sold out shows six years running. 

Tannenbaum is aware of what his audience wants, mainly because it’s what he himself wants out of Judaic entertainment. “When I was kid and they played Jewish music in our synagogue, it was always so horrible. It was earnest and boring, like a cross between the Indigo girls and the Old Testament.” In Good for the Jews’ creation, he was looking to capitalize on the legacy of mischief and humor inherent in Jewish consciousness, the same legacy from whence he says come Sarah Silverman and Jon Stewart’s riffs. “I wanted to start a show that was traditionally Jewish but didn’t make being Jewish seem like the most boring thing in the world,” he says. 

His tongue-in-cheek celebration of his faith – well hold up, because maybe “faith” is a bad word for how Tannebaum experiences being a Jew. He told me in our recent phone interview that he only darkens temple’s door a few times a year on the high holidays, but that he likes the idea of people getting into a room to celebrate shared heritage. “The same thing is true at our show, but at our show you can drink, which I don’t think you can do at temple,” he quips. His Jewishness, he says, lies in “the things I eat, the things I laugh at, the books I read, the TV shows I watch – they’re not Jewish themed, but my gestalt is Jewish. As is my circumsized penis.”

Okay, so his tongue-in-cheek celebration of his gestalt-penis, then, delights the crowds that go to see it, most of whom have been urban, many secular Jews like himself – but diverse in ways he didn’t expect  they would be when the duo launched a tour that included dates in Utah, Colorado, and New Mexico earlier this year. He says at a few gigs Fagin and himself outnumbered the amount of Jews in the audience. “But sometimes those shows are more rewarding,” he says.  

But the duo’s frank irreverence has been known to attract negative attention as well. Which brings us to our next topic: San Franciscan Nazis.

The last time the Good for the Jews duo played SF, they were greeted by a chap goose-stepping to some inner notion of bigot matyrdom: an Aryan Pride guy who’d come to protest their show. Tannenbaum recalls the situation in his standard one liner manner (“He felt that we were representative of the Jewish-owned media. If we’re representing Zionist power, then why am I staying at a Holiday Inn?”) 

But somewhere in his memory of the event lurks the indignation it triggered: the experience of being a musician about to play a show at a respectable venue who runs into the very prejudice that his ironic music implicitly calls passé. Tannenbaum tells me he actually went outside to have a conversation with the fellow, but had to retreat when he felt himself approaching the thought of violence. “When you hear someone insulting your ancestors it tends to rile up the blood a little bit.” 

The incident, in a strange way, speaks to why he’s looking forward to next week’s comedy show. “This sounds like malarky, but I really do love San Francisco. It’s the only city where I think, yeah I could live here.” Nazis and all. “It’s the end result of so much tolerance: if you’re going to tolerate people you have to tolerate Nazis, too.”


Good for the Jews

Wed/1 8 p.m., $12-15

Cafe Du Nord

2170 Market, SF

(415) 292-1233

www.cafedunord.com

 

The Dozen

Andrew Lam
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0
The Dozen

DANCE The Hip-Hop Dance Fest has grown up. What started 12 years ago as a showcase for local crews and studios has become an excellently balanced showcase of national and international artists. Only four of this year’s 11 participants came from the Bay Area. Sad to say, the sorriest performance all night long came from a local one. Still, the future for hip-hop dance on stage looks brighter than ever.

One of the most moving and wildly applauded works on Nov. 19 was South African dancer/choreographer Jane Sekonya-John’s deftly and economically choreographed Spoti. She donned an old spoti — fisherman’s cap — and transformed herself from a limping, bent old woman into a victorious (though scar-bearing) freedom fighter. Another highlight was Raphael Xavier’s almost oppressively serious Black Canvas, in which breakdancing, much of it floor-bound, became the paint that portrayed three men in fractious, competing, and cooperating relationships. It’s one of the best examples I’ve seen of hip-hop’s theatrical expressiveness.

Los Angeles’ exuberant VersaStyle Dance Company’s Legacy paid tribute to hip-hop’s ancestry by weaving live dance with beautifully chosen video clips from past greats such as Bill Bailey (inventor of the moonwalk), Fred Astaire, Peg Leg Bates, and the Nicholas Brothers. DS Players from San Jose returned with Before Old School, a tribute to the ballroom style of the 1930s and ’40s. Anything this trio touches is blessed with understated wit and a sense of camaraderie.

Also from Southern California, One Step Ahead presented Tables and Chairs, which brought split-second timing and a sometimes humorous approach to the subject of an argumentative family. The kitchen table became the locus for blame-assigning, with flips, kicks, and leaps as synchronized as clockwork. Everyone took as much as they got. Bringing up the L.A. contingent was the b-boying duet between Rock Steady Crew’s YNOT and BailRok, a pint-size virtuoso with a mountains of attitude. Remember the name.

Pro-Phenomen, seven men from France, closed the program with a performance of Signum that justifiably brought down the house. Thematically, the piece had something to do with the preservation of freedom. Impeccably performed, the dancers’ silken combinations and fabulous sense of timing were mesmerizing. Gestures ran down a line or through a circle. Helicopter-like movement popped up like an afterthought from otherwise engaged groups, and tiny dramatic or tender duets exploded out of nowhere and evaporated as quickly. Huge stretches went into military-type push-ups; dancers “fainted,” were thrown, or ended up on the sidelines.

The 12th Hip-Hop Fest also embraced more traditional presentations. Future Shock Bay Area, a large studio company, opened the evening with Rappin Da Bay. The choreography broke what could have been tedious unisons into ever-shifting small ensembles, with a spot for a soloist or two. Perhaps not terribly original, Rappin stayed vital through its performers skill and commitment. SoulForce Dance Company enlivened its choreography by assigning it to characters such as Brandy Logue as “the Elder” and Meegan Hertensteiner as “Miss Meow Meow,” among others. The piece was an amusing, successful mashup of individuality.

Mind over Matter was this year’s serious misstep. Choreographer Allan Frias, who recently appeared on So You Think You Can Dance, has made it something of a specialty to go for sex and violence. Psyke was probably inspired by gangsta rap and underground aspects of gay culture. (The performance was announced as having “adult material.”) Raunch — in this case, simulated violence against women and simulated sex — can be funny, ironic, and pornographic. What it should never be is boring.

The high harvest

Jesse Hawthorne Ficks
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0
The high harvest

caitlin@sfbg.com

CULTURE “There was some sweet in there and some spice — it was like finger food, you could eat it like chips.” Larry Medders, 11-year resident of the Cecil Williams Glide Community House, is showing off the new rooftop garden, installed by the San Francisco Zen Center, on top of his nine-story supportive housing complex. He’s talking about his introduction to kale.

Medders cooks for himself in his studio apartment and used to stick to the same meals. He likes pasta and herbal teas, which he now brews with the mint and chamomile growing upstairs. An older man from the South endowed with a becoming drawl, he comes up once a day “to water and make sure everything’s in its place.” At the opening ceremony for the new green space, Medders tried the iron-rich greens for the first time. “Now I’m hooked,” he says.

If a once-bare Tenderloin rooftop seems like an incongruous spot to grow spinach, carrots, lemons, blueberries, parsley, onions, and tomatoes (a few of the nascent crops at the Community House), it shouldn’t. The buzzing streets below Medders’ feet offer sparse play areas for children, occasional safety risks, and few places to buy fresh veggies.

The city has tried to attract grocery stores to the area, so far unsuccessfully. “Grocery store operators and other retailers perceive that the area is unsafe and have expressed concerns about the safety of their employees and customers,” says Amy Cohen, director of neighborhood business development. TL residents largely must content themselves with corner stores for neighborhood shopping trips — a bummer for low-income seniors who live in the area.

For the residents of Community House’s 55 units — many dealing with life post-addiction and homelessness and all low income — the roof was already a place to gather. Building barbeques were common. But they knew the rooftop could be much more. “I just wanted to see more greenery, because it really is beautiful,” Medders says.

Enter the San Francisco Zen Center (www.sfzc.org). The center has operated in tandem with Muir Beach’s Green Gulch Farm since the early 1970s, providing a green dojo for meditation students and producing organic produce for restaurants such as Greens in Fort Mason. Says Zen Center vice president Susan O’Connell, “the color green alone is calming, the oxygen and the sense of being surrounded by life.” Gardening can aid in one’s quest for enlightenment, she says. “Zen takes a lot of different forms, it’s not just sitting down.”

Taking inspiration from a garden next door on top of Glide Church, the Zen Center pledged to fill Community House’s communal space with veggies. Now 15 planter boxes built by construction training nonprofit Youth Builds stand at different heights so children and residents in wheelchairs can work them. There are compost bins, shaded tables, chairs, a sink where cooking classes will be held once a local artist finishes painting a mural on the surrounding wall.

The roof’s design, plotted by ex-Green Gulch apprentice Jamie Morf, is laid out so residents can socialize (when Medders and I toured the roof, three children were eating a late lunch on one of the round tables) as well as sit and be thoughtful in nooks designed with peace in mind. “One of the most important precursors to being able to meditate is called taking refuge. But that’s really hard for people in the Tenderloin,” O’Connell says.

We are joined by Patty Rose and Arlinda Van Brunt, two other long-term residents who, with Medders, have stepped up to form the core gardening group. The three teach me about the challenges of running a plot that belongs to every one of the residents living in a nine-story building, including many who have never tended a kitchen garden before. The learning curve can include beginner’s missteps, like overpicking a hardy green onion plant that the trio laments.

“Look at this,” Van Brunt, an energetic woman whose father’s landscaping career left her with a severe aversion to seeing mistreated plants, is pointing at a vertical potato cage that doesn’t seem to be producing the same bushy green leafs as its neighbor. “They overwatered it! It’s our first year, we’re still finding a lot of things out.”

But these kinds of small setbacks show that the garden is being used — and often, they lead to new discoveries in and of themselves. The aforementioned rotting potato cage attracted the notice of the roof’s nightcrawlers, which must have scooted the 10 feet between their two massive bins to the cage, where they were discovered by Van Brunt.

The composting process in the worm bins is now one of her favorite parts of the garden. With the aid of Medders, she lifts the heavy metal lid of one of the bins and pulls aside the shredded newspaper piled on top of the composting material. Underneath, there is a teeming, squirming mass of pink worms. Van Brunt tenderly fingers a handful of them. “Look at that, are they really breeding in there? The nastier it is, the more they like it,” she says, exhibiting the satisfaction of a woman who has taken charge of her food system.

Critical care

Jesse Hawthorne Ficks
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5
Critical care

Sarah@sfbg.com

A complex and controversial project that would involve five San Francisco hospitals — including building a huge showcase facility for the wealthy atop Cathedral Hill — has prompted a debate about what average city residents need from the health care system.

California Pacific Medical Center, an affiliate of Sutter Health, proposes to downsize St. Luke’s Hospital, which primarily serves a low-income population in the Mission District, as part of a $2.5 billion proposal to renovate and retrofit three existing medical campuses, close another one, and build housing and a megahospital on Cathedral Hill that would draw patients from around the country.

CPMC’s grandiose plan was being considered strictly as a land use decision, despite its far-reaching impact on the city’s health care system. So Sup. David Campos created legislation calling for the city to create a citywide health services master plan and to use that as another tool for gauging future medical projects.

Debate over that legislation left some activists on both sides unhappy, with progressives disappointed that it won’t be able to stop a CPMC project they see as neglectful of the poor, and moderates wary of creating a new way to challenge development projects in the face of widespread unemployment in the construction industry.

But it struck a fine enough balance to win 8-3 approval by the board Nov. 16, enough to override a threatened mayoral veto. “I’m really happy and excited about the passage of this legislation,” Campos told the Guardian after the vote.

The legislation has a two-part mandate, with the first part kicking in as soon as it has final approval. It requires the Planning Department, with input from the Department of Public Health, to prepare a health care services master plan to identify current and projected needs for health care services and where they should be provided.

The second part, which begins in 2013, requires Planning to determine whether medical projects are consistent with the findings of this plan. That delay is credited to a last-minute amendment Campos granted during a Nov. 15 committee hearing after the hospital industry complained that the process could jeopardize its ability to meet state-mandated seismic retrofitting deadlines for projects already in the planning pipeline.

The passage of Campos’ legislation comes eight months after President Barack Obama signed the Patient Protection and Affordable Care Act. Hailed by its supporters as the most significant change to the U.S. health care delivery systems in 40 years, the reform package has also been greeted with criticism on both ends of the political spectrum. Progressives complain that it relies too heavily on private insurance companies and medical providers, while Tea Party supporters says that it’s government run amok and they have vowed to “kill the bill.” Senate Minority Leader Mitch McConnell (R-Ky) recently compared so-called Obamacare to “tyranny” in a speech to conservative legal scholars.

But here in San Francisco, the debate over Campos’ legislation — as heated and divisive as it was at times — yielded a surprising amount of consensus around the long-neglected idea that government should play a role in health care planning.

 

PULLING THE PLUG

The passage of Campos’ legislation marks the first time in 30 years that a government entity has mandated health care services planning in California. That approach West Bay Health Systems Agency, whose creation he opposed as governor of California.

Lucy Johns, a San Francisco-based health care planning consultant who wrote the only health care services master plan California has ever had, recalls what happened in the mid-1970s after President Gerald Ford signed legislation that established health system agencies nationwide.

“California established 14 health systems agencies, including the West Bay Health System Agency, which governed the nine Bay Area counties,” Johns told the Guardian. “The legislation mandated that they be established by every state, with the federal government providing the funding. So every state had to decide how many, how big, and how structured the health system agencies would be.”

Johns notes that state legislators were constrained when it came to the decisions these health service agencies made. “The governing bodies of the health systems agencies had to have a membership that was 51 percent consumer and 49 percent healthcare provider, which included doctors, nurses, and hospital administrators,” she said.

That history served as a backdrop for discussion of the Campos legislation, with the Planning Department staff report noting, “With the elimination of the West Bay Health Systems Agency in 1981, there is no longer a routine or comprehensive analysis of health service resources, needs, trends, and local impacts conducted for changes to or within medical uses.”

“It’s truly a historic moment for San Francisco,” Campos said after his legislation passed its Nov. 16 first reading (the second and final reading is set for Nov. 23, after Guardian press time). “We are the first city in the country to make sure land use decisions are aligned to our health care needs. That’s an unprecedented step that will shape the future of healthcare planning for years to come.”

Campos acknowledged that the passage of Obama’s heath reform package — which includes a mandate to purchase private health insurance beginning in 2014 — was also a catalyst for his legislation, along with the CPMC project.

“But it had more to do with seeing that the city didn’t have the tools it needed to evaluate projects in terms of whether they met the city’s healthcare needs and how they might impact people’s access to healthcare,” Campos said. “The main catalyst came from the community, which felt it was being asked to make decisions that will have long-lasting health care implications, but didn’t have any way to understand those needs. Those concerns were compounded by changes at the national level — and the recognition that these changes offer us an opportunity to engage in planning.”

Campos’ legislative victory came two months after members of the Cathedral Hill Neighbors Association joined nurses, medical workers, patients, and community groups in voicing concerns at a Sept. 23 public hearing about the draft environmental impact report for CPMC’s Cathedral Hill hospital and the other facilities that are part of its proposal.

These groups collectively expressed fear that downsizing St. Luke’s, closing the CPMC California campus, and transforming CPMC Pacific campus to an outpatient-only hospital will force low-income people to travel farther to access health care services while offering better service to the wealthy at Cathedral Hill. And neighbors worried that the proposed complex would increase traffic and require the demolition of rent-controlled apartments.

Formed in 1991 through the merger of Pacific-Presbyterian Medical Center and Children’s Hospital of San Francisco, CPMC has been affiliated with Sutter Health since 1996 and currently has four medical campuses in San Francisco: Pacific in Pacific Heights, California in Presidio Heights, Davies in the Duboce Triangle, and St. Luke’s in the Mission.

But CPMC’s longtime goal was to build a facility intended to be like the Mayo Clinic of the West Coast, a 15-story, 555-bed full-service hospital and specialty care facility at the corner of Van Ness Avenue and Geary Boulevard. Company officials have made approval for that project conditional on keeping St. Luke’s open in the face of the state’s deadline on seismic safety standards that the hospital doesn’t now meet.

“St. Luke’s Hospital was the big issue that got our attention,” Le Tim Ly, lead organizer for the Chinese Progressive Association, told the Guardian. His group has worked with residents in the city’s southeast sector around environmental justice, air quality, and pollution issues when they became aware of the threat to St. Luke’s. “All this, coupled with efforts to downsize Luke’s, left us alarmed by the disproportionate impact on an already impacted area.”

But alarm over CPMC’s plans has now revived the idea of healthcare planning.

 

MAKING A PLAN

As recently as the beginning of November, representatives for the Hospital Council of Northern and Central California — whose members include CPMC, Chinese Hospital, Jewish Home, Kaiser Permanente, Laguna Honda, St Luke’s, St. Mary’s, San Francisco General Hospital, and Veterans Affairs Medical Center — seemed opposed to any change in the way healthcare planning is done in San Francisco.

At a Nov. 1 hearing on the Campos legislation at the board’s Land Use and Economic Development Committee, Ron Smith, the Hospital Council’s senior vice president for advocacy, said his organization favored maintaining the city’s current procedures. “We would like to propose that the Health Commission does the planning, the Planning Commission does the land use, and that there is a required determination process which is in the current legislation,” Smith said. “We’re proposing that that continue.”

But two weeks later, after Campos amended his legislation so projects now in the planning pipeline are exempt from having to comply with the city’s health care services master plan, some members of the Hospital Council seemed to have a change of heart.

CPMC’s Chief Executive Officer Warren Browner surprised just about everybody when he publicly stated in mid-November that CPMC supports health care planning. “We strongly support the efforts of the city — we are in favor of health planning,” Browner said at a Nov. 15 hearing on the legislation.

“That statement was extraordinary,” said Lucy Johns, recalling CPMC’s history of resisting government control. “The conversation about this legislation has already changed the discourse, at least in public.”

Linda Schumacher, chief executive officer of Chinese Hospital, a community-owned, not-for-profit facility, explained at the same hearing that her organization had been concerned that Campos’ legislation would affect her hospital’s ability to move ahead with a $150 million project that has been in the pipeline since 2003.

“We thank you for that amendment that allows the effective date to be changed,” she said.

“It shows how much progress had been made, even before this legislation goes into effect,” Campos said of the hospital industry’s apparent shift in attitude. “It’s a monumental step, something that was not expected as recently as a few months ago.”

But Ly of the Chinese Progressive Association said he believes the Hospital Council still doesn’t want to see the city getting involved. “As recently as a month ago, their folks were speaking out against any kind of legislation. But I think they started seeing the writing on the wall.”

Ly fretted about the potential negative impact of Campos’ last-minute amendments. “Sup. Campos’ plan represents a victory. But we could use that information as soon as possible. The 2013 deadline means the city will be handicapped: it will have information it can’t use yet.”

Ly ventures that the hospital industry’s approach will be to try to lessen the impact of the legislation. “As written, it still provides the Planning Commission and the board with the discretion to approve projects,” Ly said. “Ultimately, the struggle is about values. Just because there are plans and guidance doesn’t mean the healthcare needs of the community will become a top priority — it just provides us with tools to make an assessment.”

Campos counters that his bill will allow the city to create incentives for, and apply pressure on, the hospital industry. “If they truly want their projects to be expedited and approved before state-mandated seismic retrofitting deadlines kick in, they’ll propose plans that work for the community,” Campos explained.

But even as it publicly vows to be supportive, the Hospital Council continues to express concerns about the Campos legislation. “It’s the council’s job is to be supportive now that the board has approved Campos’ plan,” Smith said. “And Sup. Campos was very generous. He started talking to us in June. But we really didn’t get a handle on his proposal until much later. We think the idea of healthcare planning is very good. We still have concerns about the process, but now the board has voted on the legislation, our goal is to do our best to work with the law.”

Concerns that the legislation would be used to mire projects in repeated appeals and give too much weight to critics’ concerns was raised at the Nov. 16 hearing by Sup. Sean Elsbernd.

“Right now, if anyone has concerns, there’s a conditional use process and a CEQA [California Environmental Quality Act] process,” Elsbernd told the Guardian. “But this turns up a brand new appeal. It means the appeals are heard at the same time, but you’ve now created a third route.”

Campos responded to these concerns by amending the legislation to clarify that the board must act on consistency determination appeals at the same time it acts on other related appeals, so projects won’t be delayed.

Evidently this wasn’t enough to appease the San Francisco Chamber of Commerce. “We cannot be supportive of that piece of legislation,” Rob Black, the Chamber’s vice president of public policy, told the Guardian after the legislation was approved. “We believe appeals should be done at the Department of Public Health in conjunction with service providers, since San Francisco provides 20 percent of service, and private organizations provide the remaining 80 percent.”

Black says the Chamber was pleased Campos amended his legislation so as not to slow down projects that are currently in the planning pipeline. But he claimed Campos’ legislation could actually limit access to healthcare services. “The Chamber is concerned that Campos’ legislation will make it harder for doctors to pool together in pods, and if we don’t do that, it won’t make healthcare more available because services will be more expensive,” Black said. “But we absolutely think” the city should analyze gaps in providing health care to San Franciscans.

Campos’ aide Hillary Ronen confirmed that Black is correct in saying that anyone can appeal a hospital project’s consistency determination. “But the final analysis will revolve around asking if the proposed project meets the health care needs of San Francisco,” she said. “If it doesn’t, and the board doesn’t believe there’s a compelling public policy reason to approve the project, [the board] can override the approval.”

 

PATIENTS VS. PROFITS

Mary Michelucci, a registered nurse for 40 years and a member of the California Nurses Association, is hopeful that Campos’ legislation will rein in the hospital industry.

“I hope that any plan that would favor patient care over profit would be the way to go,” Michelucci said. “Running a hospital is expensive. But with the profits that Sutter and CPMC are making, they can afford this.”

Michelucci says the dispute over St. Luke’s came to a head three years ago, when nurses began to suspect that CPMC was planning to let the facility fail, suspicions that intensified when CPMC closed St. Luke’s neonatal intensive care unit 18 months ago.

“Now the babies who need neonatal special care are transported to CPMC’s California campus, which is in the Richmond,” Michelucci said. “But the moms may be discharged and most of them live in the Mission or Bayview-Hunters Point.”

Michelucchi still fears that CPMC will wage “a horrific campaign” against the California’s Nurses Association as it continues to push the plan for its megahospital. “CPMC wants to be in complete control of the registered nurses,” she said. “We, unfortunately, are their conscience, while they are a business model in the business of healthcare. The decisions they make about healthcare are not in the interests of patients or nurses, and we are the thorn in their side.”

All this is happening against the backdrop of the worst economic recession since the Great Depression, and for construction workers facing high unemployment rates in San Francisco, CPMC’s megaproject clearly represents light at the end of a very dark tunnel.

“CPMC is my future,” William Hestor, a 28-year-old father of two and member of SEIU-United Healthcare Workers, said at the Nov. 15 hearing. “We worked hard on a contract and we just want to make sure our hospital is built on time.”

CPMC media spokesperson Kevin McCormack told the Guardian that the real issue between CPMC and the CNA is union membership at CPMC’s Cathedral Hill facility. “CPMC is reducing beds at St. Luke’s because the beds aren’t in use, but the facility will be able to take care of 90 percent of patients’ needs and if you need specialist care, a shuttle will take you to Cathedral Hill,” McCormack said. “This centralized arrangement is the best way to attract the best staff and equipment.”

McCormack noted that there are union members and 1,200 nonunion nurses working at CPMC facilities in San Francisco. “We are bringing together nonunion and union nurses together at this facility, and we don’t feel we have the right to force our nonunion nurses to join,” he said, adding that since the Teamsters, the Carpenters, and SEIU-United Healthcare Workers (UHW) are already unionized at the Pacific and California campuses, they’ll be allowed to unionize at Cathedral Hill.

CNA member Eileen Prendiville, who has worked in San Francisco as a registered nurse for decades, recalls the negative changes she has already seen at CPMC’s facilities, including eliminating registered nurses and specialty services.

“If you pull services, as they have, of course you’ll have fewer patients. And the physicians start leaving, so it’s a vicious cycle,” she said. “St. Luke’s was a small community hospital but now it’s all about corporate medicine.”

Sup. Eric Mar sided with those seeking to exempt current projects from the city’s health care services master plan. But Sup. Sophie Maxwell noted that the Planning Commission will take a facility’s historical role into account in determining whether projects are consistent with the city’s health care services plan.

“We believe that addressed community concerns,” Maxwell said. “St. Luke’s would never have been targeted for closure had this legislation been on the books in the past.”

Campos insists his legislation is not simply about CPMC. “Ultimately this legislation stems from a number of pleas we have heard in the last couple of years from people throughout the city,” he said. “It takes the institutional master planning process to the next level. We have tried to consolidate the appeal process under existing law. Important as the legislation is, it’s key to make sure we have the right master plan because that’s where the heavy lifting will take place.”

Meanwhile, the final EIR is being completed for the CPMC project, which should go before the Board of Supervisors for approval early next year.

Ragazza

Jesse Hawthorne Ficks
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0
Ragazza

paulr@sfbg.com

DINE Ragazza is the younger sorella of Sharon Ardiana’s Gialina in Glen Park and, as is so often the case with siblings, the two restaurants do and do not resemble each other. Much of the differences are traceable to the respective neighborhoods. Glen Park (where we find Gialina) has in recent years become an annex of city’s baby belt, whose big, shiny buckle is just over the hill in Noe Valley. Kids like pizza, and Gialina has fine pizza, along with a selection of pastas, a roast or two, and a selection of contorni. Eating at Gialina is a little like waiting to check in for a flight on Southwest Airlines: the environment is lively, lighthearted, and swarming with small children. (Shouldn’t shrieking children be flown on their own airline, perhaps Screaming Babies Airways, with a big screaming baby head painted on the tail of every plane. But if they want to eat at Gialina, okay.)

Ragazza, by contrast, brings haute pizza culture to a vortex of the Haights (lower and upper) and NoPa that so far shows few signs of turning into kiddieland. The restaurant opened recently in a space that’s worn quite a few masks over the past decade; 10 years ago, it was a bistro called Metro Café, then became a fine Nepalese restaurant called Metro Kathmandu, reverted briefly to Metro Café, and now this.

There is nothing distinctive about the mid-block, storefront setting. The glowing red paint scheme of the Kathmandu era has been dialed back to milder earth tones. Otherwise, the look of the restaurant is little different. (In this aesthetic continuity, too, Ragazza differs from its older sibling, whose neglected space was heavily made over before its opening in early 2007.)

Ragazza’s menu is somewhat less pizza-pie-centric than Gialina’s. The new place offers a number of antipasti choices and small plates, along with several roasted items. (Gialina offers one antipasto and one roast.) You could make do very nicely here without having a pizza at all. But the bulk of the clientele seems to understand Ragazza to be a pizzeria at heart, and so the pies emerge from the kitchen in a steady stream, with at least one seeming to turn up on virtually every table. It’s like watching a quarterback spread the ball around to eight different receivers.

Although Ragazza doesn’t offer Gialina’s fabled chili-bomb pizza, the aptly named atomica, it does have a spicy pie of its own, the moto, fired with Calabrian chilis. (These have an aromatic fume all their own and haven’t really been given their due.) The amatriciana pizza ($16), festooned with a sunny-side-up egg, also offered a noticeable nasal kick. And even the pies that aren’t armed with chili heat tend to be bracingly fragrant — a potato version ($15), for instance, topped with red onion and gorgonzola cheese and liberally laced with thyme. No hint of starch overload here, despite the potentially smothering presence of the spud.

Herbal perfumes, along with chili heat, are a recurrent theme. We were particularly aware of the oregano breath wafting from a crock of corona beans ($6) simmered with oven-roasted tomatoes. Oregano is the quintessential pizza smell, but I’d never come across corona beans before and, from their pale chubbiness, would have guessed them to be cannellini or flageolet. They’d been cooked just right and still offered nominal tooth resistance before yielding an interior creaminess.

Purely creamy, on the other hand, was the soft polenta ($9). Polenta can be bland, and it is sometimes enlivened by sautéed mushrooms and gorgonzola — and given Ragazza’s obvious gusto for big flavors, I wouldn’t have been surprised to find those players here. Instead the boost came from a medallion of tomato mascarpone cream, freighted with basil and set atop the polenta like a rosette.

The real test of any restaurant’s food is whether it can hold your attention even if, say, Mark Zuckerberg is sitting at the next table, making moony eyes with a comely ragazza. Was that really Mark Zuckerberg at the next table, an actual person as opposed to the character in the movie The Social Network and the subject of far too much quacking in the key of same from The New York Times’ waddling line of op-ed ducks? We weren’t sure. Zuckerberg is said to live in the wilds of the Peninsula, sleeping on a mattress on the floor of some faceless apartment, just as Jerry Brown did during his first go-round as governor. Yet there he was — maybe — in Ragazza, having come for the girl and stayed for the (pizza) pie. He didn’t friend us, alas, alack. *

 

RAGAZZA

Dinner: Sun.–Thurs., 5–10 p.m.;

Fri.–Sat., 5–10:30 p.m.

311 Divisadero, SF

(415) 255-1133

www.ragazzasf.com

Beer and wine

AE/MC/V

Noisy

Wheelchair accesssible

Wob-gobblers

Jesse Hawthorne Ficks
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0
Wob-gobblers

superego@sfbg.com

SUPER EGO Nightlife things I’m so gloriously thankful for I could bust a lower giblet and call it vogueing: No one’s been shot at the kind of club I like to attend! I have yet to hear that extremely annoying NYC-centric “Barbra Streisand” song here! I live in a city where there is not one, but two fat-burning rollerskating parties on Thanksgiving eve — the wonderfully 1970s-bumpy Roller Disco Thanksgiving Edit (Wed/24, 9 p.m., $5 entry, $5 skate rental. Mighty, 119 Utah, SF. www.mighty119.com) and the all-star DJ, ’80s-wheelin’ New 7th Heaven Sadie Hawkins Roller Prom (Wed/24, 9 p.m.-late, $7 entry, $5 skate rental. Mezzanine, 444 Jessie, SF. www.mezzaninsf.com)! None of my friends have lost a smart phone in the past three days!

Actually, this has been an amazing, thankful-worthy year for SF nightlife. Next month I’ll be dropping my infamous annual look back — in the meantime, here are a few choice club joints to set your turducken aflame. Wait, you want me to shove that can of Bud up what?

 

JESSE ROSE AND CLAUDE VONSTROKE

‘Twas the night before Thanksgiving, and all the kids got down to a Dirty Bird. SF’s fantastically light-hearted techno Dirty Bird label, that is, with founder Vonstroke and early Dirty Birder Jesse Rose on the tables together, like freaks of a feather.

Wed/24, 9 p.m.–4 a.m., $20. Public Works, 161 Erie, SF. www.publicsf.com

 

GOBBLE GOBBLE HEY

There’s punk rock in my gravy, and it’s free. The splendidly named DJ Lumpen the Laptop-Hero of Monday’s weekly retro Wave Not Wave party is throwing down punk jams on Thanksgiving night. Ditch your parents and come out, get soused, tear shit up.

Thu/25, 10 p.m., free. Beauty Bar, 2299 Mission, SF. www.thebeautybar.com

 

BRENMAR

Hot young Brooklynite remix master gives the funky R&B treatment to tracks almost before they hit the ‘Net (like his twist on my cut of the month, Teengirl Fantasy’s “Dancing in Slow Motion.” He’ll be showing off in SF for the first time, at the always tail-flailing Icee Hot party, with residents Ghosts on Tape, Disco Shawn and Rollie Fingers.

Sat/27, 10 p.m., $5. 222 Hyde, SF. www.222hyde.com

 

CASUAL ENCOUNTERS

At last, your chance to see drag queens wrestling in Jell-O. Now word yet if there’ll be whip cream, but there will be hostess Ambrosia Salad, as well as the ever-colloidal VivvyAnne ForeverMore, and her royal wobless Monistat. Plus DJs Alexis Blair Penney, Carnita and Brown Amy from Hard French, and many more.

Sat/27, 8 p.m., $5–$10. UndergroundSF, 424 Haight, SF. (415) 864-7386

 

DNA LOUNGE 25-YEAR ANNIVERSARY

Sweet marshmallow yams, the DNA is almost older than I am! This gala is a special installment of huge mashup club Bootie (www.bootiesf.com), but with aerialist Your Little Chernobyl, a special DJ set at 8 p.m. by DNA Lounge cofounder Brian Raffi, and an open bar from 8 p.m.–9 p.m. with paid admission.

Sat/27, 9 p.m.–late, $6 before 10 p.m., $12 after. DNA Lounge, 375 11th St., SF. www.dnalounge.com

 

GO BANG! TWO-YEAR ANNIVERSARY

Shake your trypto-fanny to a little glamorous disco and funk, why don’t you? One of my favorite little parties is turning two, with DJs Ken Vulsion, Steve Fabus, Stanley Frank, Sergio and more, plus a live performance by Tres Lingerie. Check out this amazing mix for some idea: http://soundcloud.com/go-bang/go-bang-year-2-mix

Sat/27, 9 p.m.–late, $5. Deco Lounge, 510 Larkin, SF. www.decosf.com

 

MR. BIG TOP PAGEANT

This is actually a big gay wet underwear contest, which is fine. (Fear the talent portion!) The winner will be crowned the new face of Manhunt.net — because that’s just what Manhunt needs, more faces. DJs Pee Play, Manicure Versace, and Robert Jeffrey add some spicy aural twists to the proceedings, while various gay porn stars yuck it up at this goofy monthly homo-disco circus.

Sat/27, 9 p.m.–3 a.m., $10. Club Eight, 1151 Folsom, SF. www.joshuajpresents.com

Enchanted

Jesse Hawthorne Ficks
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0
Enchanted

MUSIC Andreya Triana is a singer-songwriter from Southeast London, and Tokimonsta (Jennifer Lee) is a post hip-hop producer from Los Angeles’ South Bay. Triana delivers soulful jazz vocals, forged from a personal and fragile source, and Tokimonsta crafts warm synthetic R&B beats with a driving low-end. Triana’s music is sincere and confessional, Tokimonsta’s amplified and playful. But both artists adeptly recast sensuality in today’s electronic music, which is all too often submerged in a limited emotional sphere between two hedonistic impulses: aggro and more aggro.

I first heard Triana’s voice on “Tea Leaf Dancers,” one of Flying Lotus’ most memorable forays into computer soul from the Reset EP (Warp, 2007). What is most striking is how effortlessly Triana is able to inflect her full-bodied vocals into the lustful synth and bubbling bassline, expertly intertwining the emotional resonance of her lyrical skill with the song’s fissured digital architecture. In the past few years, Triana has steadily cropped up on singles and remixes from some of the most innovative producers in the U.K., from Natural Self to Mount Kimbie. And just this last year, she teamed up with Bonobo (Simon Green), who featured her vocals and songwriting on his new record, Black Sands (Ninja Tune), and produced lush orchestration for her lovely full-length debut, Lost Where I Belong (Ninja Tune).

On Black Sands, Triana breathes life into “Eyesdown,” floating confident verses over an uneasy two-step breakbeat and dreamy ambient swirls. She gathers tremendous strength while staring into the pain of loss: “Hands up/ I got my eyes facing down/ Slowly while the tears fall down/ Slow down.”

For Lost Where I Belong, Bonobo delved into a more minimal take on production with machines and live instruments, hinging together spheres of downtempo jazz and folk in a unique body of pastoral sound. Soft chord progressions twirl among wistful guitar riffs and horn blasts of tranquil joy. On the title track Triana traces the struggle of finding home, and in “A Town Called Obsolete,” she looks inward to find comfort in face of the most demanding other: oneself. The looseness of the song structure lets Triana take control of the narrative and unfold her talent as a visceral songwriter while simultaneously exerting the full-fledged powers of her pipes.

Tokimonsta also has been making noise the last couple of years. She gained shine from Mary Anne Hobbs’ late BBC Radio 1 “Experimental” show as well as the extended family of L.A.’s now infamous Low End Theory weekly. She’s also the only female beatsmith officially on the roster of Flying Lotus’ Brainfeeder upstart. Tokimonsta’s style of sound can be sketched through a light study of her pseudonym: “toki” means bunny/rabbit in Korean while the “monsta” signifier has its own range of connotations on the cutesy side of evil. The name might bring to mind mutant anime toys, or for more adventurous-minded cartoon geeks, the prophetic rabbits haunting the lots of Watership Down.

You could say that Tokimonsta pulls from the psychedelic elements underpinning animation to infuse her music with a soulful, otherworldly quality. Her first EP from earlier this year, Cosmic Intoxication (Ramp), travels through the spacier realms of instrumental hip-hop. And her recent full-length, Midnight Menu (Art Union), begins where DJ Shadow’s “Midnight in a Perfect World” left off: in awe toward the abyss of the city’s night sky and fully enthralled with the prolonged indulgence and manipulation of emotion. Telephonic buzzes begin “Sa Mo Jung” just before a huge bassline kicks the engine toward a maximalist warp zone. The 8-bit haywire synth and rumbling sub-bass of “Chinese Smoothie” evoke the trailing luminescent tail of a dying comet. But some of the best Tokimonsta joints are remixes: an enchanting rendition of Marvin Gaye’s “If This World Were Mine” and a flip of Tweet’s “Call Me” into a glitched-out marvel of electric desire.

BONOBO (WITH ANDREYA TRIANA), TOKIMONSTA

Sat./27, 9 p.m., $22.50

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

Music Listings

Andrew Lam
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0

Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 24

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8pm, $15.

Zach Deputy Boom Boom Room. 9:30pm, $10.

“Jason Bonham’s Led Zeppelin Experience” Warfield. 8pm, $29.50-47.50.

Myonics, Carnivores, Lens Hemlock Tavern. 9pm, $6.

New Riders of the Purple Sage Great American Music Hall. 8pm, $25.

Out of Cell Range, Introverts, SF Jukebox Bottom of the Hill. 9pm, $8.

Souls of Mischief, Candlespit Collective, Broken Complex, Uephoric, DJ Pause Slim’s. 9pm, $21.

*Unsane, Kowloon Walled City, Hazzard’s Cure, DJ BadJew Thee Parkside. 8pm, $12-14.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Club Shutter Elbo Room. 10pm, $5. Goth with DJs Nako, Omar, and Justin.

Dark Sparkle’s 11th Annual Holiday Party Café Du Nord. 9:30pm, $5. New wave.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Jesse Rose, Claude Vonstroke, Solar, J Phlip Public Works, 161 Erie, SF; www.publicsf.com. 9pm, $20.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Red Wine Social Triple Crown. 5:30-9:30pm, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 25

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz, with guest C-Funk, spin Afrobeat, tropicália, electro, samba, and funk.

DJ Eva Von Slut Hemlock Tavern. 9pm, free.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Gigantic Beauty Bar. 9pm, free. With DJs Eli Glad, Greg J, and White Mike spinning indie, rock, disco, and soul.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

FRIDAY 26

ROCK/BLUES/HIP-HOP

Billy No Mates, Kegels, Get Dead, Started-Its Thee Parkside. 9pm, $8.

Black Mountain, Black Angels Fillmore. 9pm, $20.

Blind Willies Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Dark Star Orchestra Regency Ballroom. 9pm, $33.

*Hi-Nobles, Unko Atama, Diemond Hemlock Tavern. 9:15pm, $6.

Prima Donna, White Trash Debutantes, Mystic Knights of the Cobra Bottom of the Hill. 10pm, $10.

Lavay Smith Biscuits and Blues. 8pm, $20.

Yard Dogs Road Show Independent. 9pm, $20.

FOLK/WORLD/COUNTRY

Brian Belknap Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Rayband Coda. 10pm, $10.

Richard Bean and Sapo, Mestizo, Ruckatan Slim’s. 8pm, $16.

Tuck and Patti Yoshi’s San Francisco. 8pm, $25.

“Turkey Trot 2010” Café Du Nord. 8pm, $15. With Good Luck Thriftstore Outfit, Misisipi Rider, Hang Jones, Walking in Sunlight, Blue Ribbon Healers.

DANCE CLUBS

Biscuits and Gravy Elbo Room. 10pm, free. Hip-hop, funk, reggae, and salsa with DJs Vinnie Esparza, Asti Spumanti, and Jonny Deeper.

Duniya Dancehall Blue Macaw, 2565 Mission, SF; (415) 920-0577. 10pm, $10. With live performances by Duniya Drum and Dance Co. and DJs dub Snakr and Juan Data spinning bhangra, bollywood, dancehall, African, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Psychedelic Radio Club Six. 9pm, $7. With DJs Kial, Tom No Thing, Megalodon, and Zapruderpedro spinning dubstep, reggae, and electro.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing The Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 27

ROCK/BLUES/HIP-HOP

Dark Star Orchestra Regency Ballroom. 9pm, $33.

Fantasia, Eric Benet, Kandi Warfield. 8pm, $42-65.

4OneFunktion Elbo Room. 10pm, $5-10.

Jackie Greene Fillmore. 9pm, $30.

Hollywood Hate, Fracas, DJ What’s His Fuck Thee Parkside. 9pm, free.

Man in Space, Maniac, 21st Century Great American Music Hall. 9pm, $13.

Meris Thee Parkside. 3pm, free.

Queers, Riptides, Kepi Ghoulie, Custom Kicks Bottom of the Hill. 8:30pm, $12.

Sassy, Burnt House Hemlock Tavern. 9:30pm, $6.

(the secret secretaries), Tokyo Raid, Nectarine Pie, Fox and Woman Café Du Nord. 9pm, $10.

Earl Thomas Biscuits and Blues. 8pm, $22.

Yard Dogs Road Show Independent. 9pm, $20.

Zoo Station, Petty Theft Red Devil Lounge. 9pm, $15.

JAZZ/NEW MUSIC

Giovenco Project Coda. 7 and 10pm, $7-10.

Tom Shaw and Roberta Drake Martuni’s, Four Valencia, SF; www.dragatmartunis.com. 7pm. With guest Pattie Lockard.

Joe Warner Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

FOLK/WORLD/COUNTRY

Tuck and Patti Yoshi’s San Francisco. 8pm, $25.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon and Phillie Ocean plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Blowoff Slim’s. 10pm, $15. With DJs Bob Mould and Rich Morel.

Bootie DNA Lounge. 8pm, $6-12. The mash-up party celebrates the DNA’s 25th birthday; open bar until 9pm.

Bonobo, Andreya Triana, Tokimonsta Mezzanine. 9pm, $22.50.

Go Bang! Deco Lounge, 510 Larkin, SF; (415) 346 – 2025. 9pm, $5. Recreating the diversity and freedom of the 70’s/ 80’s disco nightlife with DJs Steve Fabus, Tres Lingerie, Sergio, and more.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 28

ROCK/BLUES/HIP-HOP

*Darkest Hour, Veil of Maya, Periphery, Revocation, Sol Asunder DNA Lounge. 6:30pm, $18.

Dimmu Borgir, Enslaved, Blood Red Throne, Dawn of Ashes Regency Ballroom. 7:30pm, $25.

Frames Fillmore. 8pm, $26.

Lucero, Drag the River Great American Music Hall. 8pm, $20.

Soulfly, Straight Line Stitch, Incite, Desperate Union Slim’s. 8pm, $26.

JAZZ/NEW MUSIC

Michael Smith Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

FOLK/WORLD/COUNTRY

Jason Lingo Band Thee Parkside. 4pm, free.

Tuck and Patti Yoshi’s San Francisco. 8pm, $25.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, dubstep, roots, and dancehall with DJ Sep, Maneesh the Twister, and guest I-Vier.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Pachanga Coda. 5pm, $10. Salsa with DJs Fab Fred and DJ Antonio with Montuno Swing.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 29

ROCK/BLUES/HIP-HOP

Cough, Flood, Prizehog Elbo Room. 9pm, $6.

*Grinderman, Armen Raw Warfield. 8pm, $29-35.

Weezer Nob Hill Masonic Center, 1111 California, SF; www.livenation.com. 8pm, $18.50-65.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 30

ROCK/BLUES/HIP-HOP

Ariel Pink’s Haunted Graffiti, Os Mutantes Regency Ballroom. 8pm, $27.

Books, Black Heart Procession Palace of Fine Arts, 3301 Lyon, SF; www.ticketmaster.com. 8pm, $39.50-45.

Dominant Legs, Magic Bullets Café Du Nord. 8:30pm, $10.

Grex, Efft El Rio. 7pm, free.

Mystic Man and Lakay, Sweetfoot Elbo Room. 9pm, $8.

Teers, Belly of the Whale, (the secret secretaries) Bottom of the Hill. 9pm, $8.

Weezer Nob Hill Masonic Center, 1111 California, SF; www.livenation.com. 8pm, $18.50-65.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. “Stump the Wizard” with DJ the Wizard and DJ What’s His Fuck.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

DJ Rickless Hemlock Tavern. 9pm, free.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Live Review: Deerhunter turns up the volume at Great American

John Elberling
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Live Review: Deerhunter turns up the volume at Great American

Before our car ride home discussion of some of our favorite parts of the show, my friend and I had already agreed on something; holy shit that was loud. Playing to a sold-out crowd in its first of two back-to-back San Francisco shows (10/29), Deerhunter put on a raw, visceral, sometimes loose but often amazing set that pierced through the relatively small confines of the Great American Music Hall.

Walking onstage, front man Bradford Cox grabbed the mic and gazed into the crowd. “You guys look like you wanna have fun. I like that in an audience,” he said. After someone screamed out his love for him, Cox quickly replied, “Don’t forget about Lockett Pundt (guitar),” just as the band launched into the Pundt-penned and -sung “Desire Lines.” While Cox usually and deservedly gets a lot of Deerhunter’s press attention, it should be noted that Pundt is a spectacular guitarist and songwriter in his own right, and seems to be a huge part of the band’s sound.

The opener set the tone for what naturally would be a set heavy on tunes from the band’s excellent new album, Halcyon Digest (4AD). What I hadn’t expected was the blistering distortion and pounding drums that a couple of that album’s mellower, poppier songs would take on. The twisted, bubblegum pop of “Don’t Cry” transformed into a grungy monster with a life of its own, while “Memory Boy” sped up a tad to add to the urgency of Cox singing “It’s not a house anymore” in the chorus.

A couple opportunities to show off the band’s more precise, ambient style arose throughout the set. The deceptively dreamy “Helicopter” translated perfectly and drummer Moses Archuleta included what sounded like sampled drum hits coupled with his live kit. Halcyon Digest’s closer, the seemingly African-influenced “He Would Have Laughed” floated along on a repeating, looped guitar line while waves of controlled noise and feedback ebbed in and out.

After a few minutes offstage, Cox came back solo for an encore that started with him covering Scott Walker’s “30 Century Man” with just an acoustic guitar. He played it straight, which was nice and almost surreal to see after the wall of noise throughout the night. Next, the rest of the band rejoined him and launched into a ten-minute jam that had Cox aggressively attacking his guitar to pull out short bursts of dissonant squeals and screeching solos. The song built up tension slowly (maybe a little too slowly) and then eventually released with a closing minute or so of loud thrashing. A little more paring down would have added to the overall effect, but it was still a solid way to end the evening.

Deerhunter’s widening appeal became glaringly obvious as I walked out amongst groups of grungy teenagers, appreciative old-timers, stoic hipsters, and the annoying drunk guy who had been stepping on everyone’s feet and obnoxiously trying to start out-of-rhythm, mid-song clap-along sessions all night (Hey man, you’ve successfully pulled everyone’s attention away from the band and onto you. You win!). But ultimately, even the kid holding his head throughout the show with a look of “I didn’t realize I’d signed up for this eardrum fucking” walked out with a big smile on his face.

Broadway cabaret with Pascal and Rapp!

Sue Vaughan
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Broadway cabaret with Pascal and Rapp!

The Fairmont Hotel’s storied Venetian Room, a.k.a. the San Francisco club where Tony Bennett first left his heart, has recently re-opened its doors to live music, courtesy of Marilyn Levinson’s Bay Area Cabaret series. Chita Rivera wowed them earlier this month, and this weekend Adam Pascal and Anthony Rapp do their thing, some of which you may have caught last year when they appeared in the touring revival of Rent at the Curran, in the roles they originated of Mark and Roger.

Expect some songs from that Broadway show, as well as Spring Awakening, Aida, Cabaret, and Chess, among other musical offerings in “The Rent Guys – Live.”

“The Rent Guys – Live”

Sun/21, 7 p.m., $20-$75

Venetian Room of the Fairmont San Francisco

950 Mason St, SF

www.bayareacabaret.org

Sync up, time’s come for Zion I’s Atomic Clock

Andrew Lam
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Bay Area hip-hop heads are grateful that Zion I walks these mean streets. Emcee Zumbi and DJ Amp Live have been expanding the boundaries of what dope beats and lifted lyrics can be ever since they fled the industry culture of Atlanta and hit the Oakland scene with 1997’s underground hit Enter the Woods. Their vibe’s stayed positive while resisting major label affliation and a lot of the turf warring that plagues hip-hop in a weird, stereotype-enhancing way around some of the Bay’s venues.

We spoke with Morehouse College grad Zumbi over the phone on the cusp of the duo’s weekend-long Slim’s celebration (Sat/20 and Sun/21) in honor of new album Atomic Clock, and the gig will be the duo’s last before hitting the road on tour. Clock is a bangin’, lifted affair studded with gems like “Always” and “Girlz” featuring Martin Luther’s sweet hook — but all the same, we still found ourselves talking politics. Sheesh.

San Francisco Bay Guardian: What’s your definition of a conscious emcee? I hear a lot of people call themselves “backpack rappers” and then come out with a song telling girls to shake faster, make that money. How can you tell who the conscious rappers are? 

Zumbi: For one, I don’t think consciousness is dictated by sexuality. For instance Common is a cat who’s a pretty consistently conscious person. But then he comes out talking about getting head — I think in most of his music there’s an awareness. For me, Jacka has conscious music because he reflects on spirituality and Allah. Even though he’s got the gangster stuff he’s analyzing society and spirituality, mixing it together. It’s about the dominant sense you get from the music. I feel you though, there are people that say they’re a conscious rapper and then their album just doesn’t feel that way. For me, consciousness doesn’t make you dope necessarily, even though most of the people I respect have it. 

 

SFBG: I’ve read in past interviews that your parents attended the March on Washington and that you were at the Million Man March yourself. Can you tell me what your political beliefs are? 

Z: I don’t really think of myself as a political person. I don’t totally believe in Democrats and Republicans and voting. I’m not sold on those things. I think there’s manipulation involved in all of that, and I don’t consider myself political, because I don’t think the political system is just. I just think people should be able to get what they need, that they should be able to have a full life. That’s why I’ve chosen music: it’s a little more direct. People have to jump through hoops with politics, I see it as kind of fraternity. 

Zion I’s latest, Atomic Clock, tells the time

SFBG: But you have musical talent you can use as a forum to express your beliefs – how do people make a difference who don’t have that platform?

Z: By being present and really standing for what you believe – just show up. I don’t call myself political, but take something like Oscar Grant, I was down there at the BART station, I was at City Hall the second time, I was taking pictures and trying to get footage. I think it’s more about that: standing up and making your voice known. Your clothes, your fashion sense, riding a bike instead of driving cars. There’s a disconnect between what people want and how people live their lives. You don’t want to be a slave to the system, so why do you put on clothes you don’t want to wear and go do something that someone tells you that you don’t want to do every day of your life? That’s what life is about, what you choose to do. Living in the United States, we can pretty much say what we want to say. It’s not a country that’s overly oppressive on the intellectual level. Physically it is, but you can pretty much say what you want. Just get out there and be it instead of complaining about everything, be the change you want to see in the world.

 

SFBG: Tell me your take on Obama’s presidency so far.

Z: It’s very interesting. You couldn’t write this stuff, this is a movie in action. When he got elected there was this passion, everyone was so over George Bush. It was like we were ushering in this whole level of politics in the US. And then, because things didn’t change… for me, I voted for Obama, but I don’t think the president makes all the decisions. He’s just the face man for the government. It’s not like this guy was going to change all evils in the world! But now reality is setting in. And because he is Black, it’s encouraged this other thing, the Tea Party? That’s just ridiculous, it’s engendered this backlash, there’s this ideal that there is no racism but in reality there’s more racism than before. Michael Vick — whose dog killed a man on his property — he served two years. Obama to me is a symbol of something – I’m not sure what it is yet, some kind of transformation hopefully, but people are pushing back against what change could be because they’re frustrated, there’s no jobs – they’re looking for a way out. It’s a strange story, it’s like a movie I’m watching. 

 

SFBG: I’ve heard that in Zion I, one of you studied to be a doctor and another, a psychologist. Which is which? How’d you chose that course of study?

Z: (laughs) I might again, you never know, I was just looking at grad schools online. The fact that it had to do with the mind in general. In college I was undeclared for the first two years and then I was getting to that point, so I was like psychology. I like the power of the mind, what the new age thing-movement is all about now, meditation, clearing your mind, intuition,

 

SFBG: Atomic Clock has been described as “moody and emotional.” Are you guys getting moody these days?

Z: Yeah a bit. The record, we did it really quickly in two and a half, three weeks. We proposed it to the label, hoping that they’d pass on it initially but they optioned it. It was a quick sprint all of a sudden, it went from this cool idea to something we had to rush to finish it. Because of that we had a moody attitude to it, the timing added this urgent feeling. Also, like the thing about Obama, it’s where things are, everything is in this transitional period, everyone’s stressed. 

 

SFBG: What do you think of the influx of dance beats in hip hop these days?

Z: I think its cool. I n the beginning, hip hop was always dance music. Sugar Hill Gang was the first quote-unquote rap record. For cats to be doing [dance beats], it’s a natural thing. That’s a part of hip hop. In the late ’90s, early ’00s hip hop kind of left the club, and then the South brought us back into the club. This music is about celebrating, having a good time. 

 

Zion I Atomic Clock CD release parties

Sat/20: featuring Locksmith, Hold Up, Bayliens, DJ Kevvy Kev

8:30 p.m., $20-23

Sun/21: featuring Eligh w/ Scarub, Bang Data, Hold Up, Oakland Faders

8 p.m., $20-23

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

 

Return to me

Jesse Hawthorne Ficks
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Return to me

If magical realism is rooted in Latin American cultures, nobody told Adia Tamar Whitaker. Her Ampey!, a 50-minute dance, chant, music, film, and narration piece, is an incantatory celebration of life — including the parts of life ingrained in our muscles and our dreams. If CounterPULSE’s Performing Diaspora program had produced nothing but Ampey!, it would have been worth doing. Performed by a stellar cast of dancers and musicians, Whitaker has succeeded in pulling together strands of complex subject matter into a first-rate, original piece of poetic theater.

Whitaker is equally skilled in verbal and movement languages. The blunt honesty with which she looks at herself, refusing to sentimentalize or overplay her sense of identity, gives Ampey! a strong backbone. The impetus for the work came from a trip to Ghana, where Whitaker traveled to explore her roots. A small-boned, light-skinned woman who shaves her head, she found herself at odds there. With Ampey!, she set out to explore the disconnect between her African and African American identities. Perhaps not surprisingly, she found misunderstandings on both sides. One of the show’s most insightful moments comes via a film clip, in which an elderly Ghanaian man talked about how outsiders not only view his country, but the whole continent.

Whitaker divides Ampey! into three acts: “Freedom,” “Home,” and “Family.” Her periodic narrations, on film, feel a bit like a personal travelogue, but they also create a sense of anticipation for the live segments. On stage, her persona shifts identity by moving from one dancer to another, an effective way of expanding the personal into a larger context.

In “Freedom,” the dancers, dressed in prim American school uniforms, dive into a high-energy children’s clapping dance, “Getting Lite.” With limbs flying, this is an exuberant, wildly energetic but also playful form of urban expression whose African origins — at least as seen here on stage — are unmistakable. A ring shout and a Haitian dance raise the volume of this affirmation of freedom, though in actually it is being denied. Strong vocalist-dancer Tossie Long, scurrying anxiously among the celebrants, acts as an Elder, cautioning Whitaker to be patient.

“Home” switches gears drastically. With one chair conspicuously empty and Whitaker as the lead vocalist, the dancers sit in a row, chanting and keeping the beat with gourd-like rattles. According to the program notes, the dance is a version of the Ghanaian agbadza, usually performed on an open field. Here, clapping and percussion underline rhythmical, forward-bending movements. The flowing harmonies set against that regular bending pattern proved to be hypnotic — I kept thinking of Muslims praying together on the floors of their mosques. Whitaker dedicated this section to her former teacher, Alicia Pierce, who died in San Francisco while Whitaker was learning this very dance in Ghana. This mourning dance, rising and falling, like waves, like deep breaths, was perhaps Ampey!‘s single most beautiful moment.

The final section, the somewhat problematic “Family,” finds Whitaker on her knees. Carefully measuring and pasting segments of tape, she tries to rearrange the complex floor patterns that look like a mixture of astrology charts and gym floors. As people in colorful garb spill onto the stage, she keeps up her task for a while. The scene becomes a marketplace, with dancers “selling” their wares to each other and to the audience. Here, the performers’ individuality — Eyla Moore, Stephanie Bastos, Veleda Roel, Zakiya Roehl, and Rashidi Omari Byrd — creates a vibrantly pulsating environment. Still, as Whitaker finally takes her place among them, the finale feels a little too easy. It is a lovely ending, but not a completely convincing one.

AMPEY!

Thurs/18–Sat/20, 8 p.m.;

Sun/21, 3 p.m., $19-$24

CounterPULSE

1310 Mission, SF

1-800-838-3006

www.counterpulse.org

Live Shots: Amy Sedaris, Herbst Theater, 11/15/2010

Jesse Hawthorne Ficks
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“You gotta come see this!” called my roommate Melbell from her bedroom. It was my junior year in college and Melbell and her beau Goose were curled up on her futon, their eyes glued to her laptop.

A crazy lady with buck teeth and caked on purple eye shadow was dancing around on the screen, wearing mom pants and a turtleneck. For the next half hour I watched in horror and joy as Jerri Blank ran through the halls of Flatpoint High School, in what was my virgin experience of watching “Strangers with Candy” and the incredibly funny Amy Sedaris. Sedaris is on tour for her new fantastic how-to book, titled Simple Times: Crafts for Poor People.

She explained at her evening appearance at Herbst Theater that the book has been a collaboration between friends, family, and little children, and that most of the crafts in the book do not exceed the ability of a five year old. Some of the chapters include coconut crafts, potholders (her favorite) and also “The Ten Commandments of Crafting”. During the show she also showed off her new felt phone, on which she received several calls and had to excuse herself to the host while she answered them. Sedaris’ ability to make anything funny, including a felt phone, is why so many people love her. I’m sure everyone left the theater that night with sore cheeks from laughing for hours on end and a pocket full of handy ideas on how to get uber-crafty this holiday season.

 

People’s history: the writing’s on the wall… and now, in a book

Andrew Lam
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A thousand pox upon the head of traditional history books. Leaving aside all matters of sexism, classism, imperialism, and plain old fact suppression, they’re usually a pretty boring read on top of it all. But the writing’s on the wall: Celebrate People’s History is releasing its own version of “how we got here”’s greatest hits — and the book release party is Sat/20.

Josh MacPhee has been making unsung history the writing on the wall since 1998. Though technically he sees himself as an anarchist, MacPhee is the putative head of the poster collective CPH, having commissioned over 100 original radical history posters over the years. Those prints have made their way around the world, to classrooms and street corners. The signs join a legacy that MacPhee identifies — in Celebrate People’s History‘s introduction — as having begun with Cuba’s Organization in Solidarity with the People’s of Africa, Asia, and Latin America (OSPAAAL)’s work during the ’60s, and which stretches to include the pieces done locally by artists of the Mission School and the Billboard Liberation Front. 

What’s special about the CPH pieces among this line of populist propaganda are a proactive focus on history’s shining moments, those points in time where people came together and resistence against hegemony held. MacPhee’s book includes posters of Harriet Tubman’s historic crossing of 750 escaping slaves over the Combahee River in South Carolina in 1863 (with the aide of Union troops, the only female-led military action in the history of the country) and the 2003 city shutdown of San Francisco in response to the bombing of Baghdad.

This is how the book looks. Right page: duo-tone poster. Left page: typed-out version of its text. The codification on the pages make the triumphs seem more real, somehow — like most things do when they are written down. 

MacPhee writes that he felt the need to bind the posters together to make visible the “broader sweeps of the past,” and the evolution of radical social movement. The end product may be a lot less exciting than seeing a CPH poster on your corner’s electrical box, but it is a gas to see them neatly placed on pages, next to their message codified into uniform typeface. 

In the wake of sit-lie’s triumphant refutation of the freedom of public space and in a time where some are questioning poor people’s right to even live in this city, I think the questions below, posed by MacPhee in his introduction to the book, is pretty pertinent:

Can our streets become active galleries of ideas and information we can use to understand who we are and where we come from? Can these galleries evolve and change, instead of calcifying, fading, and cracking, and make room for new ideas, images, and conversations?

Here’s hopin’… 

 

Celebrate People’s History book release

Sat/20 7 p.m., free

Center for Political Education 

522 Valencia, SF 

(415) 431-1918

www.politicaleducation.org

 

 

Radical diplomacy: an interview with Guillermo Gómez-Peña

Andrew Lam
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3

“It welcomes hipsters, but advocates for a more intelligent hipsterism.”

Performance artist Guillermo Gómez-Peña is sitting in his unexpectedly luxurious Outer Mission live-work space, surrounded by walls of fake masonry, stacks of props for his work, and velvet paintings of lucha libre wrestlers, police officers, and John Wayne that have accumulated in the 16 years that Gómez-Peña has rent-controlled the place. In anticipation of his upcoming performance at Galeria de la Raza‘s 40th anniversary gala (Sun/21), we’re trying to figure out a few minor details about life in 21st century America.

On the table is our two shot glasses of cachacha (he’s recently returned from a performance in Brazil) immigration politics, the fate of artistic San Francisco, the role of current events in art – just the sort of small talk one always embarks upon when meeting a stranger best known to you for crucifying himself on Ocean Beach and spending time in traditional indigenous Amerindian garb, trapped in a cage stationed in the lobbies of fine art museums’. Gómez-Peña is letting me hold his chihuahua Babalú while he (Gómez-Peña, that is) chain smokes, wearing a black cowboy shirt, bolo tie, and traces of kohl smudged along his lower eyelids.

His hipster comment is about la Galeria. Gómez-Peña has been involved there for 26 years, ever since moving up from Mexico City via Los Angeles. He had heard San Francisco was good for artists, and in Galeria de la Raza, he found spiritual resonance.

“It is one of the most original Chicano-American spaces in the country,” he tells me. Gómez-Peña, whose wife, Carolina Ponce de León, is now the executive director of the gallery, says that he feels a “sentimental connection” with the place. Ever since 1984, when then-director Rene Yañez invited his Border Arts Workshop to stage their first performance in the gallery, he has made a point to bring some version of each of his projects at la Galeria. 

“The Chicano Vampire” shreds border politics, Sun/21

It’s the space’s anti-nationalist viewpoint that draws him. Gómez-Peña, a native of Mexico City, is a man who has made his life on the border, examining the border, erasing the border. In the mid ’90s, the fake masonry that now dominates his ruby-red living room formed a part of “Temple of Confessions,” for which the artist, attired in tribal splendor, and a man dressed as a cholo gang member, sat ensconsed in Plexi-glass – end of the century saints incarnate. They encouraged visitors to approach their “confessionals” and divulge their secret thoughts about Mexico, Mexicans, race, nation.  

I ask him what secrets they told him, how he thinks those secrets would be different now, in the age of SB 1040 and yet another peak of anti-immigrant hysteria. “At that time,” he begins, drawing on his Marlboro, “the pop culture views about Mexico were much more varied. Nowadays the dominant opinion is one of a country of ingovernability, a potential trampoline for drug smugglers and terrorists. There are no longer any redeeming mythologies.”

Gómez-Peña tells me that he thinks that in the age of strife in the Middle East and grave problems within both their interiors, the United States and Mexico are no longer looking at each other. “There is a lot of silence, indifference at the border,” says the man who has staged elaborate stunts at the nations’ fracture point, including a “border wedding” in which the bride and groom stood on either sides of the wall separating us from our neighbors to the south. He says people can’t – or don’t – tell the difference between narco traficantes and migrant workers.

It’s this miasma which makes the art done at Galeria de la Raza all the more important. The space has always been a place where cultures mixed, and where Latinos found ways to enter the psyche of the American zeitgeist. Gómez-Peña says the Chicano spoken word movement got its start there on the corner of 24th Street and Bryant, as did Frida Kahlo-mania. 

But things have been changing, even for this stalwart of the San Francisco neighborhood art scene. For one thing, it’s not so neighborhood anymore. The Mission has transformed into what Gómez-Peña calls, in his typically luminous style, “a bohemian theme park.” Many of the young Chicano artists that “inform the Galeria’s aesthetics” have hightailed it out of here for the easel space and relatively easy rent checks of the East Bay and beyond. 

Obama has disappointed Gómez-Peña. In the wake of a campaign that everyone believed in, wanted to believe in, the arts funding promised hasn’t been delivered. Nowadays, the artist sees fellow creatives having to work two times as hard for their paycheck, even a brain drain of people leaving for the more affordably fertile soils of Buenos Aires and Lisbon. It’s one of the subjects of his performance piece on Sunday, which he calls Strange Democracy. The program will also honor Yañez, House on Mango Street author Sandra Cisneros, and Tomas Ybarra-Frausto, the acclaimed Chicano Studies professor.

But through the slings and arrows of political misfortune, Gómez-Peña has found ways to be proactive. His Pocha Nostra group is one way, a program that hosts artists in both Tempe, Arizona and Oaxaca in forming multi-cultural, politically striking performance pieces – and, as he riffs, contributes to the “trafficking of artists across the border – we’re intellectual coyotes!” 

And on Sunday, he can contribute his unique style to that of Galeria — a place where he says there is “radical cultural diplomacy, a place for different cultures to meet in a time in which the whole country is becoming divided ideologically and when Latinos are being demonized.” A place where we can all meet and talk in the kingdom of confessions, cachaca, and Babalú.

 

“40 Years Adelante!”: Galeria de la Raza benefit performance and awards ceremony

Sun/21 4-9 p.m., $40-65

Brava Theatre Center

2781 24th St., SF

(415) 826-8009

www.galeriadelaraza.org

 

On the cheap listings

Andrew Lam
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0

On the cheap listings are compiled by Caitlin Donohue. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

Wednesday 17

Lara Adair Books Inc., 2251 Chestnut, SF; (415) 931-3633, www.booksinc.net. 7 p.m., free. Author Adair shares the secrets she’s privy to via her life of writing and coaching others – and that she’s published in her newest how-to, Naked, Drunk, and Writing. Pick up some pointers at this author talk, just don’t take the title too seriously now.

Dine Around, Shop Around, Drink Around Various venues, SF; (415) 558-6999 x230, www.dineshopdrink.aef-sf.org. 11 a.m.-2 p.m. A great excuse to paint the town red at some of your favorite neighborhood shops and eateries – tonight, 25 percent of your purchases will go towards HIV/AIDS and breast cancer support agencies.

Mole to Die For Mission Cultural Center for Latino Arts, 2868 Mission, SF; (415) 821-1155, www.missionculturalcenter.org. 7-10 p.m., $7. Dive into this Oaxacan delicacy at MCCLA’s cook-off, which this year features a special green mole for the true culinary enthusiasts.

“Saving the Last of the Wild: North American Corridors” California Academy of Sciences, 55 Music Concourse, SF; (415) 379-8000, www.wcs.org/patronseventCA. 6-8 p.m., free. A panel of scientific minds discuss the threat of human development to migration paths – lord, those animals have it rough! RSVP recommended.

Thursday 21

Switchback launch party Books and Bookshelves, 99 Sanchez, SF; www.swback.com. 7-9 p.m., free. The USF graduate school literary journal celebrates the sunshine on Issue No. 12, themed “Minority vs. Majority.” Raise your wine glass to live readings by scholarly bards, and ponder the conflicts between the few and the many in our society.

Friday 22

de Young artisan fair de Young Museum, 50 Hagiwara Tea Garden, SF; (415) 750-3600, www.famsf.org. (also Sat/20) 9:30 a.m.-8:30 p.m., free. Maybe you can’t afford the art up on the walls for your favorite masterpiece loved one this holiday season, but you can snag some one-of-a-kind gifts from the fine arts museum’s bazaar of local artesanals. Browse and shop accessories, clothing, and more.

Hospitality House “Art for the House” art auction The Shooting Gallery, 839 Larkin, SF; (415) 749-2184, www.hospitalityhouse.org. 6-10 p.m., free. Have a drink in the Tenderloin while you peruse for purchase the artwork of individuals from various community programs for the homeless and transitionally housed, including Roaddawgz and the Community Arts Program.

bay area

“Dracula to Twilight” Other Change of Hobbit, 3264 Adeline, Berk. (510) 654-6226, www.otherchangeofhobbit.com. 6-8 p.m., free. A professor and a chronicler of the Saint-Germain novels discuss the portrayal of blood-sucking undead in pop culture’s film and literature. Mortals welcome to attend, just make that your scarf is tied tightly and your garlic earrings are on hand.

Saturday 23

Celebrate People’s History release party Center for Political Education, 522 Valencia, SF; www.politicaleducation.org. 7 p.m., free. Perhaps you’ve caught CPH’s compelling radical prints on your neighborhood community center or bus shelter’s walls – they’ve been around since 1998. The group’s published a retrospective of their most vivid public art and you can celebrate its release here with historian Lincoln Cushing and artist Favianna Rodriguez.

“Science of Perception”: Human Potential Laboratory Southern Exposure, 3030 20th St., SF; (415) 863-2141, www.soex.org. (Also Sun/21) Noon-9 p.m., free. The Anonymous Immortal Collective and career alchemist Ean Huggins-McLean present an opportunity to extend the elasticity of your mortal coil: healing foods, training for aura-sighting, and more from their “new health care system” at this two-day workshop.

Tenderloin Reading Series Koko Cocktails, 1060 Geary, SF; (415) 596-7614. 7 p.m., free. The quarterly dish on the quirks and perks of the infamous TL features readings of poetry, fiction, and creative non-fiction. The much maligned neighborhood doesn’t get too many chances to revel in itself, so this is a great chance to celebrate your city.

bay area

Home and Hope interfaith benefit concert Transfiguration Episcopal Church, 3900 Alameda de las Pulgas, San Mateo. 7 p.m., donations accepted. The Foster City Community Chorus and East Bay Church of Religious Science Choir sing their hearts out in support of Home and Hope Shelter Services. The bringing of pie to the after-reception is highly encouraged.

Vintage Paper Fair Centre Concord, 5298 Clayton, Concord; (415) 814-2330, www.vintagepaperfair.com. (Also Sun/21) 10 a.m.-6 p.m., free. Maybe a bathroom plastered with old school cosmetic ads? Perhaps paper mache your refrigerator with postcards from famous foodie destinations? You can line your apartment with ephemera from antiquity after a shop-stroll through this bazaar of retro paper products – over a million scraps will be on sale.

Wednesday 17

bay area

Charity Turkey Bowl Serra Bowl, 3301 Junipero Serra, Daly City. (650) 992-3444, www.serrabowl.com. 10 a.m.-4 p.m., lanes $25 per hour, donations accepted. Dust off that strike form, young bowler: Serra Bowl is donating a turkey per ten-pin knockout to hunger organizations all day today. Now that’s reason enough to hit the lanes, no?

30-minute ride

Jesse Hawthorne Ficks
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0
30-minute ride

arts@sfbg.com

MUSIC Imagine being an artist-musician type and juggling all your favorite things just to stay afloat. Considering the Guardian’s demographic, it’s probably not too hard to imagine. This could be you. I’m not saying I feel sorry for you; it actually sounds fun if you can make it work. But at the same time, it’s got to be a constant hustle. That’s exactly how it goes for KIT, a band that — with members based out of Los Angeles and Oakland — has the California coast on lockdown.

KIT’s new album Invocation is out on Upset the Rhythm. Admittedly, sometimes I judge albums by their covers, and on this one, the colorful heap of junk, outdated toys, and discarded household items by Jessalyn Aaland could certainly read as foreshadowing to the dissonance of the sounds inside. Guitarist George Chen’s clashing and self-described “burly” sound is apparent throughout the collection, a follow-up to 2007’s Broken Voyage (also on Upset the Rhythm). In its entirety, the record clocks in at about 30 minutes.

Producer Phil Elverum, fresh from working with Mirah, gave the album a more “linear and organic” approach, according to Chen, helping them shift away from the digital tinkering and overdubs of their first effort. “I really liked how he did heavy guitar rock on [Mount Eerie’s] Black Wooden Ceiling and got it into my head that he would be an interesting choice to work with,” says Chen.

The band agreed on its new Pacific Northwest producer, known for his unorthodox recordings with Mount Eerie and the Microphones. Previously KIT had employed its drummer, Vice Cooler, as producer, while bringing in an engineer or two. This time around, the band goes analog. Bassist Steve Touchton says the album was recorded in less than one week.

Comparisons between KIT and bands such as Erase Errata and Deerhoof (who they shared a split 7-inch single with) do make sense. The chanting repetition of the word destiny on “Golden” is pretty infectious. Overall, that track stands out as a winner. “Sharks” is for extended listening and will make you stagger with its penetrating, drone-like, single-note guitar lick. The mood to hear the cacophony near the end may not always strike you, but the song conveys a sense of urgency.

“Cloud Chaser” is about creating your own sunshine on a cloudy day. I’m not joking. Kristy Gesch, KIT’s vocalist, sings about seeing someone, who I can only imagine is her boo, during a dreary day, and how when they’re happy, she’s happy. The song’s chief strength is its haiku-like simplicity — the lyric is four lines long.

At times, the album’s drenched-in-sunshine sound is juxtaposed with darker lyrical content. “Broke Heart” sounds more like the death of a loved one than the kind of heartbreak you experience from a breakup. Gesch wails about a nightmare that is both unfortunate and permanent. Perhaps this is one of the reasons Invocation finds KIT in a more reflective and inward state. I can’t confirm what exactly went down in the band’s personal lives.

I have a feeling KIT is one of those bands that sounds even better live. I don’t mean this in an insulting way and am not saying they don’t translate well to record. Given the sheer energy of its sound and knowing the types of places it plays, KIT’s all-inclusive philosophy is a stance that says nay to the ageist outlook that only 21-and-ups should enjoy this kind of music.

“It does turn out that all-ages shows by their nature are more fun than bar shows,” says Chen. “The younger kids are more amped on hearing music and not just having it as a soundtrack to drinking.”

KIT

With No Babies, Black Widow, Forked

Sat/20, 3–5 p.m.;

all ages, $5

Artists’ Television Access

992 Valencia, SF

(415) 824-3890

Ode to a N-Owl

Jesse Hawthorne Ficks
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0
Ode to a N-Owl

Honest to Tyra, one of my absolute favorite things in the world is the N-Judah Night Owl bus at 3 a.m. Where else can you encounter such a juicy cross-section of the city’s nightlife players — at least the ones too broke or too cheap (or too hot, like me) to snag a cab home?

The guilt-eyed bridesmaid lured away from her bachelorette for a quickie in the bushes; electro kids still fidgety from that tragic final snort; full-throated bro-skis trying tipsily to locate the end of their sentences; post-concert hipsters screaming over their own blown eardrums, ankles swollen and bright blue from asphyxiating jeggings (still!); drooling newbie Googlers who tried so very hard to be “cool,” succumbing to drowsy numbness as their $300 steampunk sunglasses slip, one lens cracked, from their acne-scarred foreheads; botched pot deals, stunned French teens, cruisy bears, fresh tweakers, gothic Lolitas, country line-dancers, really aspiring rappers, several actual hotties … Amazing. Especially when someone busts out a boombox. All aboard our homegrown diesel-driven party train, woot woot!

 

NERD NITE

“It’s like the Discovery Channel … with beer!” I’m not sure if there’s going to be intentional dancing at this hot monthly snarf-a-thon, but feisty cerebella should be jumpin’ for these presentations: “Mars’s Lumpy Bumpy Neato Magneto(sphero),” “Penguins, the True Chickens of the Sea,” and “The Perilous Infirmity of Burning: The History of Neisseria Gonorrhea.” OK!

Wed/17, doors 7:30 p.m., show at 8 p.m., $8. Rickshaw Stop, 155 Fell, SF. sf.nerdnite.com

 

PACO OSUNA

They say that minimal is dead — but it actually just got hijacked by hot Spaniards. They added some much-needed swing and even humor (not to mention a little color) to the pale-faced genre, keeping the intellectual rigor but expanding its rhythmic template. Beardy Barcelonan Paco Osuna still likes it dark and heady in a Plus8 Records vein, but he knows how to thump the floor as well.

Thu/18, 9:30 p.m., $10. Vessel, 85 Campton Pl., SF. www.vesselsf.com

 

RADIOACTIVITY

The monthly happy hour celebrating “the sound of low budget synthesizers, Eastern European Cold War dance parties, and the more experimental, dubby, and danceable side of post-punk” turns one year colder with special guests Dominique Leone, one of SF’s best hoarders of vinyl plutonium, and Wobbly, plus residents Robots.In.Heat and Tristes Tropique.

Fri/19, 6 p.m.–9 p.m., free. 222 Hyde, SF. www.222hyde.com

 

SIMIAN MOBILE DISCO

Yes, the Brit duo is still here, and yes, they are still your friends. I never use the word “eargasm,” because ew, but if your rocks pop for anthemic electro bombast and fuzzy blasts of bass tempered ever so slightly by devilishly insistent samples, then yes, you will have a bananas one of those.

Fri/19, 9 p.m., $18 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

DUBSTEP BEAT BATTLE

Little recognized fact: the Bay has a shit-ton of excellent beats-production talent. (The recent Red Bull Big Tune and BART Series Big Battle were explosions of creativity.) Promoters Phillip Drummond and Ro Knew are unleashing the future wobble with this multiplayer rumble. Plus, it’s a canned food drive for Glide — bring a tin, leave with tinnitus?

Sat/20, 9 p.m., $10/$7 with can of food. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

ILL-ESHA

Breakbeat specialist turned harmonic dubstep heroine (with occasional acid crunk overtones), the Daly City Records artist brings a decade of experience and some spicy live vocals to the tables. This special release party for her new EP includes Brit glitch-hoppers Glitchy and Scratchy, B. Bravo, Slayers Club DJs, and everybody’s favorite cuddly purple noise-monster, Mochipet.

Sat/20, 10 p.m.–3 a.m., $10. Public Works, 161 Erie, SF. www.publicsf.com

 

SEAN PRICE

The adventurous-eared monthly Frequency party brings in this super-talented, kicked-back, bearish Brooklyn rapper — as one-half of the classic Heltah Skeltah, Price rocked and rucked the ’00s, on his own he’s rolling over tasty Lee Mason “Shady Blues” samples. With Danny Brown, Moe Green, Quelle, and DJ Joe Quixx of Oakland Faders.

Sat/20, 10 p.m.–3 a.m., $10 advance. Mighty. 119 Utah, SF. www.mighty119.com 

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