SF

Race and Prop 8: What’s next? Plus: Transgender Remembrance Day

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The fight against Prop 8 continues — and here’s some touching and empowering video of fierce comedian Wanda Sykes stepping up to the lesbian plate in LA last weekend (via Ta-Nahesi Coates):

(Not in attendance: Prince)

And the somewhat-exhausting dialogue about what role race played in the passage of Prop 8 also continues (um, see funny black dyke above) — and there’s sure to be some intelligent voices included at the below forum on this Wednesday (11/19) at the LGBT Center, sponsored by StopAIDS.

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Prop 8 and Race: What’s Next
A community forum
Wed/19, 7pm-9pm
SF LGBT Community Center
1800 Market, SF
www.sfcenter.org

Also, just a reminder: Thursday November 20 is Transgender Day of Remembrance, commemorating our transgender brothers and sisters who’ve lost their lives to live their lives — a surprising number of which are non-white. There will be a rally with community speakers followed by a march through the Tenderloin to City Hall this Thursday evening:

Transgender Remembrance rally and march
11/20, 6pm-8pm, free
Beginning at the TRANS:THRIVE offices
815 Hyde Street, 2nd Floor, SF
info@sfcenter.org

Plus, the fabulous LGBT synagogue Congregation Shaar Zahev will be holding a special Transgender Remembrance Shabbat at 7:30pm in Friday, November 21. (You don’t have to be Jewish to attend, trust me.)

If you can’t make it, at least light a mental candle for these recently passed-on TG warriors.

‘Soft Focus’ on Jello and Bishop Brothers at Cobb’s

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This in from Jello Biafra‘s people:

“Cobb’s Comedy Club will host a taping of VBS.tv’s Soft Focus with Ian Svenonius. Svenonius will interview Jello Biafra as well as Alan and Richard Bishop of the Sun City Girls in front of a live audience. The taping is free and open to the public. You must RSVP with your name and e-mail address at www.viceland.com/softfocussf.”

SOFT FOCUS
With host Ian Svenonius featuring interviews with Richard and Alan Bishop and Jello Biafra
Wed/19, 6:30 p.m.
Cobb’s Comedy Club
915 Columbus, SF
Space is limited; RSVP at www.viceland.com/softfocussf

AG urges Supreme Court to review Prop 8

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California Attorney General Jerry Brown has urged the California Supreme Court to accept review of the legal challenges to Proposition 8 and promptly resolve “this matter of widespread concern.”

“Review by this Court is necessary to ensure uniformity of decision, finality and certainty for the citizens of California,” Brown wrote in a set of briefs that were filed with the Court today.

The AG’s recommendation comes on the heels of a weekend of anti-Prop. 8 protests nationwide, and less than two weeks after the City and County of San Francisco, the County of Santa Clara and the City of Los Angeles sued to invalidate Proposition 8, arguing that it“ intends to deprive gay and lesbian citizens of their fundamental right to marry in California.”

The speed of the AG’s response is further evidence that Prop. 8’s passage has brought the state to the brink of a constitutional crisis.

Typically, such matters are brought to lower courts before the Supreme Court hears the case. But as Brown argues, a stay, “would increase uncertainty related to marriages performed in California.”

“The constitutionality of the change created by Proposition 8 impacts whether same-sex marriages may issue in California and whether same-sex marriages from other states will be recognized here,” Brown wrote. “There is significant public interest in prompt resolution of the legality of Proposition 8.”

Brown also continues to maintain that “same-sex marriages performed between June 17 and November 4, 2008, remain valid and will be upheld by the Court,” according to a press release issued by his office today.

Brown’s request means the Supreme Court will consider taking up the matter at its Nov.19 closed session.

Legal insiders predict good news for same-sex marriage proponents if the Supreme Court decides to review Prop. 8, since this is the same Court that ruled on May 15, 2008 that banning same-sex marriage is unconstitutional.

If the state Supreme Court decides not to review the case, same-sex marriage supporters could pursue the case with the U.S. Supreme Court, or head back to the ballot box.

But, for now, all eyes are focused on the State Supreme Court and SF City Attorney Dennis Herrera.

As Herrera wrote the day after the November election, “If allowed to stand, Prop 8 so devastates the principle of equal protection that it endangers the fundamental rights of any potential electoral minority — even for protected classes based on race, religion, national origin and gender.”

With only 52 percent of voters supporting Prop. 8, Herrera further argued that the state Constitution’s equal protection provisions, “do not allow a bare majority of voters to use the amendment process to divest politically disfavored groups of constitutional rights.”

Cindy: Revolution will not be reported!

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From Cindy Sheehan

The Revolution Will not be Reported!

Or Funded by Corporate Interests!

Dear Friend/Supporter,

It has been 10 days since the election and Cindy for Congress is still going strong.

I am going to start a radio show on Green 960 AM beginning November 29th at 11:30am. The brilliant part of my show is that I will be on right after Corporate Democrat, Gavin Newsom (mayor of SF). My new show is called: Cindy Sheehan’s Soap Box and we will have an amazing guest to interview each week and I will sound off on different topics: war/peace; politics; human rights; international relations; foreign policy; etc. My show will have a global/local scope to it and will also be a call to action. Also, on every show, I will answer a couple of the hundreds of emails we get every week. We will pod cast the show from our website.

The reason we are undertaking this new show, is that the corporate media (locally and nationally) wrote me off and put a blockade on coverage even before we began our campaign. When there was coverage, the writer would opine that either: a) wouldn’t get on the ballot as an independent; b) not even beat the Republican; c) not even get 10 percent. Well, friend, I a) got on the ballot (which took 10,198 signatures); b) beat the Republican by a lot and c) got almost 17% of the vote. We did far better than anyone who has ever run against Pelosi in the past and that was with very, very little media coverage. Some election night coverage only reported the stats from Nancy Pelosi and the Republican, leaving me out entirely!

So far, (still counting) we have over 45,000 votes! With your help, we were able to mount a very serious campaign that was fueled by our very progressive platform and the support of thousands of people all over the country. Thank you so much for believing in peace, accountability and true progressive values!

We are already organizing for 2010 and have kept a skeletal staff and our office to do this and we are starting a PAC (political action committee) to be able to sustain our campaign until we come out even stronger than before in 2010. We also have some campaign debt to pay off.

I truly believe with the foundation that we have built and the growing disasters that our confronting our country, (facilitated by the “leadership” of Nancy Pelosi), we have an excellent chance of taking her seat in 2010 and finally giving San Francisco a true progressive Congressional Rep. Finally, we will also be working with progressive political activists around the nation to mount challenges to every Congressperson that does not effectively represent the interests of “We the People,” and not the corporate pirates.

Love & Peace

Cindy Sheehan

Harding theater: the show goes on

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HARDING THEATER — LIGHTS UP ON NEXT ACT
Richard Reineccius

The SF Planning Commission came through 7-0 for a full Environmental Impact Review on the Harding Theater on Thursday 11/13!

Commissioners almost universally criticized the staff recommendation for a “negative declaration” for the need for environmental review, and agreed with neighbors of the Divisadero building that there had been almost no public input.

No date was set for the beginning of hearings on the Harding, and staff said it would likely involve a hired consultant.

Community leaders who spoke included Joe Landini, Jim Bracken, Sheila Devitt, David Tornheim and more than a dozen others from the Western Addition/Panhandle/Haight neighborhoods, arguing that The Harding as a functioning arts venue will greatly enliven the Divisadero business strip, as the renovated Brava Theater Center has done for The Mission’s 24th Street.

Attorney Arthur Levy as the pro bono attorney for Friends of 1800, a non-profit preservation organization, had made the effective formal appeal on the basis that historic buildings being considered for major alterations must receive a full EIR under California law.

Prominent theater professionals and historic preservationists voiced concerns at the two hour hearing – including directors and advocates from Theater Bay Area, Lorraine Hansberry Theatre, Brava Theater, Magic Theater, Metro Theatre Center Foundation, the Garage Theater and The Independent nightclub.


Richard Reineccius was a founder of the SF Neighborhood Arts Program, and a long time advocate for arts facilities in communities. He, his ex-wife Brenda Berlin, and Doug Giebel founded the progressive Julian Theatre, performing in The Mission District and Potrero Hill from the 1960s to mid-90s.

SF’s Mi Ami signs to Quarterstick

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Neon beat: Mi Ami live. Photo courtesy of the band’s MySpace page.

This in from Quarterstick Records:

“Quarterstick Records, Touch and Go’s partner label for the last 17-plus years, is pleased to welcome San Francisco drum punk trio Mi Ami to the fold. Featuring two key members of Dischord’s hyper-percussive Black Eyes (Daniel Martin-McCormick on vocals and guitar and Jacob Long on bass) as well as Damon Palermo on drums, Mi Ami builds on the promise of Black Eyes’ spastic energy and renowned live performances, but steers it into a more focused, volatile, and personal direction.

“Mi Ami’s first single on Quarterstick, “Echononecho,” will be released as a 12-inch and digitally Jan. 27, 2009, with the follow-up full-length, Watersports, out Feb. 17, 2009. The band fully takes flight and thrives in the live setting, with shows turning into all-out pulsating rhythmic throwdowns, so save up some energy and be sure to catch them on their extensive tours throughout 2009.”

“Jesus was a homo!”

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By Marke B.

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OK, now that I’ve got your attention by yelling the above, like the group Bash Back did in a sleepy Lansing, MI church last weekend — minus the giant upside-down pink cross — please join me at this amazingly huge international thingie below.

Join the Impact!
Protest Prop 8 at SF City Hall
(and at City Halls around the country and world)
10:30am – 1:30pm
Saturday, November 15, 2008
http://protest8sf.wordpress.com/
http://jointheimpact.com/

(Note to Bash Back — although I love my colorfully radical gay sisterhood, I’m not sure that screaming about Jesus penis in a Midwestern church is going to help us queers gain something as conservative as marriage in California or adoption in Arkansas. I could be wrong. Plus the whole us vs. religion-in-general thing is kind of unfashionable, sigh. )

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I just want to say here that currently the LGBTIQQLMNOP world is in delicious turmoil — as any community as diverse as ours should be. As of yesterday, we have legalized, available same sex marriage in Connecticut — and a new porn movie called Farts. We have silly conservative gays once again telling us that we’d be more acceptable to mainstream America if only we’d expunge those weird drag queens and writhing leathermen from our Pride parades — and a horrifyingly unrepentant new interview from underage-page-baiting conservative jerk Mark Foley (It’s ironic because he says he was abused by a Catholic priest! Prop 8 connections!).

There is an almost-unfabulous radical black dyke telling gay marriage supporters to go stuff it up their white asses in the Chronicle, and an almost-fabulous (yet disturbingly quasi-gynophobic) cheeky new ad campaign from the Gay Times in London intended to make straight men gay.

And just to add more heavens-to-betsy to everything, the “Join the Impact” No on Prop 8 protest listed above was organized by a furtive little e-mail in Seattle from one brave, beautiful soul. An e-mail is our international organizer!

Queers — always so viral.

The Democratic Party and SF’s progressives

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By Tim Redmond

Steve Jones and I had a lot to say about the election, but in retrospect, we left something out.

The progressive victories owed a lot to labor and tenant organizers, but also to the Democratic Party — and since I haven’t in the past been prone to praise the local party, I think it’s worth special mention.

The progressives took over the Democratic County Central Commitee this year, and elected Aaron Peskin chair, and you can see the results: The party raised money and put out slate mailers in the key districts, supporting Eric Mar, John Avalos and David Chiu. With the barrage of downtown attacks in those districts — and the close margin of victory in District 1 — the party, by linking Mar, Avalos and Chiu to the Obama campaign, helped make the difference.

It’s a new Democratic Party in this town, and that’s one more thing to celebrate.

Clubs: Diamond Daggers — disco turkey basters

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By Marke B.

It occurs to me — your nightlife numbskull, your good-times guide — that my Super Ego column this week and its bloggy follow-up, which focussed on some of my fave queer clubs, was a tad phallocentric. Dykes are HOTTT! Including the invisible ones. Here’s an especially lovely lesbian hoedown coming up, with more dyke nightlife delights to come.

Diamond Daggers Disco Thanksgiving

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The enormously talented and flexible all-queer-women burlesque troop Diamond Daggers blew naughty minds at the Castro Street Fair and have been perfoming monthly at Fat City lately. Who can deny their death-defying feats of daring dykeness? Not me. This time around, on Sat Nov. 22, they’re presenting a “Disco Thanksgiving” for all you polyester turkeys stuffed with shards of mirror ball and platform giblets.

Oh yes, there’s an especially all-star lineup for this one as well: dark god Vinsantos, “princess of pork” drag superstar Glamamore, fabulously nimble SF Boylesque troupe, local cabaret starlet and “Oakland’s Chocolate Kisses of Burlesque” Alotta Boutte, drag king singer Leigh Crow aka Elvis Herselvis, and many, many more than listable in this infinite webspace. The disco part will be provided by girl-about-town DJ Campbell and the mysterious C’est Jille. C’est chic! Let’s freak!

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Diamond Daggers Disco Thanksgiving
Sat/22, doors 9pm, show 10:30pm
$12-$20 sliding scale
Fat City
314 11th St., SF.
www.myspace.com/DiamondDaggersBurlesque

Superfriends

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Sometimes bands come together in the same way chords are formed: distinct sounds marry and create something bigger and brighter than themselves. I sat down at a bar with a few members of the Fresh and Onlys and left feeling like they were band wizards. Headed by Tim Cohen of the late Black Fiction, the Bay Area outfit is fleshed out by Shayde Sartain, Wymond Miles, James Kim, Grace Cooper, and Heidi Alexander. Although all have played in other groups, they made it click in the unlikely company of close friends. "When we first decided to do this, the reaction from our mutual friends was like, ‘At last!’" said guitarist Miles. It’s like when Batman and Superman and all their friends finally decided to join up and start the Justice League. Only this incredible six-piece is for real.

Perhaps that’s why the Fresh and Onlys have received such positive attention in the five short months they’ve been a formal group. "Basically it’s a recipe for instant soup," Cohen said. "You just pour the powder into the bowl and add water … We’re really comfortable making music together." As Black Fiction’s songwriter, Cohen was used to guiding his songs almost single-handedly. Now with a new ensemble of players who trust each other’s abilities, he has been able to let the tunes take their course. "It’s really freeing for me, and probably really freeing for everyone else."

The Fresh and Onlys’ live performances are completely rocking and true to their recordings, suggesting that you aren’t seeing a one-time special, but something manicured before delivery. As Miles explained, "Playing live can be strange because we are all shedding inhibitions. It’s like we’re some strange creatures behind the looking glass looking at one another and trying to figure out what the fuck this person is made of."

The damaged-pop psychedelic band proudly wears its eclectic influences — a wax museum of skewed adaptations of bands from the past, with a modern coating. Think Brian Eno, Christian Death, and the Dead Boys having tea, but in a grungy, lo-fi haze. Yet there is an undercurrent in the Fresh and Onlys’ sound that doesn’t deny the sadness of life. Cohen’s lyrics complicate the otherwise sweet and dewy songs, bringing a downbeat mood to songs like "Nuclear Disaster" or "The Mind Is Happy," though Cohen claims it’s unintentional: "You can’t control what goes in your brain and what comes out of it." The overall effect is that of a group of musicians playing the role of the leader and the orchestra at the same time, building and suggesting, following and provoking each other.

Plans for an album titled The No Foot Boogie are in the works, as the Fresh and Onlys weed through the 60 songs they’ve written, and the combo plans to go light on shows until the disc is released — a novel idea for a San Francisco band. Next show, prepare to boogie with both feet.

THE FRESH AND ONLYS

With Bronze, Skeletons, and Mayyors

Thurs/13, 9 p.m., call for price

Eagle Tavern

398 12th St., SF

(415) 626-0880

sfeagle.com

Everyday people

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› a&eletters@sfbg.com

"Keepin’ it real" narrowly edges out "real talk" and "it is what it is" for the most abhorrent platitude in hip-hop, and Bay Area supergroup, the Mighty Underdogs, refuses to be constrained by it. The outfit — which couples local lyrical legends Lateef the Truthspeaker (Latyrx) and Gift of Gab (Blackalicious) with producer extraordinaire Headnodic (Crown City Rockers) — recently released its debut on Definitive Jux: the varied, headnod-inducing Droppin’ Science Fiction. While most supergroups fall flat because of a lack of chemistry, the two MCs’ uber-smooth, rapid-fire deliveries flow seamlessly. Their distinct styles are complemented by Headnodic’s soulful, intricate beats.

I caught up with the articulate, engaging group at their unassuming rehearsal space, nestled in a sea of factories and warehouses in East Oakland. The buoyant MCs exuded pure excitement and pride as they discussed the origins of the Underdogs.

"It was instant chemistry," remarked the laid-back, personable Gab. "We had so much fun doing it. The chemistry was just great, and the songs were just comin’ out dope. We just kinda got lost in it. Thus, the Mighty Underdogs were born."

Actually the group formed almost by mistake. Lateef was working on his upcoming solo album, Crowd Rockers, when Headnodic asked him to consider some of his beats for the project. ‘Teef got more than he bargained for, and left the producer’s North Oakland abode with about 10 beats that he had ideas for. He decided to call an old friend. "I just thought, "Lemme call Gab,’ because Gab and I had been talking about working on a project together," the benign, thoughtful lyricist explained. "I sent them [the tracks] over to Gab and, within a month, it was just on!"

From there the trio congregated in Nodic’s studio to work on the tracks that would become their first full-length. During those sessions, they created a recording that knocks all the way through while focusing on fictional storytelling, which became Gab’s favorite part of the project. "Lateef had hit me up with ‘Monster’ and ‘Ill Vacation,’" said Gab, "and they were both on some storytelling, out-there, imaginative-type stuff, and that really excited me about making the record."

While much of the disc highlights light-hearted, bouncy storytelling, it also encompasses the introspective, honest lyricism that the MCs’ fans adore. On tracks like "Folks," "Want You Back," and "So Sad," which features the incomparable Julian and Damian Marley, the ‘Dogs do what they do best: weaving true life tales of struggle and love. "While a lot of this record is fictional storytelling, the songs that aren’t are very real," Lateef said with a laugh. "We’re talking about shit that everybody does, and everybody sees." *

THE MIGHTY UNDERDOGS

With Zion I and the Cataracs

Nov. 22, 8 p.m., $20–$22

Grand Ballroom

Regency Center, Van Ness and Sutter, SF

(415) 421-TIXS

www.goldenvoice.com

Politicians look beyond SF

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By Steven T. Jones

Is it too much to ask that our top elected officials focus on San Francisco rather than their political careers? Perhaps so. After all, if they can make it here, in this rough and tumble city, they can probably make it anywhere, or so their thinking goes. Yet that’s not entirely true, as a pair of front page stories in today’s Chronicle shows.

Most notably, new polling data shows that Mayor Gavin Newsom’s favorable ratings of just 25 percent statewide are below even perennial gubernatorial candidate John Garamendi, and that an astounding 41 percent of voters have unfavorable view of our slick celebrity mayor. Sure, his bungled approach to Prop. 8 is a factor, but an even bigger one is that Team Newsom’s ambitions have gotten ahead of political reality. Sure, he’s got charisma, but not much substance yet (unless you count claiming credit for other people’s initiatives). And even Newsom’s big personality, arguably his greatest asset, is often tinged with a thin-skinned defensiveness and smirky arrogance that turned him into the Yes of 8 poster boy. Rather than looking past San Francisco, as he’s been doing for so long, he’d do well to just try to be a good mayor and more actively engage with progressives here — win a few and lose a few, and mature in the process. Instead, he’s simply trying to shore up his conservative credentials.

District Attorney Kamala Harris has also been looking past San Francisco, similarly trying to get tough on lawbreakers and other poor souls, and she’s now announced her intention to run for attorney general. She made that trial balloon official just after noon today, sending out press releases in which she said, “I will fight for all Californians – from distressed homeowners to families whose neighborhoods are under siege. In the coming months, I will detail new ideas on how we can fight street gangs, go after subprime lenders and others responsible for the financial crisis, and fundamentally reform our prison system. We have to shut the revolving door that simply recycles criminals in and out of our neighborhoods.”

So get ready, San Franciscans, we’re about to once again be turned into guinea pigs for programs intended for a larger audience than us, as our current crime wave takes a back seat to more important concerns.

Last stand at the Harding Theater!

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Richard Reineccius says “Don’t mourn, renovate the Harding” theater and save this historic landmark

By Bruce B. Brugmann

Well, hopefully this isn’t the last stand for the Harding Theater in the Western Addition. But I wanted to use the line that we used for years in the passionate and unending battle to save the Goodman Building off of Van Ness Ave.

The battle was lost to save the original building but there was a complicated deal done in which the people in the Goodman Building ended up in the Thick Description Theater Building at 1695 l8th st. on Potrero Hill.
The theater is the lineal descendant of the old Julian theater, one of the city’s finest and most avant garde neighborhood theaters founded by Richard Reineccius and Doug Giebel.

It most fitting that Richard is now a leader in the fight to save the Harding theater. Here’s his call to arms on a hearing for the latest proposal to demolish the building at a hearing on Thursday (11/13/08) before the city planning commission.

A FULL HEARING FOR THE HARDING

by Richard Reineccius

The SF City Planning Commission will this week hear the latest proposal for demolishing much of an historic theater at 616 Divisadero Street, erecting a multi-story apartment building plus retail space on the premises. The hearing will be on Thursday afternoon 11/13, Room 400 City hall. (www.sfgov.org/planning)

The Harding Theater in SF’s once artistically vibrant and stylish Western Addition hasn’t seen audiences for live performances or films in a number of years, but is an excellent candidate for saving, not only as an arts space but as a development catalyst for the neighborhood. While not currently listed as a historic landmark, it in fact is one, being the last intact theater remaining in the city designed by the famous Reid Brothers firm (Fairmont Hotel, Grand Lake Theater in Oakland, SF’s Roosevelt and Castro Theaters, Byron Hot Springs Spa Hotel, more)

Sonic Reducer Overage: Usher, Tune-yards, Impossible Shapes, Weasel Walter, Nodzzz, Sean Smith, and more

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Built like a brick house: Impossible Shapes’ “Let the People Build What They Will.”

O, SF – as if you could ever stop rolling out the intriguing jamz. Here are a few more musical offerings that didn’t make it into print.

LOS CENZONTLES
“The Mockingbirds” do it up in the Bay again – with Los Lobos’ David Hidalgo – after flying through for Hardly Strictly Bluegrass. Wed/12, 8 and 10 p.m., $20-$30. Yoshi’s, 510 Embarcadero W., Oakl. (510) 238-9200.

Dick Meister: the other SF State Strike

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By Dick Meister

In marking the 40th anniversary of the student strike at San Francisco State College this year, don’t overlook the faculty strike that broke out in early 1969, not long after the student strike began. The eight-week-long walkout led by the American Federation of Teachers was one of the longest and most bitter teacher strikes in California history.

Although the faculty members called their strike to seek firmer rights, lesser teaching loads and other improved working conditions for themselves, they also demanded that the college negotiate an agreement with the student strikers and otherwise resolve student grievances.

Lemonade from lemons

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With a title as whimsical as This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That, it’s only appropriate that Marnie Stern begins her second Kill Rock Stars album with the sounds of a simple clapping game. "I am vanishing into the trees," she chants while rapping her knuckles on a hard surface. "Defenders get onto your knees. This Is It is a decidedly girly affair. Its CD-booklet artwork, illustrated by Brooklyn painter Bella Foster, depicts Stern as a hiker in the mountains, surrounded by watercolor flowers and pen-line squirrels and foxes. The lyrics seem full of self-empowerment phrases such as "you rearrange your mind" ("The Package Is Wrapped") and "so I rearrange and I don’t mind the change" ("Clone Cycle"). But the electric feminist explosion that is This Is It masks deep personal anxieties, something she describes as a "combination of zen and extreme loneliness." It’s why she lyrically reaches for zen bliss. It’s the musical equivalent of making lemonade from lemons.

"It was therapeutic," Stern says by phone from her New York City home. "That first song ["Prime"] is just about feeling alone, and battling that, and just trying to get as authentic as I possibly can. With ‘Shea Stadium,’ I had been watching some baseball movies such as The Natural. There’s a real epic feeling to those kinds of movies, and how the team overcomes. So it’s in part about that, and in part about a relationship with someone.

"It’s much more difficult to try and be positive," she continues. "At least for myself, I automatically go to the negative place because it’s much easier. But nothing good would come of it. As I progress, only really good things that happen when I embrace being positive."

Much of the laudatory press for This Is It from outlets such as Pitchforkmedia.com and The New York Times tends to ignore or criticize Stern’s violently happy lyrics in favor of her shredding. With only her second album, she has established herself as an ace guitarist. In an age where everyone’s afraid to play a monster lead solo, Stern lets it rip early and often, instead of sticking to boring rhythm guitar. On "Transformer," she taps out a volley of chords on the guitar’s neck, replicating Angus Young’s hook from AC/DC’s "Thunderstruck." For "The Crippled Jazzer," she picks out a lightning-fast and furious line.

"A lot of times people say I’m a virtuosic player, and I’m not," Stern says. When asked if she’s comfortable with mantle of indie-rock guitar hero, she exclaims, "No, of course not! No, no, and no! I’m not!" Instead, she modestly calls herself a singer-songwriter.

Stern first picked up the guitar when she was 15. "I didn’t really start playing until I was 21, 22," says the 32year-old musician. "It was really late. I didn’t take lessons." For her second album, This Is It, Stern wrote 30 numbers before settling on 12. Her goal, she says, was to make the songs coherent, with a clearer verse-chorus structure than her earlier work. Each number is made up of several unique 15-second guitar parts: she would write those first, then write a lyric for each part. "The tendency is for it to sound fragmented, because it’s just part-part-part," she says. "The joy for me in making the song is to get those parts to interlock together."

Stern self-deprecatingly refers to herself and This Is It as a poppy, accessible incarnation of noise bands she likes, such as Arab on Radar, Sheer Accident, the Flying Luttenbachers, and "that whole family of music. To me, my stuff is really straightforward." On one level, it’s a love of classic rock that sent her from the experimental noise community into the welcoming arms of pop music critics and fans. Still, it’s not her guitar playing, but her lyrics — and her conflicting emotions of karmic joy and nervy pessimism — that makes her a potential sonic revolutionary.

"Before I found music I was always pretty cynical about things," Stern says. "Then, as I found my connection with playing and writing songs, I began to feel that connectedness. It made me feel hopeful … It was the only thing that really satisfied me."

MARNIE STERN

With Gang Gang Dance

Fri/14, 9 p.m., $15

Bimbo’s 365 Club

1025 Columbus, SF

www.bimbos365club.com

Discos cumpulsivos

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> johnny@sfbg.com

I don’t know about you, but I could go for a party or 200 right about now. If anyone can cram the spirit of 200 parties into one night, it’s Pablo Díaz Reixa, the playfully energetic one-man force behind El Guincho. Díaz Reixa’s music thrives on contradictions, and a core one is that his bedroom project isn’t insular. Instead it’s ready to overtake the streets with carnivalesque fervor. To paraphrase a sample that rubs up against Esquivel’s zinging piano at the beginning of "Fata Morgana," all of the joy of young people in love is conveyed in the simple melodies of Alegranza! (Young Turks/XL).

Díaz Reixa has described Alegranza!‘s congotronic chant-oholic delirium as an update of space-age exotica — a restless journey that never stops at one spot on the globe. For some, such terms might set off cultural-exploitation alarms, particularly at a time when Anglo indie rock is rife with mannered, stiffly incorporated Afrobeat routines. But Díaz Reixa’s interplay of influences has an autobiographical basis. Though he was based in the Barcelona barrio Gracia when he began recording as El Guincho, he grew up in the Canary Islands, where his grandmother, a music teacher, schooled him in music. His reverence for her is similar to the admiration that minimal-techno trailblazer Ricardo Villalobos has for his distant Chilean relation, the folksinger Violeta Parra. Partly inspired by an old Catalonian folk song by Los Gofiones, El Guincho’s party is radical rather than apolitical: before adopting the El Guincho moniker, Díaz Reixa wrote a Catalan Socialist Party anthem. Alegranza! takes its title from an uninhabited land mass at the northeast tip of the Canary Islands whose name also connotes joy in Spanish. But one could just as surely locate Díaz Reixa’s sound in the air, flying like a rare bird — an eight-eyed parrot, perhaps — around the eight miles of ocean that separate the islands from Africa. As Jace Clayton points out in a recent Fader profile, the El Guincho persona allows its creator to tap into both the soulful and impish aspects of the term duende. He’s the manic musical corollary of the somnambulant Spanish filmmaker Albert Serra, whose movies — such as this year’s Canary Islands-set Christ tale Birdsong — reenvision the traditional conquistador as a (to borrow wordplay from Michael Arcega) conquistadork. He’s serious enough to not take himself too seriously: an admirer of Henri Michaux’s and Guillaume Apollinaire’s writing, he knows that only the committed will tap into the undercurrents of frustration and morbidity within his basket of cheers.

"Palmitos Park," the rollicking track that kicks off Alegranza!, was inspired by seeing a crocodile trapped in miserable conditions at a zoo. But the tension between freedom and entrapment in El Guincho’s music is sublingual. Many of his songs shift from gleeful excess into exhaustion — and then miraculously back into excitement again. This dynamic seems present in Díaz Reixa’s overall approach to music (in 2007, he recorded an album’s or CD-R’s worth of songs, titled Folías, during one high night) and to life (he had to cancel El Guincho’s first US tour due to fatigue). It’s apt that his favorite record shop is a place in Gran Canaria called Moebius, because his music is a hallucinatory Möbius strip. Mandy Parnell’s Young Turks/XL remastering of the original Discoteca Océano release of Alegranza! effectively accentuates this quality.

Now that this country is officially an Obamanation, El Guincho is ready to lead us in rambunctious chants over melding, melting 5/4 benga rhythms. Díaz Reixa’s demeanor in concert has been likened to Animal from the Muppets, but the beloved block of wood that he uses to generate organic snare sounds and electronic beats has a connection to his musical beginnings as a percussionist in a classical orchestra. El Guincho’s pet sounds are as inspiredly fantasmic as 1996-era Cornelius, and a hyper answer to the Portuguese idyll of Panda Bear’s Person Pitch (Paw Tracks, 2007). They’re as creative as the Present — meaning the band of that name that just released the superb World I See (Loaf). They’re the sound of victorious Spain today — what Rafael Nadal would listen to if he had any taste in music. (Díaz Reixa is a tennis maniac.) Díaz Reixa touts current Barcelona bands like Thelemáticos and Extraperia as often as older influences like Souley Katna because his love of music is unquestionable. It’s delirious. It’s higher than high. It’s right on time. *

EL GUINCHO

With Tussle, Disco Shawn, and Oro11

Nov. 21, 9 p.m., $13–$15

Independent

628 Divisadero, SF

(415) 771-1422

www.theindependentsf.com

I can’t get over you

0

› a&eletters@sfbg.com

Few passions are more reckless than those of the ’60s garage-rock completist, so that just about any band that had one good song on a Nuggets compilation automatically becomes somebody’s idea of way better than those boring, overrated Beatles. Still, the era did have its tragically overlooked acts, few more so than the so-called "anti-Beatles" whose brief career is chronicled in Dietmar Post and Lucia Palacios’ documentary Monks: The Transatlantic Feedback.

The group originally came together as five US Army enlistees posted to Germany at the height of the Cold War. After their service stints ended, they decided to stick around as yet another "beat music" group covering Top 40 hits at clubs — at which point they were approached by Karl-H. Remy and Walther Nieman, two locals steeped in advertising design and conceptual art. They were looking to basically cast a band in a project whose packaging — from sound to attire — was already worked out.

Thus just when the world was starting to grow out its hair, string love beads, and sing folk harmonies about loving your fellow humans, the Monks were something else entirely: five guys clad in stark black suits with noose-like bolos, making nervous minimalist music that was "too little too fast" for comfort (though still danceable). Lead vocals caterwauled, backing ones were in unison. Percussion (played "with a certain amount of military discipline," the Fleshtones’ Peter Zaremba observes) consisted of pounded tom-toms plus harshly strummed banjo and Farfisa organ bleats; bass was cranked, guitar distorted. Staccato, nonsensical lyrics like "Hey I hate you with a passion /But call me!" trashed any pretense of romanticism.

These hard little pellets of avant-pop would be later considered by some "an early form of heavy metal," though Monks more closely anticipated the likes of the Contortions and Devo. Incredibly, they were doing this stuff in 1965.

Needless to say, popular acclaim did not ensue. Forty years later, reuniting for their first US gigs, the erstwhile Monks recall being actively "hated" by most audiences whenever they left their Hamburg home base. "Monk music" and its visual presentation was alienating even to the musicians themselves. They quit in 1967, returning to a United States drastically changed from the one they’d left six years before. All were amazed when the band’s tiny recorded output started accruing cult adulation in the post-punk era.

The Transatlantic Feedback is a great ’60s flashback, as well as a comeback saga of sorts. Original Monk bassist Eddie Shaw will be in attendance at the Red Vic’s opening night shows.

MONKS: THE TRANSATLANTIC FEEDBACK

Fri/14-Mon/17, 7:15, 9:25 (also Sat/15-Sun/16, 2, 4:15), $6–$9

Red Vic, 1727 Haight, SF

(415) 668-3994

Flambuoyancy

0

› superego@sfbg.com

SUPER EGO Phew! I just adore being a second-class citizen again, now that Proposition 8 has passed. It makes me feel so edgy, so alt, so very underground. Thank you, Pope Pius the 5000th and the Angel Macaroni! I finally get to break back out my favorite little victim pumps — you know, the star-spangled ones with exquisite ruby handcuff heels — and shove my overwhelming gayness down those tender asshole bigot throats once again. Confrontational! It seems the 1990s really are back at last, and I’m ready for some massive kiss-in action, minus the scuffed oxblood Docs and sleeveless Mervyn’s flannels this time, please.

11/4: never FGGT.

At least I still have the love of my dance floor brothers, sisters, and others — gay or straight — to help me keep my head up under the tacky 99-cent-store weave of despair. If they love me so much, why don’t they marry me? Oh, right. So here, in honor of losing my civil rights at the precise moment of gaining a black president, is a thuper-gay Thuper Ego thpectacular for you.

HONEY SUNDAYS Those sticky-sweet DJ darlings of the altQ scene’s squirmy underside — Pee Play, Ken Vulsion, Kendig, Robot Hustle, and Josh Cheon, otherwise known as Honey Soundsystem — have launched a weekly for party peeps into killer tracks that raise the tired genre house roof into a glistening rainbow of wondrous WTF. Lemme tell ya, it’s been a long time coming. Expect everything from Kendig’s trademark minimal techno and classic house glides to Hustle’s rarest disco, Vulsion’s echoey rave-ups to Cheon’s proto-new wave hoof-twisters, topped off by Pee Play’s bottomless crate-digging mindfucks. All with an ahistorical, four-on-the-floor hard homo energy and some ostentatious faggotty flair, and all going down every Sunday at the gorgeously remodeled Paradise Lounge in SOMA. Sundays, 8 p.m.–2 a.m., free. Paradise Lounge, 1501 Folsom, SF. (415) 621-1911, www.honeysoundsystem.com

TIARA SENSATION There’s good drag, there’s bad drag, and then there’s drag so surreal it bends the arc of history into "holy shit!" The latter is surely the agenda at this paste-gem prom every Monday at the Stud, hosted by my all-time favorite gender clown DJ Down-E and House of Horseface’s Mica. Part DIY craft fair, part "oh no, she din’t" dance party, it’s all odd in a lovely way. With frequent appearances by the inimitable Glamamore, hands down the most creative queen in the city, and tunes from somewhere left of Pluto — still a planet in my heart — it’s a crackin’ good post-weekend jolt of incredulity. Too bad I missed the Obama, the Musical performance. Mondays, 10 p.m., free. The Stud, 399 Ninth St., SF. (415) 863-6623, www.myspace.com/tiarasensation

MARICON This one’s not for a leetle while yet, but it’s hot enough to stuff in your pink Blackberry before the deluge of other Thanksgiving Eve throwdowns hits. If you miss DJ Bus Station John’s sadly departed Double Dutch Disco monthly or, for those with any semblance of long-term memory left, DJ Derek B. and Lady Bass’s early-aughts Off the Hook bashes, get ready to relive the freakin’ freestyle and electric boogaloo days you never really lived through to begin with, maybe. Derek B. — my long-lost sister — and the usually punk rock Trans Am crew are bangin’ the boombox with this one-off, fronting effervescent electro tunes and lavender-bandannaed performances by drag cholitas Kiddie, Glamamore, Hoku Mama, and Holly Peno, plus free churros. Get your womp on and Robocop. Nov. 26, 10 p.m., $5. The Gangway, 849 Larkin, SF. (415) 776-6828, www.myspace.com/transamtheclub

Real Deal

0

› kimberly@sfbg.com

SONIC REDUCER Been down so long that the initial whooping, joy-drenched Obama-phoria of Nov. 4 felt — at least before learning of Proposition 8’s passing — like that moment during the flannel-flying whirl of the early ’90s, when the world finally seemed like Kim’s playground. When everywhere I looked, ultra-cool Kims like Kim Deal, Kim Gordon, and Kim Thayil seemed to signal the primacy of the K Word. Kim was the kid with perpetual Christmas morning going on. The universe seemed to smile down on us as we made art and did what we pleased, as if to say, "Whatever, dude, I mean, Kim. It’s your day."

But what did we do with our Kimdate apart from starting clothing lines, burning out like a black hole sun, and simply keeping on? The moment passed, though it was still thrilling to finally talk to one of those crucial Ks — namely Deal, on the occasion of her surprisingly revitalized, multi-hued new Breeders album, Mountain Battles (4AD) and her forthcoming two-fer at Slim’s — and to dig her breed of Midwestern rock ‘n’ roll realness. I mean, would anyone concerned with conjuring cool or projecting power really say she was bummed out and rocking the chub duds when asked about her typical day?

"I think I’m actually a little depressed," said the sometime Pixies bassist in deliberate, Kim-to-Kim tones from Dayton, Ohio. "I’ve been sleeping in really late and I don’t know why. I gained weight — maybe because I quit smoking a year ago. I’ve gained weight, and you know, I feel fat. So that’s an odd feeling for me. I’m not very confident, and I feel kinda stupid, so I dress really bad and I just wear sweats. You know, when you’re looking good and feel good, you have a spring in your step, and then when you’re heavy for some reason, you’re just like, ‘Ah, lemme just get these sweats on and do what I have to do today.’"

Chin up, Kim — at least you have the Steve Albini-recorded Mountain Battles with insinuating, melancholy songs like the doo-wop-inflected "We’re Going to Rise" and the dreamily minimalist "Night of Joy." "Can’t stop the wave of sorrow," Deal coos in the latter alongside Deal’s twin sister Kelley, Jose Medeles, and Mando Lopez. "This night of joy follows — oh, everywhere you go." That and at least Deal has vaulted past her smoker days of getting winded after running up stairs. With the help of a prescription medication that altered her brain chemistry, she managed to kick the nic fits. "I felt a bit like a sociopath taking it for three months last year," Deal said. "Now it’s worn off and I’m just fat." She chuckled. "It’s better than being a skinny sociopath! There’s far too many of those wandering the streets right now."

But back to the average Deal day. Long after all our Kim Kristmases, Deal told me that when she isn’t touring or planning, say, the Breeders-curated May 2009 All Tomorrow’s Parties in England, she continues to spend her spare hours helping her father care for her mother, who has Alzheimer’s: "She’s doing pretty good. She knows who I am and stuff, but she can get on a loop and repeat some crazy shit! But it’s like, ‘OK, mom, whatever.’" So there is a morning after — full of earthy laughter straight from Planet Deal. *

BREEDERS

Fri/14–Sat/15, 9 p.m., $27
Slim’s
333 11th St., SF
www.slims-sf.com

TRYING DANIELSON

"I feel like the leader of the band, but that’s taken 12 years to acknowledge out of false humility," confesses Daniel Smith, mastermind of that fluid project dubbed Danielson. "But in terms of song and the music and where it’s coming from, I’ve always emphatically said it comes from somewhere else." It’s easy to believe that the spirit provides, listening to Danielson’s wonderful new two-CD retrospective of rarities, remixed tunes, and live material: Trying Hartz (Secretly Canadian). Years before Polyphonic Spree fused gospel-y indie rock with performance art, Smith was finding true, genuinely genius inspiration among his "Famile" and in his Rutgers University vis-art studies. These days, the new father is "just trying to enjoy the process even if there are difficulties. I feel like you can’t separate the struggle with the making. Inspiration, the creative process, the questions, marching up the hill, sweating, and putting things on your credit card — it all relates."

With Cryptacize and Bart Davenport. Fri/14, 10 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

TAKE IT OUTSIDE

BISHOP ALLEN


The Brooklyn combo made Nick and Norah’s Infinite Playlist. Wed/12, 8 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

ROBYN HITCHCOCK


The ex-Soft Boy tackles his brilliant I Often Dream of Trains (Midnight Music, 1984) live. Wed/12, 8 p.m., $30. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

KRS-ONE AND MISTAH FAB


The old school meets one of the Bay’s new school. Fri/14, 9 p.m., $25. Shattuck Down Low, 2284 Shattuck, Berk. www.shattuckdownlow.com

KIOSK


The Iranian fusion group parties up its Bagh e Vahsh e Jahani (Global Zoo). Fri/14, 8:30 p.m., $35–$55. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

CHUCK D


Welcome to the truth-teller’s terrordome. Sat/15, 9 p.m., $15–$20. Uptown, 1928 Telegraph, Oakl. www.uptownnightclub.com

MCCOY TYNER TRIO


The jazz giant is joined by Ceramic Dog’s Marc Ribot. Tues/18–Nov. 22, 8 and 10 p.m.; Nov. 23, 2 and 7 p.m.; $5–$35. Yoshi’s, 510 Embarcadero W., Oakl. www.yoshis.com

Rap-erations

0

› a&eletters@sfbg.com

REVIEW Even if the rest of the "change" he’s been promising remains elusive, Barack Obama’s resounding electoral win is already change — and of a profound kind — given its undeniable impact on racial consciousness among African Americans, Americans at large, and no doubt people around the globe. Of course, nobody thinks racism disappeared overnight Nov. 4. If anything, the day marks an opportunity for a reinvigorated dialogue on the complexities of race and racism in the 21st-century United States. Dan Wolf’s vigorous and inviting stage adaptation of Bay Area author Adam Mansbach’s 2005 novel, Angry Black White Boy, might seem like an ideal instance, but in fact, although very entertaining, it rehearses a fairly familiar angle without moving much beyond it.

Mansbach’s satirical but searching story concerns a white Jewish suburban hip-hop enthusiast, Macon Detornay (played appealingly by Wolf), whose guilt-tinged identification with African American culture and corresponding aversion to the white mainstream has him uneasily straddling two worlds, eventually bringing them into comically dramatic collision. Macon’s guilt stems partly from a great-grandfather who, as a professional baseball coach, tormented the only black athlete who dared to hold his own on an all-white team.

Macon’s familial history is also, along with hip-hop, his bridge to dorm-mate and fellow Columbia University freshman Andre (played with laidback poise by Myers Clark), whom Macon arranges to live with after learning that Andre is the great-grandson of the same ballplayer his own ancestor victimized. Andre is bemused but generous in the face of Macon’s attempt to make amends. More skeptical is Andre’s friend Nique (a potent Tommy Shepherd, also supplying the fine original music and soundscape). But Macon, a part-time cab driver, earns street cred when he begins robbing his fares (white dudes played by fourth ensemble member Keith Pinto) at the first sign of idle middle-class racism, becoming a notorious outlaw his victims improbably recall as black. The three new friends form the Race Traitor Project to capitalize on Macon’s ironic celebrity, organizing a "day of apology" wherein white America confronts its racist demons. Naturally, things don’t go as planned, and the pressure brings latent tensions surrounding Macon’s fraught identity to a boil.

While wisely concentrating on the ample humor in a story that’s a bit contrived even for satire, director Sean San Jose and cast (all but Clark are members of hip-hop group Felonious) propel the action through a fluid, combustible mixture of music and movement, with sharp choreography from Pinto. But as staged, the themes are less than provocative, in part because the other characters remain subordinated to Macon’s limited perspective, itself almost too "black and white." Nevertheless, the cohesive, versatile ensemble and Wolf’s sympathetic approach translates, under San Jose’s attentive direction, into an engaging theatrical hybrid, whose punctuations and rhythms carry their own share of emotional content and cultural meaning.

ANGRY BLACK WHITE BOY

Through Nov. 23

Thurs.-Sun., 8 p.m., $15–$25

Intersection for the Arts

446 Valencia, SF

www.theintersection.org

Chinafornia

0

› paulr@sfbg.com

The specter of linoleum haunts the neighborhood Chinese restaurant. Many of us have paid visits to these purgatories, where the food is tasty and cheap but the lighting is harsh and fluorescent and the flooring looks as if it had been laid down, without much love, during the Eisenhower administration. One ponders this trade-off, wondering, in particular, whether it’s inevitable. Then one goes to Kathy’s California Chinese Cuisine and finds an answer.

Rumors of Kathy’s’ culinary excellence had been reaching me for some time. I had seen the place often enough, certainly, in its snug little commercial strip at the dizzying confluence of Dewey and Laguna Honda boulevards and Woodside Avenue, just steps from Muni’s Forest Hill metro station. But I only recently stepped inside for the first time and felt myself transported to … Vienna! Of course, I had only just been to the real Vienna — for the first time — over the summer, so that wedding-cake city in the heart of Mitteleuropa was on my mind.

Kathy’s isn’t about wedding cakes or Mitteleuropa, but it does offer surprisingly gracious old world atmospherics, if one discounts the burbling aquarium just inside the front door, the scattering of gourds on the floor (in honor of Halloween and the autumn harvest), and the general storefront-spaciness of things. (There is no host’s podium, just the fish tank, while the server’s station is all the way at the rear of the dining room, like the check-in counter for an obscure airline in an obscure country.)

The floor is laid with handsome tiles that look as though they were quarried from a stormy sea, the walls are a discreetly sensuous peach color, and soft light flows from a pair of rather resplendent glass chandeliers, as well as from sconce lamps on the wall. From an unseen sound system I heard playing one evening — for our final Viennese touch — the final movement of Mozart’s Piano Concerto No. 22 in E flat major. Also some Bach. The music was present but not obtrusive, which these days seems to be very much the exception to the rule. Considering that Kathy’s does a lively takeout business, the restaurant’s dining room is a startlingly attractive place to sit and have dinner, at least if your idea of having dinner includes conversation.

When "California" is used as a modifier with respect to some traditional cuisine, I immediately think of zucchini. Zucchini grow like weeds in our part of the world, and they turn up in highly unlikely spots, such as hor mak talay, the Thai dish of coconut milk and red curry. And they turn up at Kathy’s, along with eggplant, tomatoes, and peppers. Somewhere in the kitchen is a ratatouille crying out to be made.

Kathy’s isn’t that Californianized, or Californicated, but there is a nice plate of stir-fried vegetables, the vegetable deluxe ($7.95), that features plenty of shredded napa cabbage, carrot coins, broccoli florets, and chunks of Japanese eggplant, with plenty of garlic and ginger and — the special touch — a ring of tissue-thin tomato slices arranged around the edge of a platter, like a link fence. The fence is both visually attractive and the source of a subtle acid zip.

Most of the food has a familiar north-China look, although there is the occasional wrinkle, such as red dumplings ($6.95), an octet of Chiclet-shaped, half-dollar-sized dough packets filled tight with minced, gingery pork and bathed in a thick, glossy reddish-orange sauce that’s both sweet and hot.

Similar dumplings recur in the wonton soup ($6.95 for two), although the real stars here are the chicken stock (intensified through reduction and not too salty) and the wealth of vegetables bobbing alongside the wontons. The roll call here includes more shredded cabbage and broccoli florets, along with quarters of button mushroom and (a non-vegetable) peeled shrimp.

Our intel source, a local, suggested that we would find the walnut prawns ($10.95) exceptional. Since I have never found walnut prawns exceptional, I was prepared to be disappointed. But … Kathy’s walnut prawns are exceptional! The large, plump shrimp are shelled, then stir-fried in a creamy sauce spiked with some sort of liquor (brandy or rum?), and scattered with candied walnuts and raisins. It is very tricky business to introduce this much sweetness into a savory dish; a balance must be struck, lest you end up with some kind of shrimp dessert. Kathy’s version strikes that balance.

Tangerine beef ($10.95), meanwhile, left me secretly chagrined, since the flaps of beef, while tasty, were not coated and deep-fried to heart-stopping crispness before being tossed in a thick and glossy orange sauce. The drill here was more of a conventional stir-fry (with a medley of vegetables) in a soy-based sauce, with the tangerine figuring as an occasional burst of zest. More interesting, or at least unexpected, or unadvertised, were the lithe slices of green apple ringing the platter; their sweet-tartness helped balance both the saltiness of the soy sauce and the richness of the meat.

Other pluses: service is practiced and friendly. You can get brown rice instead of white. Transport logistics are, apart from the terrifying intersection, rather painless, with Muni just steps away and street parking quite easy. The relaxed, well-mannered crowd is easy to take. And, on that happy note, I’m done with Chinese food for a bit. Probably.


Kathy’s California Chinese Cuisine

Dinner: nightly, 5–10 p.m.

Lunch: Mon.-Fri., 11 a.m.–3 p.m.

408 Dewey, SF

(415) 665-6888

Beer and wine

MC/V

Not noisy

Wheelchair accessible

The people’s election

0

› news@sfbg.com

By midnight Nov. 4, the drama was long over: John McCain had conceded, Barack Obama had delivered his moving victory speech — declaring that “change has come to America” — and the long national nightmare of the Bush years was officially headed for the history books.

But in San Francisco, the party was just getting started.

Outside of Kilowatt, on 16th Street near Guerrero, the crowd of celebrants was dancing to the sounds of a street drummer. In the Castro District, a huge crowd was cheering and chanting Obama’s name. And on Valencia and 19th streets, a spontaneous outpouring of energy filled the intersection. Two police officers stood by watching, and when a reporter asked one if he was planning to try to shut down the celebration and clear the streets, he smiled. “Not now,” he said. “Not now.”

Then, out of nowhere, the crowd began to sing: O say can you see /By the dawn’s early light …

It was a stunning moment, as dramatic as anything we’ve seen in this city in years. In perhaps the most liberal, counterculture section of the nation’s most liberal, counterculture city, young people by the hundreds were proudly singing The Star Spangled Banner. “For the first time in my life,” one crooner announced, “I feel proud to be an American.”

Take that, Fox News. Take that Sean Hannity and Rush Limbaugh and Sarah Palin and the rest of the right-wing bigots who have tried to claim this country for themselves. On Nov. 4, 2008, progressives showed the world that we’re real Americans, too, proud of a country that has learned from its mistakes and corrected its course.

President Obama will let us down soon enough; he almost has to. The task at hand is so daunting, and our collective hopes are so high, that it’s hard to see how anyone could succeed without a few mistakes. In fact, Obama already admitted he won’t be “a perfect president.” And when you get past the rhetoric and the rock star excitement, he’s taken some pretty conservative positions on many of the big issues, from promoting “clean coal” and nuclear power to escautf8g the war in Afghanistan.

But make no mistake about it: electing Barack Obama was a progressive victory. Although he never followed the entire progressive line in his policy positions, he was, and is, the creature of a strong progressive movement that can rightly claim him as its standard-bearer. He was the candidate backed from the beginning by progressives like Supervisors Chris Daly and Ross Mirkarimi (a Green). And only after his improbable nomination did moderates like Mayor Gavin Newsom and Sen. Dianne Feinstein jump on the bandwagon.

From the start, the young, activist, left wing of the Democratic Party was the driving force behind the Obama revolution. And while he has always talked to the Washington bigwigs — and will populate his administration with many of them — he would never have won without the rest of us. And that’s a fact of political life it will be hard for him to ignore, particularly if we don’t let him forget it.

For a few generations of Americans — everyone who turned 18 after 1964 — this was the first presidential election we’ve been able to get truly excited about. It was also the first presidential election that was won, to a significant extent, on the Internet, where progressive sites like dailykos.com raised millions of dollars, generated a small army of ground troops, and drove turnout in both the primaries and the general election. The movement that was built behind Obama can become a profound and powerful force in American politics.

So this was, by any reasonable measure, the People’s Election. And now it’s the job of the people to keep that hope — and that movement — alive, even when its standard-bearer doesn’t always live up to our dreams.

The evidence that this was the People’s Election wasn’t just at the national level. It showed up in the results of the San Francisco elections as well.

This was the election that would demonstrate, for the first time since the return of district elections, whether a concerted, well-funded downtown campaign could trump a progressive grassroots organizing effort. Sure, in 2000, downtown and then-Mayor Willie Brown had their candidates, and the progressives beat them in nearly every race. But that was a time when the mayor’s popularity was in the tank, and San Franciscans of all political stripes were furious at the corruption in City Hall.

“In 2000, I think a third of the votes that the left got came from Republicans,” GOP consultant Chris Bowman, who was only partially joking, told us on election night.

This time around, with the class of 2000 termed out, a popular mayor in office and poll numbers and conventional wisdom both arguing that San Franciscans weren’t happy with the current Board of Supervisors (particularly with some of its members, most notably Chris Daly), many observers believed that a powerful big-money campaign backing some likable supervisorial candidates (with little political baggage) could dislodge the progressive majority.

As late as the week before the election, polls showed that the three swings districts — 1, 3, and 11 — were too close to call, and that in District 1, Chamber of Commerce executive Sue Lee could be heading for a victory over progressive school board member Eric Mar.

And boy, did downtown try. The big business leaders, through groups including the Committee on Jobs, the Chamber, the Association of Realtors, Plan C, the newly-formed Coalition for Responsible Growth, and the Building Owners and Managers Association, poured more than $630,000 into independent expenditures smearing progressive candidates and promoting the downtown choices. Newsom campaigned with Joe Alioto, Jr. in District 3 and Ahsha Safai in District 11. Television ads sought to link Mar, John Avalos, and David Chiu with Daly.

Although the supervisors have no role in running the schools, the Republicans and downtown pushed hard to use a measure aimed at restoring JROTC to the city’s high schools as a wedge against the progressives in the three swing districts. They also went to great lengths — even misstating the candidates’ positions — to tar Mar, Chiu, and Avalos with supporting the legalization of prostitution.

And it didn’t work.

When the votes were counted election night, it became clear that two of the three progressives — Avalos and Chiu — were headed for decisive victories. And Mar was far enough ahead that it appeared he would emerge on top.

How did that happen? Old-fashioned shoe leather. The three campaigns worked the streets hard, knocking on doors, distributing literature, and phone banking.

“I’ve been feeling pretty confident for a week,” Avalos told us election night, noting his campaign’s strong field operation. As he knocked on doors, Avalos came to understand that downtown’s attacks were ineffective: “No one bought their horseshit.”

A few weeks earlier, he hadn’t been so confident. Avalos said that Safai ran a strong, well-funded campaign and personally knocked on lots of doors in the district. But ultimately, Avalos was the candidate with the deepest roots in the district and the longest history of progressive political activism.

“This is really about our neighborhood,” Avalos told us at his election night party at Club Bottom’s Up in the Excelsior District. “It was the people in this room that really turned it around.”

The San Francisco Labor Council and the tenants’ movement also put dozens of organizers on the ground, stepping up particularly strongly as the seemingly coordinated downtown attacks persisted. “It was, quite literally, money against people, and the people won,” Labor Council director Tim Paulson told us.

Robert Haaland, a staffer with the Service Employees International Union and one of the architects of the campaign, put it more colorfully: “We ran the fucking table,” he told us election night. “It’s amazing — we were up against the biggest downtown blitz since district elections.”

The evidence suggests that this election was no anomaly: the progressive movement has taken firm hold in San Francisco, despite the tendency of the old power-brokers — from Newsom to downtown to both of the city’s corporate-owned daily newspapers — to try to marginalize it.

Political analyst David Latterman of Fall Line Analytics began the Nov. 5 presentation at the San Francisco Planning and Urban Research Association election wrap-up by displaying an ideologically-coded map of San Francisco, drawing off of data from the Progressive Voter Index that he developed with San Francisco State University political science professor Rich de Leon. The PVI is based on how San Francisco residents in different parts of the city vote on bellwether candidates and ballot measures.

“Several of the districts in San Francisco discernibly moved to the left over the last four to eight years,” Latterman told the large crowd, which was made up of many of San Francisco’s top political professionals.

The two supervisorial districts that have moved most strongly toward the progressive column in recent years were Districts 1 (the Richmond) and 11 (the Excelsior), which just happened to be two of the three swing districts (the other being District 3–North Beach and Chinatown) that were to decide the balance of power on the Board of Supervisors this election.

Latterman said Districts “1, 3, and 11 went straight progressive, and that’s just the way it is.”

In fact, in many ways, he said this was a status-quo election, with San Francisco validating the progressive-leaning board. “A lot of people in the city didn’t see it as a chance for a drastic change citywide.”

In other words, keeping progressives in City Hall has become a mainstream choice. Whatever downtown’s propaganda tried to say, most San Franciscans are happy with a district-elected board that has brought the city a living-wage law and moved it a step toward universal health insurance.

The fate of the local ballot measures was another indication that Newsom, popular as he might be, has little ability to convince the voters to accept his policy agenda.

Voters rejected efforts by Newsom to consolidate his power, rejecting his supervisorial candidates, his Community Justice Center (as presented in Measure L), and his proposed takeover of the Transportation Authority (soundly defeating Proposition P) while approving measures he opposed, including Propositions M (protecting tenants from harassment) and T (Daly’s guarantee of substance abuse treatment on demand).

Asked about it at a post-election press conference, Newsom tried to put a positive spin on the night. “Prop. A won, and I spent three years of my life on it,” he said. “Prop B. was defeated. Prop. O, I put on the ballot. I think it’s pretty small when you look at the totality of the ballot.” He pointed out that his two appointees — Carmen Chu in District 4 and Sean Elsbernd in District 7 — won handily but made no mention of his support for losing candidates Lee, Alicia Wang, Alioto, Claudine Cheng, and Safai.

“You’ve chosen two as opposed to the totality,” Newsom said of Props. L and P. “Prop. K needed to be defeated. Prop. B needed to be defeated.”

Yet Newsom personally did as little to defeat those measures as he did to support the measures he tried to claim credit for: Measures A (the General Hospital rebuild bond, which everyone supported) and revenue-producing Measures N, O, and Q. In fact, many labor and progressives leaders privately grumbled about Newsom’s absence during the campaign.

Prop. K, which would have decriminalized prostitution, was placed on the ballot by a libertarian-led signature gathering effort, not by the progressive movement. And Prop. B, the affordable housing set-aside measure sponsored by Daly, was only narrowly defeated — after a last-minute attack funded by the landlords.

All three revenue-producing measures won by wide margins. Prop. Q, the payroll tax measure, passed by one of the widest margins — 67-33.

Latterman and Alex Clemens, owner of Barbary Coast Consulting and the SF Usual Suspects Web site, were asked whether downtown might seek to repeal district elections, and both said it didn’t really matter because people seem to support the system. “I can’t imagine, short of a tragedy, district elections going anywhere,” Latterman said.

Clemens said that while downtown’s polling showed that people largely disapprove of the Board of Supervisors — just as they do most legislative bodies — people generally like their district supervisor (a reality supported by the fact that all the incumbents were reelected by sizable margins).

“It ain’t a Board of Supervisors, it is 11 supervisors,” Clemens said, noting how informed and sophisticated the San Francisco electorate is compared to many other cities. “When you try to do a broad-based attack, you frequently end up on the wrong end (of the election outcome).”

We had a bittersweet feeling watching the scene in the Castro on election night. While thousands swarmed into the streets to celebrate Obama’s election, there was no avoiding the fact that the civil-rights movement that has such deep roots in that neighborhood was facing a serious setback.

The Castro was where the late Sup. Harvey Milk started his ground-breaking campaign to stop the anti-gay Briggs Initiative in 1978. Defying the advice of the leaders of the Democratic Party, Milk took on Briggs directly, debating him all over the state and arguing against the measure that would have barred gay and lesbian people from teaching in California’s public schools.

The defeat of the Briggs Initiative was a turning point for the queer movement — and the defeat of Prop. 8, which seeks to outlaw same-sex marriage, should have been another. Just as California was the most epic battle in a nationwide campaign by right-wing bigots 30 years ago, anti-gay marriage measures have been on the ballot all over America. And if California could have rejected that tide, it might have taken the wind out of the effort.

But that wasn’t to be. Although pre-election polls showed Prop. 8 narrowly losing, it was clear by the end of election night that it was headed for victory.

Part of the reason: two religious groups, the Catholics and the Mormons, raised and spent some $25 million to pass the measure. Church-based groups mobilized a reported 100,000 grassroots volunteers to knock on doors throughout California. Yes on 8 volunteers were as visible in cities throughout California as the No on 8 volunteers were on the streets of San Francisco, presenting a popular front that the No on 8 campaign’s $35 million in spending just couldn’t counter — particularly with so many progressive activists, who otherwise would have been walking precincts to defeat Prop. 8, fanned out across the country campaigning for Obama.

“While we knew the odds for success were not with us, we believed Californians could be the first in the nation to defeat the injustice of discriminatory measures like Proposition 8,” a statement on the No on Prop. 8 Web site said. “And while victory is not ours this day, we know that because of the work done here, freedom, fairness, and equality will be ours someday. Just look at how far we have come in a few decades.”

San Francisco City Attorney Dennis Herrera, joined by Los Angeles City Attorney Rocky Delgadillo and Santa Clara County Counsel Ann C. Raven, filed a legal challenge to Prop. 8, arguing that a ballot initiative can’t be used to take away fundamental constitutional rights.

“Such a sweeping redefinition of equal protection would require a constitutional revision rather than a mere amendment,” the petition argued.

“The issue before the court today is of far greater consequence than marriage equality alone,” Herrera said. “Equal protection of the laws is not merely the cornerstone of the California Constitution, it is what separates constitutional democracy from mob rule tyranny. If allowed to stand, Prop. 8 so devastates the principle of equal protection that it endangers the fundamental rights of any potential electoral minority — even for protected classes based on race, religion, national origin, and gender.”

That may succeed. In fact, the state Supreme Court made quite clear in its analysis legalizing same-sex marriage that this was a matter of fundamental rights: “Although defendants maintain that this court has an obligation to defer to the statutory definition of marriage contained in [state law] because that statute — having been adopted through the initiative process — represents the expression of the ‘people’s will,’ this argument fails to take into account the very basic point that the provisions of the California Constitution itself constitute the ultimate expression of the people’s will, and that the fundamental rights embodied within that Constitution for the protection of all persons represent restraints that the people themselves have imposed upon the statutory enactments that may be adopted either by their elected representatives or by the voters through the initiative process.

As the United States Supreme Court explained in West Virginia State Board of Education vs. Barnette (1943) 319 U.S. 624, 638: ‘The very purpose of a Bill of Rights was to withdraw certain subjects from the vicissitudes of political controversy, to place them beyond the reach of majorities and officials and to establish them as legal principles to be applied by the courts. One’s right to life, liberty, and property, to free speech, a free press, freedom of worship and assembly, and other fundamental rights may not be submitted to vote; they depend on the outcome of no elections.'”

As Board of Supervisors President Aaron Peskin told the Guardian later that week: “Luckily, we have an independent judiciary, because the voters of California have mistakenly taken away a class of civil rights.”

But if that legal case fails, this will probably wind up on the state ballot again. And the next campaign will have to be different.

There already have been many discussions about what the No on 8 campaign did wrong and right, but it’s clear that the queer movement needs to reach out to African Americans, particularly black churches. African Americans voted heavily in favor of Prop. 8, and ministers in many congregations preached in favor of the measure.

But there are plenty of black religious leaders who took the other side. In San Francisco the Rev. Amos Brown, who leads the Third Baptist Church, one of the city’s largest African American congregations, spoke powerfully from the pulpit about the connections between the civil rights struggles of the 1960s and the fight for same-sex marriage.

The next time this is on the ballot, progressive and queer leaders will need to build a more broad-based movement. That is not only possible, but almost inevitable.

The good news — and it’s very good news — is that (as Newsom famously proclaimed) same-sex marriage is coming, whether opponents like it or not. That’s because the demographics can’t be denied: the vast majority of voters under 30 support same-sex marriage. This train is going in only one direction, and the last remaining issue is how, and when, to make the next political move.

The progressives didn’t win everything in San Francisco. Proposition H, the Clean Energy Act, was taken down by one of the most high-priced and misleading campaigns in the city’s history. Pacific Gas and Electric Co. spent more than $10 million telling lies about Prop. H, and with the daily newspapers virtually ignoring the measure and never challenging the utility’s claims, the measure went down.

“This was a big, big, big money race,” Latterman said. “In San Francisco, you spend $10 million and you’re going to beat just about anything.”

But activists aren’t giving up on pushing the city in the direction of more renewable energy (see Editorial).

Latterman said the narrow passage of Prop. V, which asked the school board to consider reinstating JROTC, wasn’t really a victory. “I would not call this a mandate. I worked with the campaign, and they weren’t looking for 53 percent. They were looking for 60-plus percent,” Latterman said. “I think you’ll see this issue just go away.”

Neither Latterman nor Clemens would speculate on who the next president of the Board of Supervisors will be, noting that there are just too many variables and options, including the possibility that a newly elected supervisor could seek that position.

At this point the obvious front-runner is Ross Mirkarimi, who not only won re-election but received more votes than any other candidate in any district. Based on results at press time, more than 23,000 people voted for Mirkarimi; Sean Elsbernd, who also had two opponents, received only about 19,000.

Mirkarimi worked hard to get Avalos, Chiu, and Mar elected, sending his own volunteers off to those districts. And with four new progressives elected to the board, joining Mirkarimi and veteran progressive Chris Daly, the progressives ought to retain the top job.

Daly tells us he won’t be a candidate — but he and Mirkarimi are not exactly close, and Daly will probably back someone else — possibly one of the newly elected supervisors.

“It’s going to be the most fascinating election that none of us will participate in,” Clemens said.

The danger, of course, is that the progressives will be unable to agree on a candidate — and a more moderate supervisor will wind up controlling committee appointments and the board agenda.

One of the most important elements of this election — and one that isn’t being discussed much — is the passage of three revenue-generating measures. Voters easily approved a higher real-estate transfer tax and a measure that closed a loophole allowing law firms and other partnerships to avoid the payroll tax. Progressives have tried to raise the transfer tax several times in the past, and have lost hard-fought campaigns.

That may mean that the anti-tax sentiment in the city has been eclipsed by the reality of the city’s devastating budget problems. And while Newsom didn’t do much to push the new tax measures, they will make his life much easier: the cuts the city will face won’t be as deep thanks to the additional $50 million or so in revenue.

It will still be a tough year for the new board. The mayor will push for cuts that the unions who supported the newly elected progressives will resist. A pivotal battle over the city’s future — the eastern neighborhoods rezoning plan — will come before the new board in the spring, when the recent arrivals will barely have had time to move into their offices.

Obama, of course, will face an even tougher spring. But progressives can at least face the future knowing that not only could it have been a lot worse; for once things might be about to get much better.

Amanda Witherell and Sarah Phelan contributed to this report.

LEVYdance

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PREVIEW LEVYdance company is small: only five performers. But they dance big — hugely physical, totally in charge — and they also think big. They once performed at ODC Theater, but that was too small. Last year they pushed themselves onto the much larger stage of Kenbar Hall at the Jewish Community Center, yet even that space proved too confining. So for the fall season LEVYdance created its own space on the street outside their studio, where they built three stages connected by catwalks. Audiences are interspersed between them. The location: one of the city’s smallest alleys — with very supportive neighbors. No wings or sets. Graffiti will have to do. Since it’s November, the company will provide hot beverages. For sweaters, blankets, and hats, you’re on your own. The program includes three world premieres: Physics, with a commissioned score by composer-DJ Mason Bates, which looks at the forces the body is subject to; Wake, a duet about the essence of communication for company veterans Brooke Gessay and Scott Marlow; and a yet-unnamed ensemble work performed to music from the Middle Ages. The event also introduces LEVYdance’s newest member, Aline Wachsmuth. Last year’s pop music-inspired and now-reworked Nu Nu completes the lineup.

LEVYDANCE Wed/12-Sat/15, 8 p.m., $20–$30. Heron Street, off Eighth Street between Folsom and Harrison, SF. www.brownpapertickets.com.