Volume 42 [2007–08]

Tooth and consequences

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It’s two days after Christmas and I’m sprawled out on a plastic-lined chaise lounge, sipping fluoride and waiting for the blood to stop gushing from my gums so the doctors can get back to work. Beyond the noise of drills and X-ray machines I hear grunts from several other patients and the sounds of merchants outside hawking sombreros, sweetbread, bootleg Fendi bags, and pottery. Kind of strange, but I’m not worried anymore. This is my second day at Dr. Rafael Lopez’s dental clinic, and I’m no longer freaked out that it’s nestled among trinket stores and cantinas in a bustling bazaar in Mexico.

I also don’t care that the dentists here speak hardly any English, nor I any Spanish. I mean, it’s not like I’m alone. All the other patients at Dr. Lopez’s office are either Canadian or American, and all the people shopping out front are too. In fact, nearly every person I’ve met on the streets here is Caucasian and an English speaker. We’re all dental tourists, and we’ve come to Los Algodones — a sunny border town near Yuma, Arizona, which allegedly has more dental clinics and pharmacies per block than any other city in the world — to save money. In my case, I’m in for three root canals with posts and crowns for the price of a secondhand scooter on eBay: $1,850, about a third of what I’d pay for the same procedures in the States.

I’d heard about Dr. Lopez’s clinic through a friend of my mother’s, but Los Algodones, like other dental tourism destinations, was easy to find on the Web. In fact, the town’s Web site, www.losalgodones.com, is actually a dental clinic referral network, with pictures of smiling clinicians and graphic before and after shots flashing across its home page. Clinics like Dr. Lopez’s, which often handle 10 to 20 patients a day, are set up exclusively for foreigners. Dr. Lopez estimates that 80 percent of his customers are American and 20 percent are Canadian; most Mexicans in the area can’t afford his rates. Many of them come to towns like this for big-ticket procedures like bridges and reconstructive surgery, some of which can cost more than $10,000 at home.

And they’re coming in increasing numbers. According to HealthCare Tourism International, a nonprofit accreditation and information organization set up to monitor the medical tourism boom, an estimated 1 million Americans will travel abroad this year for some of sort of medical service, up from the National Coalition on Health Care’s figure of about 150,000 in 2004. Of the procedures sought, 40 percent will be dental related. A recent article in the New York Times on the dental tourism phenomenon cited a boom in luxury travel packages designed around dental procedures. A root canal followed by a little fly-fishing in Costa Rica? Why not? The money you save can justify a short vacation.

ROOTS OF THE PROBLEM


Dr. Lopez’s clinic is, hopefully, the end of the road for me. I’ve been struggling with dental problems (and the potential resulting bills) for years. With all this talk of health care reform, you’d think I would have been able to find a decent low-cost US dentist, especially in civic-minded San Francisco. But it just wasn’t happening. For whatever reason, dental care and health care are viewed as two separate issues in the United States. When it comes to diseases, colds, and broken bones, you can usually catch a break, but good luck trying to get your teeth fixed on a budget. The truth is, even if you have some form of dental insurance, which is unlikely — according to the American Dental Association (ADA), only about half of all Americans do — dental care is nearly impossible for average wage earners to afford. At least, I’ve never been able to afford it. And I’ve looked everywhere.

My own dental horror story began nearly a decade ago when the Marine Corps kicked me off my retired father’s lifelong dental plan. I was fine for about a year, until the day I awoke with a terrible pain in my mouth. I was 19 at the time, taking classes at a community college and working at a café — barely able to pay rent, let alone find the time and money for a visit to the dentist. So I did the next best thing: simply ignored the pain, staving it off with copious amounts of ibuprofen when it got intense. The over-the-counter denial did the trick for almost two years, but I knew I would be forced to eventually bite the bullet, however softly.

And then it happened. My teeth started breaking. Not hurting, at least no more than usual, just breaking off — in huge, gray chunks.

This went on for years. By the time I was 25, four of my teeth had shattered and the rest seemed well on their way to doing the same. I adopted the diet of a five-month-old, unable to chew anything tougher than bananas or scrambled eggs. It was time to act, but I had no idea where to go. As a full-time student, getting by on financial aid, loans, and whatever I could rake in as a part-time waiter, I was nearly destitute. I’d recently transferred to San Francisco State University, but at that time, in order to purchase the student dental plan the school offered, I also had to purchase its medical plan, a combination that would have increased my monthly bills by nearly $200.

It was tempting, particularly in comparison with most employer-related or individual plans I qualified for, which could run into the thousands. But SFSU’s dental plan screened out existing problems, like the trainwreck I had going on, and carried an annual cap of less than $1,000. (Unlike medical insurance plans, which feature deductibles, most dental plans have annual monetary ceilings.) So even with the plan I would still be unable to afford even a fraction of the work I needed to have done. Since my student days, SFSU has implemented a dental-only plan available to undergrads, but often the limits are too low to cover anything other than cleanings and fillings.

Thus I began my search for a pro bono dentist, figuring that with all the uninsured people living in the city there must be someone around. It quickly became clear, however, that scoring free dental is harder than finding a decent vegetarian restaurant in rural Alabama.

QUEST FOR DENTAL


First, I had a glimmer of hope: a medical and dental clinic in Berkeley that had the word free in its name.

The Berkeley Free Clinic (BFC) has been offering free medical and dental care to the hard-up since 1969. It provides free HIV tests, medicine, preventative education, and more. But I needed dental work — and that was another story. As the only clinic in Northern California offering free fillings, extractions, and referrals to discount dentists, BFC is insanely popular. And since it’s run by volunteers and donors, it’s also chronically understaffed. Jessica Hsieh, a clinic coordinator, explained that the facility does as much as it can with limited resources. "We used to take patients on a first-come, first-served basis," she says. "But there were so many people lined up every night that our waiting room and hallway became fire hazards."

To deal with this problems, the clinic has devised a maddening selection system, which includes spotty business hours and a name-in-the-hat-style lottery. It sounded a little sketchy, but I gave it a go.

After making the 45-minute commute from my home, I arrived at the clinic at exactly 5:30 on a Monday evening. I scribbled my name on a small slip of paper, handed it to the receptionist, and took a seat in a waiting room crowded with students, broke workers, and homeless people. A nurse came out and told everyone to sit tight; the dentists were taking our names into a separate room and she’d return soon with their random choices. Ten minutes later, she came out again, read off three names, and then told everyone else to go home.

The room had been quiet as we all waited to see who’d won, but when a young blond girl with designer jeans and a fancy cell phone rose to claim her prize, the atmosphere became tense.

"That’s fucking bullshit," said a man with dirt on his face and ripped boots. "I’ve been coming here for weeks. This is her first fucking time!"

One of the dentists apologized and reminded us that we were welcome to keep trying as many times as we liked. I took his advice and returned three more times, missing a day of study or work for every fruitless visit until I gave up. One of my teeth in the back had started aching like hell, and I couldn’t stomach the wait any longer.

I broadened my search to include dental schools like that at the University of California San Francisco, where the wait times were rumored to be long, but once on the list, getting work done was guaranteed. After talking to students at the UCSF clinic, though, I realized treatment would require several days off from work and school because each step a student made during surgery would have to be approved by a busy professor and analyzed by other students. And the discount wasn’t exactly phenomenal.

The average cost of a single complete root canal procedure (root canal, post, and crown) at UCSF is more than $1,100, almost twice the amount I wound up paying in Mexico and way more than I could afford at the time.

So I scrapped the dental-school idea and dug deeper, figuring that if I couldn’t find free or cheap dental work, I could at least find a place that offered a payment plan. And I did find such a place.

Western Dental is like the McDonald’s of dental clinics. With multiple locations in almost every city in California, it’s effectively cornered the market on affordable dental work. Only it’s not cheap. A complete root canal procedure on one tooth can cost up to $1,590 — a lot less than a regular dentist, but much more than a dental school and about three times as much as Dr. Lopez charged me in Mexico. People flock to Western Dental because it lets you pay off your dental work like you would a car. You plunk down $99 for a yearlong membership, make a 20 to 30 percent down payment, and then pay the rest off monthly over the course of one year. And Western Dental doesn’t take your credit history into account when working out a plan.

Out of desperation, I eventually did get one of my teeth fixed at the Mission and 24th Street location, and wound up paying a $350 deposit and monthly installments of $110 for the next 12 months.

CAVITY CAVEATS


With my most painful tooth taken care of, I could now focus on finding a better deal, which is how I wound up in Mexico. So far it seems to have been a pretty smart decision. My new teeth look great and they’re holding up fine. I was treated extremely well by Dr. Lopez’s staff. But there are many reasons not go to Mexico for cheap dental work. And Brad Hatfield, a Korean War vet and retired city planner from Arizona City who asked that I not use his real name, knows them all.

Hatfield has been making the three-hour trip to Los Algodones for nearly a decade. He’s seen the town evolve from a haven for cheap trinkets and booze into what it is now: a medical resort for Americans with expensive tooth and eye issues. Hatfield started going to Los Algodones when he realized that even with his insurance he’d never be able to afford necessary dental work. But now, many years and thousands of dollars later, he’s learned his lesson.

"The problem with dentistry in Mexico," says Hatfield, "is that there’s no recourse. If something bad happens, you can’t sue anyone. All you can do is ask for your money back." And that’s just what Hatfield did when he returned from Los Algodones recently and discovered that his new teeth were worthless. Indeed, he claims that almost none of the work he’s gotten in Mexico has held up longer than a year or so.

This last time was the worst. "As soon as I got home," says Hatfield, "my gums started hurting really bad and bleeding off and on." When he called his clinic to complain, they denied his request for a refund and invited him back for some discounted work instead. Hatfield went back, got the work done, and thought his problems were over. But a few days later he realized they weren’t. "I was sitting here eating a piece of chocolate, and all of a sudden I realized I was chewing on two of my teeth and the bridge that was connecting them. All the work they had done had just fallen out."

Hatfield has tried repeatedly to get his dentist to refund his money back, but all he gets in response are invitations to return for more work. "Now they want to just rip all my teeth out and give me a full set of implants. It’s going to cost thousands of dollars on top of the $10,000 I’ve already spent there over the past year."

Hatfield is currently trying to get his problems fixed at a dental college in Mesa, Arizona, but he’s facing steeper prices and will probably have to return to Mexico soon. "My dental and medical problems have ruined me as a person," he says. "I can’t get a job because my teeth are so screwed up, and I can’t think through all this pain. I just don’t understand why dental work is so expensive. It’s much worse than medical."

THE BIG YANK


Hatfield brings up a good point. For some reason dental issues aren’t included in national or local debates about health care. Healthy San Francisco, the universal, citywide health care access program operated by the San Francisco Department of Public Health, doesn’t cover access to dental services, which were never even considered for inclusion. When reached by the Guardian for comment on this exclusion, SFDPH spokesperson Eileen Shields stressed the difference between the city’s program and regular insurance plans, saying "[Healthy San Francisco] is a health access plan, providing access to basic medical care. I mean, my health plan doesn’t even include dental — does yours?"

Denti-Cal, the state dental insurance program offered as part of Medi-Cal, is an option for California residents with a low income, a social security number, and at least one child. But it obviously doesn’t help the throngs who fill the waiting rooms of Western Dental. San Francisco General Hospital keeps an oral surgeon on call for extreme emergencies but if you want your janked-out teeth replaced or aren’t doubled over in chronic pain, SF General can’t help you.

It doesn’t look like any of this is changing soon. None of the candidates running for president this year has announced a platform that specifically deals with the high cost of dental care in America. Why? Why are medical and dental issues treated as two separate entities? And why is it so hard to afford dental treatment even with insurance?

Hsieh of the BFC thinks it may have to do with the fact that dental issues aren’t thought to be as life-threatening as medical issues. But if an infected tooth is left untreated, it can lead to death just as surely as unchecked pneumonia. On its Web site, the ADA acknowledges the high cost of dental insurance but privileges prevention over treatment, claiming that most dental problems are preventable. If Americans would just take care of their teeth, use their paltry insurance plans for routine checkups, and quit eating so much candy, they wouldn’t have to get root canals. But I brush after meals, floss regularly, and stay away from sweets — and I’ve been in and out of dental clinics with major problems since I was five.

Another theory has to do with the high costs of dental school and specialized equipment, which makes sense. But the truth of the matter, commonly pointed out in the ongoing health care debate, is that mixing profit with patients is a recipe for disaster. As long as insurance companies are able to make billions by fleecing their customers, and as long as dental clinics and drug companies are allowed to set their own prices, the general population is going to be cavity ridden and kind of ugly.

For now, it seems dental tourism may be the best option for people with normal-to-low incomes and chronic problems. Two months after my visit to Mexico, my teeth feel much better and I’m back on solid food. But this kind of travel isn’t for the fainthearted. The weather and food in Los Algodones are great. But getting your teeth ripped out and reconstructed in a foreign country with no legal recourse is dangerous and scary, especially during the high-traffic winter season when the tendency to rush through patients escalates.

My triple root canal, for example, took a mere two visits. The doctors hacked away for 10 hours straight, let me heal for one day, and then stuck on the crowns and pocketed my check. I stumbled out of Dr. Lopez’s office a few days before New Year’s, in a Novocain-induced daze, with blood on my shirt and pieces of rubber molding stuck to my cheeks. My jaws and head ached as I shuffled through the mile-long border-crossing corridor, sweating and dry-heaving.

As I approached the checkpoint, I wondered if I had made the right choice.

Then I remembered that I hadn’t actually made one. It was this or nothing.

Emma Lierley contributed to this report.


>>View a video interview with a Canadian dental tourist

Noise Pop 2008

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>>It’s on! Click here for our complete guide to Noisepop 2008, the city’s massive citywide music fest

Noise Pop 2008

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Noise Pop: Dancing in a crafty place

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We all know the dance floor can be a dangerous place. What with all of those flailing limbs, gyrating pelvises, and spastic movements, total chaos can and does easily ensue. Thanks to Canadian electro phenomenon MSTRKRFT — who seem to have everyone and their baby’s mama getting down — club violence has taken on a whole new meaning with the murderous single "Street Justice," off their seething debut, The Looks (Last Gang, 2006). Urgent, screeching-siren guitars squeal under the thumping bass and the ominous chant "This is a killing on the dance floor," conveying the imminent threat of sonic carnage and giving the notion of "killing it" a threatening new meaning.

Made up of JFK, the bass player of now-defunct electrorock outfit Death from Above 1979, and Al-P, DFA 1979 producer and a former member of quirky electric pop combo Girlsareshort, these two have perfected a mix of raw, hormone-heightening, boogie-worthy beats with a savage rock sensibility. With a sound that nods to house legends Daft Punk but without their asexual austerity, JFK and Al-P combine electro-fueled urban grit with sultry rock ‘n’ roll, appealing equally to dance diehards and of-the-moment musical opportunists. Masquerading in stage attire as evil as their thumping racket, MSTRKRFT have been known to don gold spray-painted hockey masks as they man the decks, a sinister look that’s more Jason Voorhees than Gallic space visitor. Liberally passing Crown Royal bottles around onstage, this sensual duo liven up their club appearances with their naughty golden dancers, who wear the signature masks and little else, making steamy remixes like "Sexy Results" that move beyond pure aural fantasy. (Hayley Elisabeth Kaufman)

MSTRKRFT

With LA Riots, Lazaro Casanova, and Sleazemore

March 1, 9 p.m., $20

Mighty

119 Utah, SF

(415) 626-7001

www.mighty119.com

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Noise Pop: Do’s and the Don’ts

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San Francisco’s Dont’s are JJ Don’t (bass), Ken Don’t (drums), Jonny Don’t (vocals), and Joey Don’t (guitar), but as with the Beatles, a fifth Don’t looms like a specter. In this case it’s the Mountain Don’t, a fearsome triumph of mixology that involves a shot of vodka, one of Robitussin, a touch of absinthe, and a splash of Mountain Dew Code Red. It is the band’s go-to tipple, and given that most of the Dont’s songwriting occurs during bouts of improvisation after too much of it, the drink is easily as influential on their sound as, say, kraut rock.

The influence question is unusually tricky with the quartet, who cut their second self-released LP, Inner El Camino, last year at John Vanderslice’s Tiny Telephone studio. While the Dont’s exercise many familiar art rock themes — the pinched vocals and twee urbanity of the Talking Heads in "Measure Up" and the beat-driven guitar warfare, DFA-style, of "Blahblahblah" — their methods for getting to them are so anathema to that scene that the whole connection becomes flimsy. Improv rock — to the degree to which these guys take it (lyrics too are made up midsession) — is supposed to be fumbly jam-band stuff.

Joey Don’t, for one, doesn’t buy that line in rock’s sand. "I don’t subscribe to the aesthetics people place between hippies and avant-gardists," he remarked by e-mail. "I like the Grateful Dead as much as I like Can." The good part is that the Dont’s don’t have to be right: they just have to be willful. The music runs its own show, and a tangible sense of liberation crackles across Inner El Camino. It comes up again in Ken Don’t’s description of recent rehearsals: "We’re experimenting with MIDI guitars, drum triggers … our trademark bullhorn miasma. We don’t know where any of that will lead, and frankly, we don’t care."

THE DONT’S

With the High Violets and the Union Trade

Feb. 29, 5 p.m., free

Parkside

1600 17th St., SF

(415) 503-0393

www.theeparkside.com

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Noise Pop: Joy Rides and Darby Crash test dummies

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In the current glut of music biopics and documentaries, it seems any band or scene worth its salt in influence and innovation is fair game for the big screen. Chalk it up to corporate tie-ins or affordable filmmaking equipment, Behind the Music or DIY videozines, but chances are your favorite group will someday make it to a theater near you. Eschewing polished product for its annual film program, the Noise Pop festival spotlights several ragtag productions focused on left-of-the-dial music legends.

To begin with the cream of the crop, Chris Bagley and Kim Shively’s Wesley Willis’s Joy Rides balances a measured introduction with an intimate appreciation of the titular hero. The film will inevitably be compared to In the Realms of the Unreal (2004) and The Devil and Daniel Johnston (2006) for its profile of an outsider artist and its clever animations of Willis’s colorful cityscapes, but Willis was simply too one of a kind for Joy Rides to be anything but. Willis’s music and art flowed directly from the outsize personality of the hulking Chicagoan, who was raised in the projects. Bagley and Shively evidently spent a lot of time filming Willis in the years before his 2003 death, and their movie is much the better for Willis’s constant jiving, affable head butts, and offhand bouts of inspired wordplay.

Not that all of Joy Rides goes down so easy. It’s wincingly uncomfortable to watch Willis, who was a diagnosed schizophrenic, knock himself upside the head while trying to "get the demons out," and some of the film’s talking heads veer dangerously close to "magical black man" territory. But there’s a discernible difference between transparency and exploitation, and Joy Rides decidedly sways toward the former. Bagley and Shively had Willis create the documentary’s credits sequences, which seems emblematic of a broader mutual appreciation. Given Willis’s prolificacy, it’s no surprise he would want a hand in the film: the next time I encounter creative restlessness, I’ll be sure to think of Willis’s maxim "The joyride keeps my ass busy."

Darby Crash was similarly driven during his brief life, but the punk vocalist’s ferocity is blunted by biopic clichés in the weirdly saccharine What We Do Is Secret. Rodger Grossman’s film follows the course of Crash’s five-year plan, which took him from high school dropout to rock ‘n’ roll suicide. The director catches some of the excitement of the Germs’ hopelessly abbreviated sets and lucks out in a nice performance by Bijou Phillips as bassist Lorna Doom, but his tendency toward sitcomish lighting and confessional monologues sinks the band’s fire in a morass of conventionality. The original Germs recently tapped Crash impersonator Shane West for a cash-in tour, proving that some legacies are never safe.

A pair of low-key documentaries cast a wider net in their hard-rock forays, with varying results. Such Hawks, Such Hounds profiles a few of the most vibrant interpreters of heavy music (Comets on Fire, Dead Meadow, Om) but without much purpose. Filmmaker John Srebalus floats between interviews with divergent bands without offering any of the categorizing insights or personal passion that made Metal: A Headbanger’s Journey (2006) such a hit.

Joe Losurdo and Christina Tillman’s documentary You Weren’t There, on the other hand, is a thrillingly exhaustive survey of early Chicago punk. Viewers may not be familiar with outfits like Strike Under and Silver Abuse, but the documentary’s detailed time line and great stock of interviews and primary documents thoroughly pinpoint that most elusive beast of rock music: the scene. Whether parsing overlapping band lineups, defunct venues, or long-out-of-print zines and records, You Weren’t There strays from the master narrative of punk, recovering a local history no less vibrant for staying below the radar.

The Jamie Kennedy vehicle Heckler chooses the route of takedown rather than appreciation, serving up a feature-length revenge act on critics — the title fudges the film’s true target. As strangely compelling as it is to watch the likes of Jewel and Henry Winkler spill their guts, Heckler is too indulgent of its interviewees’ bipolar bursts of insecurity and bullying to shape much of an, er, critique. This just in: bloggers take cheap shots at celebrities! Then again, no one likes a … you know how it goes.

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Noise Pop: Running with Wale

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Back in 2006, when Washington DC music veteran Ronald "Dig Dug" Dixon, of legendary go-go band the Northeast Groovers (NEG), first got wind that some rap upstart named Wale (pronounced Wah-lay) had not only sampled NEG’s music without permission but also jacked Dixon’s stage name for his single’s title and refrain, he was not happy. But when Dixon learned that Wale also hailed from the nation’s capital, better known for its go-go scene than its hip-hop, and that the single "Dig Dug" was in fact a heartfelt homage to both NEG and go-go, all bad vibes soon subsided and the young hip-hop hopeful got his elder’s blessing.

In the two years since, Wale’s career has taken off at an accelerated pace. The unsigned artist performed at last year’s MTV Video Music Awards, appeared on the cover of Urb, and gathered countless other write-ups and gushing features in such publications as XXL, Rolling Stone, the Washington Post, and Entertainment Weekly, which honored him as one of the top eight new faces to watch this year. And Wale, who has rightfully dubbed himself "the ambassador of rap for the capital," seems poised to live up to all this hype, especially since last July’s mixtape 100 Miles and Running caught the attention and respect of one Mark Ronson (Amy Winehouse, Lily Allen), who has since produced the still-unsigned rapper.

Wale, who performs at Mighty on Feb. 29 as part of Noise Pop, is taking all of this in stride. Speaking recently by phone as he drove around Los Angeles with his manager, the MC — who was born Olubowale Folarin 23 years ago in DC to Nigerian immigrant parents — proclaimed confidently that talent is what got him to the position he’s in today.

"Lucky?" he asked, somewhat surprised when I questioned him about the recent hype and accolades bestowed on him. "Lucky? That implies that I don’t have talent. I do. And that comes first. And after that, there is some luck….

"My manager is good at his job."

And what label will the much-sought-after artist sign with? "Actually, I may not even sign with a label. I may not need to…. Just wait and see how it goes," said the ambassador, who seems destined to put DC firmly on the rap map.

WALE

With Trackademicks and Nick Catchdubs

Feb. 29, 9 p.m., $15–$20

Mighty

119 Utah, SF

(415) 626-7001

www.mighty119.com

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Noise Pop: Fuck yeah

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Most articles and reviews about Holy Fuck begin with some comment about whether the band’s music did or did not make the writer exclaim, "Holy fuck!" So insert your own exclamatory joke about the group’s name here, and let’s move past the moniker and go on to the music.

Holy Fuck straddle the rock and electronic divide: they mash together techno beats, dirty lo-fi electronics, and loud kinetic-rock rhythms. It’s a perfect of-the-moment sound — the type that indie rock kids love to dance to, balanced with enough chaotic experimentalism to appeal to noise rock and electronic fans. We live in weird times, and this band gets the times.

Perversely, as bad as the war and the economy are, kids are having a great deal of innocent fun these days. You can catch a sweaty, spazzy groove to the not-so-faux-naïf, party-starting sounds of Video Hippos. Or you can bang your head to Holy Fuck’s embodiment of that dance-party spirit.

The songs on their latest record, LP (XL), drive forward kraut rock–style, but the dirty layers of electronic noise on top of their propulsive rhythms have a purer rock vibe: they’re raw, primitive, and energetic. On my MP3 player, "Choppers," the last track on LP, fits snugly up against my next loaded disc, a Can anthology. The sound of Holy Fuck’s recorded output lies somewhere between Trans Am and Suicide, although they don’t stake out the confrontationally icy ground of the latter nor cloak themselves in the distancing self-awareness of the former. Instead, onstage a few weeks ago at the Great American Music Hall, Holy Fuck bopped around unselfconsciously, with quick-change mixes, effects-pedal tweaks, and keyboard jams. It’s a friendly, accessible show, performed by a band dedicated to making electronic music without laptops or sequencers. In fact, not only will you not find a laptop on Holy Fuck’s stage, but you’ll also discover instruments that come with a junkyard aesthetic: film modulators, and a Casio mouth organ.

The group has emerged from a Toronto scene with a vast and supportive music community, one that embraces many genres and in which most performers have more than one musical project going. Although Holy Fuck don’t want to be perceived, as the group’s Brian Borcherdt puts it over the phone, as "hippie lovefest" musicians, their writing process has been somewhat loose, improvisatory, and collaborative. The band has also included a rotating cast of Toronto musicians, which has led some to dub the ensemble an "evil supergroup," Borcherdt says. Still, regardless of what they play and whom they play with, Holy Fuck remain an exciting live band — though I’m still not going to use the easy exclamatory.

HOLY FUCK

With A Place to Bury Strangers, White Denim, and Veil Veil Varnish

Feb. 29, 9 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Noise Pop: Tossers

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I want to live the Scott Reitherman life: from his harmony-soaked, listener-baiting songwriting to his skittering, synth-driven zeal, the Seattle multi-instrumentalist seems to be leading the pack in Throw Me the Statue through perfect days at the beach year-round.

Since Reitherman’s college days in upstate New York, he’s been hammering out a surplus of catchy, experimental pop recordings like a regular Robert Pollard. The fruit of his toils finally found its proper release when Reitherman issued TMTS’s debut, Moonbeams, on his Baskerville Hill imprint last summer. Since then TMTS has become an overnight buzz sensation in the blog community, a feat that caught the ears of several larger record labels before Reitherman decided to partner with Secretly Canadian for last fall’s rerelease of Moonbeams. Abounding with pinging beats and foamy electronics, "Yucatan Gold" could be Reitherman’s love poem to Stephin Merritt, while "Lolita" glows with chiming allure and sun-rich resonance. A full band will accompany Reitherman for this tour, so expect an engaging, magnified performance. (Chris Sabbath)

THROW ME THE STATUE

With Stellastarr*, Birdmonster, and the Hundred Days

Feb. 28, 8 p.m., $18

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

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Noise Pop: Retooling along Americana’s byways

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By the fall of 2003, when Eric Earley’s Portland, Ore., outfit Blitzen Trapper released its self-titled debut on Lidkercow, alt-country was in fairly desperate need of its own alternative. Tweedy was too far afield, Adams was too far gone, and the subgenre teetered on the brink of becoming a slur. A track like Earley and company’s "Whiskey Kisser" was a blessed antidote to post-Whiskeytown blues, serving up dirt-road stylings at their least stylish: bilious slide guitar, freewheeling harmonica, tarted-up kid sisters, and maverick state cops. "Kisser" and the surrounding album weren’t country, exactly, but they were close enough to count as smashing correctives.

Four years on, Blitzen Trapper have executed a neat roundabout: they’re no longer plausibly in alt-country’s orbit, but they’re still solving problems with scenes. The group’s third LP, Wild Mountain Nation (Lidkercow), which arrived last June, unearthed one sort of West Coast music in the context of another, juxtaposing rambling ’70s highway rock with the skuzzy experimentalism of a newer Oregon. The classic-rock turn is at its most sublime on the title track, a pile of juiced-up blues riffs and lyrics so inexactly mellow they’re nearly a caricature ("When the red moon wanes / We’ll be moving on the plains / Through the tall grass out to the sea"). "Wild Mountain Nation" almost feels engineered to hit our sweet spots, which is worth noting as a development in indie theory. Within a pretty asexual music culture, Blitzen Trapper seem to be authorizing a return to the libidinal anthem. Given the massive hooks and field-and-stream rhyme schemes, the big rock hit is back!

It’s nowhere near that simple, even if simplicity is just what a song like "Wild Mountain Nation" promotes. The album touches on other tributaries of classic rock: Byrds-ish Rickenbacker gambols in "Futures and Folly," warm canyon folk on sun-dappled ballad "Summer Town." Yet Nation insistently neighbors these songs — and often imbues them — with heavy experimental turns ranging from raucous guitar noise to bleeping keyboards. Looked at suspiciously, the record might be propping up crowd-pleasing hooks just so it can set them alight.

But as Earley tells it, the Blitzen Trapper project is far less sinister: he’s a studio rat by nature, and the self-immolation is mostly a function of curiosity. "A good song can take a lot of abuse," the bandleader commented by e-mail. "Sometimes I enjoy seeing how much sonic abuse a well-crafted piece can take and still seem timeless or nostalgic." He’s not callous about his music’s grimy elements either. He’s actually hypersensitive to them. Though Nation‘s eponymous song comes off as a clean tune, rowdy only in familiar and approachable ways, Earley pronounced its production "very rough and unfriendly." He may be the only one surprised it took off.

Since Nation, the group has released an EP, Cool Love #1 (Lidkercow), its four songs gleefully denying a current pressing question: whether Nation‘s Led Zepplin–style jags were a detour or something more permanent. After two tunes’ worth of weighty rock guitars, Cool Love abruptly regresses to country, ending up in "Jesus on the Mainline," a flurry of electro-tinged banjo and harmonica. Earley describes the next full-length, which he’s begun work on, as taking a third way: heavy on the hooks but distinct from the overall Nation sound. So it may be that all of the attempts to parse Blitzen Trapper’s music as rock or country miss the point. The band is, in a sense, the purest sort of alternative act, ready to ding up whatever sort of Americana comes across its path.

BLITZEN TRAPPER

With Fleet Foxes, Here Here, and Sholi

Feb. 28, 8:30 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

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Noise Pop: Heavy petting

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SFBG The song "Xavier Says," off the Magnetic Fields’ latest album, Distortion (Nonesuch), seems to describe a relationship between two not-terribly-happy and at least somewhat fucked-up people. I know you hate these questions, but is this based at all on personal experience?

STEPHIN MERRITT It’s certainly based on personal experience in that I spend a lot of time sitting around writing in sleazy gay bars with a lot of old men because that’s where they play the thumping, boring disco music that I find is best to write to. And so I hear this kind of conversation.

SFBG On the surface, "Nun’s Litany" seems to be about a nun thinking back on her life. Is there a deeper meaning or perhaps a social criticism to the song?

SM Someone pointed out that it could be the same protagonist as in "California Girls" — in fact, maybe the protagonist in "California Girls" is already a nun. I am not intending any social criticism in music. I think social criticism is best done in prose. If you want to do social criticism in rhyme, then you can’t be very serious — neither about the rhyme or the social criticism.

SFBG In a somewhat recent interview, you said that "serious music isn’t listened to in a casual setting." Now you seem to be playing more formal concert halls around the country instead of smaller venues or art galleries. Is this because of your growing fan base or because you prefer playing concert halls?

SM Well, we have more people who want to get in, so we can’t play in galleries. With our growing fan base, where we would be playing is not arenas but large, big, clunky venues. We’re keeping it down because of my hearing problem.

SFBG Are there any particular noises in a live music environment that bother your ear?

SM Well, that’s a leading question. Why, yes: applause. Applause is seemingly perfectly tuned to send my ear into lawn-mower mode.

SFBG Does feedback or distortion bother your ear?

SM Not as much — it seems to be pure tones. Actually, what bothers me most is high white noise. [Irving, Merritt’s Chihuahua, named after Irving Berlin, starts barking for the third time during the interview]

[Thirty seconds later] There, I killed the dog. [Laughter] n

THE MAGNETIC FIELDS

With Interstellar Radio Company

Feb. 28–29, 8 p.m., sold out

Herbst Theatre

War Memorial Veterans Bldg.

401 Van Ness, SF

www.ticketmaster.com

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Noise Pop: Little twin stars

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› kimberly@sfbg.com

So are they or aren’t they? A pop twosome that make lovely music together in more ways than one is the irresistible scenario embedded in more rock, soul, and country partnerships than one can count — who doesn’t fall for the notion of torturously entangled C&W soulmates that extends far beyond Walk the Line turf and into the year in and year out of George Jones and Tammy Wynette, Dolly Parton and Porter Wagoner, Loretta Lynn and Conway Twitty, Emmylou Harris and Gram Parsons territory? Nancy Sinatra and Lee Hazelwood’s affections remained unrequited up to the latter’s 2007 death, as did the palpable chemistry between Marvin Gaye and Tammi Terrell.

Well, gawkers remain out of luck here, says Matt Ward, a.k.a. M. Ward, the manly half of indie rock’s latest sweetheart duo, She and Him. He and actress-singer-songwriter Zooey Deschanel are just friends, friend. "People are always going to think whatever they’re going to want to think, no matter what they read in interviews or what the facts are," the extremely soft-spoken Ward says from Omaha, Neb., where he’s currently mixing his next LP, with Bright Eyes’ Mike Logan. "I think music is a lightning rod for people’s imaginations — and I don’t think that’s a bad thing."

He can hardly expect a listener to stop dreaming while listening to the Deschanel originals. With Ward’s production and arranging input, the tunes take on the luscious feel of gimlet-eyed ’60s-style girl-group protorock ("I Was Made for You"), pedal-steel-sugared, chiming country ("Change Is Hard"), and subtly colored girl-singer pop ("I Thought I Saw Your Face Today"). Leslie Gore, Darlene Love, Julie London, Ronnie Spector, and all of those other dulcet voices of teen agony, ecstasy, and crash-and-burn romantic disaster, move over: Deschanel is the next worthy addition to those ranks — a doll-like upstart cross between Sinatra and Carole King — thanks to She and Him’s maiden outing, Volume One (Merge).

Director Martin Hynes brought Deschanel and Ward together to cover a Richard and Linda Thompson tune for his as-yet-unreleased film The Go-Getter. Deschanel and Ward discovered they were "mutually fans of each other’s work," the latter says. One song led to another and, he adds, "eventually Zooey mentioned she had some demo songs that she had under her hat. I had no idea she was a songwriter — let alone a really incredible songwriter and vocalist. They had really beautiful chord progressions, and as a producer, it makes things easy when you have great songs and amazing vocals." He decided to play Phil Spector to her King.

"We started with a pile of songs that I had written," Deschanel e-mails from her current movie, "and had found their life up to that point completely in the safety of my bedroom. It was amazing to see what such a creative individual as Matt could bring to those songs. He brought a tremendous amount of life to them without killing their original essence. His instincts are dead on."

Deschanel wasn’t above making the bizarre instrumental contribution: the mysterious bazookalike sound on "This Is Not a Test," for instance, "is actually me playing mouth trumpet," she writes. "I said, ‘This song needs a trumpet,’ and then I said, ‘You know, like this’ and I did that bit. Matt liked it. We didn’t have the budget for horns so I just did it."

They took each song as its own "island," as Deschanel puts it. "The compositions tell you where they want to go," adds Ward, who strived for a warm analog production. "We tried keeping it away from computers and digital technology as much as we could. I think that’s the main reason the record sounds good — that and the songs are good."

The approach perfectly jibed with Deschanel’s aesthetic. "I have always been attracted to old music. I have always been a fan but I continue to discover ‘new’ old music," writes the vocalist, who says she started writing at age eight, was in bands in high school, and later had a cabaret act called the Pretty Babies. Elf (2003) gave her a chance to sing on film, but otherwise she had limited her music primarily to demos: "Demoing became sort of a hobby that I found relaxing."

She isn’t concerned with trying to please hipsters or cool kids who might view her as a movie-star dilettante simply passing through the trenches of indie pop. "I hope each person responds to [Volume One] naturally without any agenda of mine seeping into the matter," she offers. "Ideally audience and artist should be uncorrupted by each other."

Not a surprise from a singer in love with the passion and craft of country music. "I think," Deschanel opines, "sincerity is hugely underrated."

SHE AND HIM

With Whispertown2000, Adam Stephens, and Emily Jane White

March 2, 8 p.m., sold out

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

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Noise Pop: Up from under

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Salvation can come to us in the strangest of places, but it takes a special person to search it out in the sordid, cigarette butt-cluttered back alleys where the daylight never creeps in. While most of us might cower in the darkness, vocalists Greg Dulli and Mark Lanegan have each built careers from reveling in it, offering contrasting – but curiously compatible – dissections of life in the shadows. As frontman for the Afghan Whigs and the Twilight Singers, Dulli has waxed romantic about tortured love and shady midnight dealings. Meanwhile, Lanegan has focused on matters of mortality and addiction, blowing a ghostly rumble into his former band the Screaming Trees and myriad solo albums and collaborations (Isobel Campbell, Queens of the Stone Age). Somewhere in the murk these two after-hours explorers crossed paths, and from there they walked side by side in search of redemption. A new name for the venture was needed, of course, and the christening was inevitable: the Gutter Twins.

The union has yielded fascinating results: their new disc, Saturnalia (Sub Pop), while still bearing occasional similarities to previous works by Dulli and Lanegan, offers distinctive, dirty-fingered gospel theatrics not found elsewhere in their catalogs. "That was the whole point," Dulli explains by phone from Los Angeles. "We didn’t want to sound like just the two of us put together. We wanted to sound like something new." In lieu of Dulli’s familiar sensitive-lothario stylings and soulful film noir expositions and in place of Lanegan’s inner-demon warfare, the language of the Gutter Twins is one of angels, chariots, and even rapture.

Salvation doesn’t come easy, however: Saturnalia offers glimmers of hope, but reaching them still requires the navigation of a late-night sleazescape studded with dense atmospherics and prickly instrumentation. "God’s Children" opens with an unsettling Nico-recalling harmonium drone, whereas the creeping violin swells at the start of "Circle the Fringes" make for an ominous portent of the twin-guitar melodrama that soon follows. Paradise might be within sight, but it don’t come cheap. Or, as Lanegan puts it on "Seven Stories Underground," "Ooh, heaven – it’s quite a climb."

As if one evocative moniker weren’t enough, Dulli has also referred to the project as "the Satanic Everly Brothers," a tag that fits with velvet-glove snugness once you’ve soaked up the dusky harmonies and bristling vocal interplay of the duo’s feedback-and-folk-driven voodoo. Lanegan’s seismic-rumble baritone finds its perfect foil in Dulli’s leering, sneering rasp, lending a nervy intensity to their declaration "I hear the Rapture’s coming / They say He’ll be here soon" on "The Stations." Elsewhere, particularly over the mellow electro sputter of "The Body," the paired voices exude a soothing soulfulness suited for a spiritual journey.

How, pray tell, did these two larger-than-life figures manage to work together to unleash such devastating beauty on Saturnalia? For Dulli, the answer comes quickly: "Lanegan is the easiest guy to work with, no doubt about it. I think we balanced each other out, and we definitely brought out elements in each other which we hadn’t really used much before this." Maybe the gutter isn’t such a bad place after all….

THE GUTTER TWINS

March 1, 8 p.m., $18

Bimbo’s 365 Club

1025 Columbus, SF

(415) 474-0365

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Noise Pop: Follow those Dodos

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› kimberly@sfbg.com

Meric Long spent a year in chicken heaven or hell, depending on your feelings about charred fowl flesh. For about a year the Dodos vocalist-guitarist-trombonist chopped, baked, and tended as many as 80 signature roasted chickens per night as a line cook at San Francisco foodie institution Zuni Cafe — a day job so intense that plump, juicy birds haunted his dreams. "Whenever I start talking about the chickens, I can’t shut up," he says ruefully now. "It just it ruled my life for a year!"

But honestly, despite those incursions into his REM-scape, Long feels more kinship with his band’s namesake: the Dodo, that incredible, edible, yet now extinct white meat. "They were like chickens," he muses, sprawled sideways on a bench in Mission Creek Cafe on this warm California winter afternoon. The precision roasting of fowl seems far away on this fair day. "They were lonely, though."

"They wanted friends," drummer Logan Kroeber throws in. He’s still shaken and a bit stirred thanks to a too-close-to-personal-extinction-for-comfort encounter between his skateboarding self and a car blasting down a nearby alley.

"And that’s why they got killed off," Long continues. "They weren’t used to visitors, and the English came and were hungry and ate ’em."

Still, it takes a lot of sly chutzpah to adopt the moniker of the highly uncool, not-so-beautiful loser of the animal kingdom. And though they’d never say so explicitly, Long and Kroeber are hoping, humbly, to do the clumsy waddlers proud by adapting and maybe even flourishing. Exhibit one: the Dodos’ compelling second album, Visiter, scheduled to be released March 18 on Frenchkiss. Its 14 songs unfold in three rough parts, beginning with the toy piano invocations of road-weary, lovelorn musicians ("Red and Purple"), then rolling through noise-wracked folk drone ("Joe’s Waltz"), wry, Magnetic Fields–style songcraft ("Winter"), and a ragtag country blues scented with the sun and sand of Led Zeppelin and West African drumming ("Paint the Rust"). A significant evolution from Long’s time as a solo acoustic act and from the Dodos’ self-released debut, Beware of the Maniacs (2006), Visiter is startlingly deep and likely to hold up under repeated plays, catching the listener on the tenterhooks of Long’s insinuating melodies.

So it’s funny, then, to think that Long first dubbed his solo folk act Dodobird because he felt like such a slow goer and has now firmly found his voice with Kroeber and the Dodos. "To be honest, I think back then I used to have a fear that I was kind of unintelligent, like I was really dumb but didn’t know it," Long says bashfully. "I don’t know if I should say it. But I think it had to do with partying too much when I was younger and completely fucking my brain. I also think there’s this plane of understanding that other people seem to be on and I’m still kind of out of the loop on."

As usual, Kroeber jumps into the conversation, to watch his bud’s back, because seriously, dude, in his opinion, Long is nothing like the dazed and confused kids he grew up with down south: "A lot of people can sort of deflect that with ‘You’re thinking too much, man! Keep it simple! Positive vibes!’ You know, that sort of brick-by-brick, build your weed cabin." Kroeber nods sagely. "I grew up in Santa Cruz — it’s a historical place for weed-cabin building."

The Dodos found their endearingly clumsy footing far from the happy yet isoutf8g metaphorical grassy isles of yesteryear. After moving from his hometown of Lafayette, Long had been playing solo around town — occasionally as Mix Tape with vocalist Brigid Dawson of the Ohsees — when Kroeber’s cousin introduced the guitarist to the drummer two years ago. Kroeber started accompanying Long live on a few songs, on a single tom. "Even during those early shows," Kroeber recalls, "that girl Emily from Vervein was still, like, ‘It’s cool — I like what you’re doing, the one drum thing. I’m all about it!’ Even with one drum, people were, like, ‘Keep going!’<0x2009>"

A particularly inspiring Animal Collective show roused Long to offer to pay Kroeber’s way to Portland, Ore., where the singer-songwriter was about to record Beware with engineer John Askew, who owns the Filmguerrero label. Their experience working with Askew was so fruitful that the two returned to Askew’s Type Foundry studio to make Visiter after spending 2006 on perpetual tour, getting tighter, writing songs together, and solidifying their identity as a band. For Visiter, the duo piled on an odd array of instruments — stand-up bass, toy piano, and trombone — while the producer carefully pieced the sounds together in the recording’s aural landscape. "John sits there and closes his eyes and imagines his record as a soundscape and places things geographically," Long says, standing suddenly and patting the air above him here and there. "I think it really helped with this situation, because with two people there’s a lot of sonic space to fill, so where he placed everything really made a huge difference. The drums take up so much sound space on the record."

Loneliness fills the spaces of the songs as well, as Visiter so often seems to revolve around the women who were just passing through Long’s life. "Jodi" and "Ashley" are, naturally, about two such suspects, while "Undeclared" eschews Kanye West collegiate themes to focus on an unrealized crush, and "Red and Purple" captures that "young lady" who fashioned elaborate gifts involving invisible ink that would greet Long at every club on tour. "It was pretty romantic shit," Long says a bit wistfully.

"I was definitely impressed," Kroeber agrees. "I didn’t really know this girl, but later I imagined she was one of those people who sew everything by hand, supermeticulous. It was some next-level spy shit."

As the talk turns to girls who have come and gone, the Dodos grow a mite melancholy, though not enough to throw in the towel and jump in a roasting pan. They recently underwent a minimedia storm in New York City, where they attempted to go uncensored for MTV.com while hungover and sleep deprived after partying with Long’s chef pals the previous night. Fortunately, these days the Dodos are relying on their survival instinct more often than not and seeking out swimming holes rather than new watering holes when on tour.

Not that the drink doesn’t have its uses. "It’s an artificial sort of cryostasis," Kroeber quips. "But as soon as you get done with the tour and go home, it crumbles. The second tour, when I came back, my girlfriend was, like, ‘What the fuck happened to you?’ But it does work! When you’re on the road it’s the one thing that keeps you going."

THE DODOS

With Or, the Whale, Bodies of Water, and Willow Willow

Feb. 28, 9 p.m., $10–$12

Cafe du Nord

2170 Market, SF

(415) 861-5016

ww.cafedunord.com

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Text-messaging the apocalypse

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HORROR FILM Jacob Gentry, one of the three codirectors of The Signal, assures me he’s "fully prepared for the zombie apocalypse." His cohorts, David Bruckner and Dan Bush, agree that they love zombie movies. But they would also like to make it clear that The Signal — which supposes that "a rift in the electromagnetic sector" has infected cell phones, televisions, and other devices, inspiring all who experience it to inflict terrible violence — is not a zombie movie.

"If you took all 360 channels of your satellite TV and spat them out in one single signal and turned the volume up, would you become a little bit more frantic?" Bruckner asks. "If it pushed one person to the point of pushing another person, could it start a giant chain reaction of violence across the country?"

Bush adds, "I look around me and I see a lot of pissed-off people that are really close to some sort of violence as it is. In our movie the people are conscious, they’re rational, they’re aware of their decisions — they’re not bloodsucking morons."

Yep, they’re rational — and that’s what makes them so spooky. The Signal unfolds in three chapters, each helmed by a different director. Every segment is told from the point of view of a different character: cheatin’ wife Mya (Anessa Ramsey), her lover Ben (Justin Welborn), and her jealous husband, Lewis (A.J. Bowen).

"The first section is visceral and straightforward," Bruckner explains. "Then we get into the second section and we get inside the head of someone who’s very, very signalized. From his perspective it takes on a black-comedy tone. Then we get to the third section and we focus on the hero and his journey."

Cinematic gore and chaos are always enjoyable, and The Signal, which taps into the totally legitimate notion that humans are slaves to their technology, conveys an overall feeling of psychic dread. But the film’s middle section, in which a weapons-wielding Lewis home-invades a failed New Year’s Eve party, is the film’s strongest. Perhaps it’s because humor is the most comfortable way to digest the film’s suggestion that anarchy is just one fucked-up frequency away.

THE SIGNAL

Opens Fri/22 in Bay Area theaters

Perpetual edge

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Over Feb. 14 to 16, Yannis Adoniou and Tomi Paasonen’s oddly named offspring, Kunst-Stoff, celebrated its 10th anniversary. The company had its first performance during the dot-com bubble at what was then San Francisco’s most in venue, Brady Street Theater — where you couldn’t find a parking place but did get some of the edgiest performances in town. You wouldn’t dare miss Kunst-Stoff’s total concept theater, in which multimedia reigned to suggest high-tech, futuristic fantasies. Performers donned bubble wrap or stuffed body stockings with shape-altering balloons. Theirs was a place where design ruled and rules existed to be broken.

But then the bubble burst. That initial infusion of venture capital — which had also financed art exhibits, DJ parties, and high-powered advertising — evaporated. Brady Street was sold. Paasonen lost his visa and returned to Europe. He would contribute a work periodically, but Adoniou was pretty much left by himself to redirect the company. Actually, he wasn’t quite left alone. He still had a group of highly committed dancers who allowed him to continue looking at the intersection of design and movement.

At a dress rehearsal prior to the anniversary program — which contained three world premieres — three dancers who’ve been with the company since the beginning looked better than ever. Nicole Bonadonna, Kara Davis, and Leslie Schickel were gloriously fearless, embracing physical and emotional risks they might have been more hesitant to do a decade ago.

Even without an audience, the company (which also includes Justin Kennedy, Marina Fukushima, John Merke, Erin Kraemer, and Dwayne Worthington) was fierce. It made you realize that while dancers talk a lot about the feedback they get from spectators, they ultimately dance for themselves and one another.

Watching the dancers rehearse phrases on a naked stage in punk street clothes and Haight Street throwaways, it took me a while to realize they were wearing Jeremy Chase Sanders’s costumes for Paasonen’s Out of Hand. When they started the piece the music seemed ridiculously loud, though much of the sound would be swallowed up when the seats were full of bodies at the performance.

Paasonen has said the dark Out of Hand contrasts the debris of American foreign policy, as demonstrated on a mountain-of-rubble Berlin, with choreography based on the movement language of people around Seventh Street and Market in San Francisco. It is a grim piece about negotiating danger and keeping yourself steady. Adoniou’s imaginative solo for himself was created "in dialogue with Alonzo King" and asked some King-type questions about the meaning of the universe and one’s place in it. The choreographer took the phrase "having the rug pulled out from under you" and translated it into a meditation on balance, seeking, and letting go. Finally, the extraordinary Korean musician and performer Dohee Lee (with musician Jethro DeHart) set the ecstatic tone for Adoniou’s Un State, a paean at once to the individuality of Kunst-Stoff’s dancers and to the expressive power of the human body. It seemed an appropriate finale for a 10th-anniversary concert.

As the dancers headed for snacks and dressing rooms and Adoniou finessed a duet onstage, Paasonen, back for these shows only, talked about making dances here and in Berlin. "Berlin is very demanding, very competitive, [and] people are very territorial," he said. "This is a community."

Mother of all indie?

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› kimberly@sfbg.com

SONIC REDUCER Is indie rock back? Did it ever go away? Is it to safe to wax naïf and twee once more? Is my shirt ill fitting yet modest? Will Converse ever go out of style? Do the Strokes suck? Wait, who are the Strokes?

Thoughts worth flexing one’s gray matter around on the verge of the indie-oriented Noise Pop music festival — though, well, the RCA-aligned Strokes ain’t indie, really. Nor can one imagine their jumpy once-new-rock appearing on the shock chart topper for the week of Jan. 27: the Juno soundtrack. The disc bounded bashfully up Billboard’s Top 200 over the course of a month till it reached the peak at a mere 65,000 copies, allegedly delivering a first-time number one to Warner Bros.–affiliated Rhino Records and inspiring many a question mark. Such as, isn’t 65,000 awfully low for the number one album in the country — surely those crack six digits?

Well, no more, apparently, in the many-niched, entertainment-rich marketplace (the sole exception: triple or quadruple threat Jack Johnson?). Sure, geeks are once again chic — as Superbad, Rocket Science, Eagle vs. Shark, and numerous other awkwardness-wracked cinematic offerings could tell you. And don’t forget, brainy indie rockers à la the Shins and Modest Mouse have been making inroads in chartland of late. Even the woman pegged by mainstream movie critics as the soundtrack’s breakout star, the Moldy Peaches’ Kimya Dawson, has been around since the turn of the century, when she was banging her bleached ‘fro against Adam Green’s tennis headband onstage at the Fillmore. Please, indie, let’s not even go into how long Cat Power, Belle and Sebastian, and Sonic Youth have been doing the do — and how canonical the Kinks, Mott the Hoople, and Velvet Underground are. Has indie — and its primary sources — simply reached an apex of popularity by virtue of low overall CD sales?

Like its music, Juno the film doesn’t quite reinvent the wheel but instead delivers the hormonal, feminine flip side of Rushmore‘s protagonist, less an antihero than a talented misfit learning from a young person’s mistakes. Pregnant with meaning, Dawson’s frail, wobbly voice — buttressed by her verbose, brainy lyrics — embodies that character and aesthetic as much as her clear inspiration, the Velvet Underground’s Moe Tucker, who sings the ever-sweet-‘n’-lowly "I’m Sticking with You" on the soundtrack.

It’s not so much that everyone is discovering indie rock: instead, perhaps the soundtrack gets much of its shine from the fact that the music is such an intrinsic part of the film’s emotional power — it’s as memorable as Juno’s rapid-fire, perhaps overly arch one-liners. Playing the film’s title tyke, Ellen Page at times sounds like a 35-year-old woman in a 16-year-old’s body. And in its no-fail, crowd-pleasing selections, the soundtrack similarly plays like a cultured 35-year-old’s music collection in teen comedy maternity garb. Now how fair is that? I’m tempted to call foul for the outclassed Hannah Montana 2 soundtrack (Walt Disney/Hollywood). *

KIMYA DAWSON

Thurs/21, 7 p.m., call for price

924 Gilman Street Project

924 Gilman, Berk.

(510) 525-9926

www.924gilman.org

SIX-SIX-SIX ORGANS OF ADMITTANCE TIME!

Six Organs of Admittance’s new CD, Shelter from the Ash (Drag City), rocks ‘n’ drones the most — but don’t expect the project’s winter tour–besieged Ben Chasny to scrape together too many thoughts on the making of the album: his "brain is on zombie mode," he concedes during a drive to Minnesota. Yet he does let on that the lovely Shelter was the result of simply bunking down, looking around his Mission District neighborhood for musical assistance (including from Comets on Fire kin Noel Harmonson and Fucking Champs chief Tim Green, who dwell nearby), and enlisting his live-in paramour, Magik Marker frontwoman Elisa Ambrogio, and Matt Sweeney, who happened to be in town for a wedding.

Too bad the Mars Volta had to swipe Chasny’s Ouija board rock ‘n’ roll thunder with their supposedly magic-derived new LP. "I was actually designing a Ouija board to sell during this tour — there are some really beautiful ones out there," he says. "And I ended up looking up Ouija on Wikipedia and found out about the Mars Volta, and I just gave up on the whole project." Of course, there are upsides to that downer. Chasny adds, "Elisa was, like, ‘It’s turning into a Six Organs tchotchke revue.’<0x2009>"

SIX ORGANS OF ADMITTANCE

Sat/23, 10 p.m., $12

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

Requiem for a lemon

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The city slicker’s agricultural portfolio tends to run toward seasonings and emendations — rosemary, for instance, which has plenty of street smarts and is drought resistant too. Yours truly has for years managed a tiny estate of such bit players, including the aforementioned rosemary (a weedlike presence at the rear of the garden), along with bay and Kaffir lime bushes. The one crop that might qualify as cash is the Meyer lemon.

The infrequency of the (dwarf) Meyer lemon tree’s deigning to fruit has long added piquancy to those moments when it does, usually every other year. This year was to be one such moment; the flowers were heavy last summer, the immature fruit abundant all through the autumn, and by Christmastime a wealth of golden globes hung like ornaments from the tree’s branches. Tree is an absurd word to describe a shapeless shrub about three feet tall that drags its knuckles on the ground, but when such a plant produces three or four dozen fruit in one of its fecund moods, one is inclined to be forgiving.

Such plans I had for those lemons! Crème caramels were envisioned, also tarts, estate-bottled limoncello, and wonderful salad dressings. All in good time. Let the lemons remain safe on the tree; I would simply gather them as needed so they would not languish on the counter or in the refrigerator like supermarket produce. The city-slicker farmer, you see, has no conception of pests, and tales of whole harvests lost to plagues of locusts belong to the pages of the Bible or John Steinbeck novels.

So it was with a sense of horror and disbelief that I gazed out the window at my lemony riches a few days ago, at the end of weeks of obscuring rain, and saw that those riches were gone. Had they been stolen? Organic Meyer lemons would fetch a pretty penny at markets. But no: a close examination revealed the lemons had been eaten on the spot; the ground was scattered with shavings of rind. Templeton, the gregarious rat from Charlotte’s Web, bragged that he would eat anything — but lemons? Do skunks eat lemons? Raccoons? All the neighbors’ lemons similarly vanished.

Gather ye rosebuds while ye may was the advice of the English poet Robert Herrick, and even if your rosebuds are lemons, this remains a wise strategy.

› paulr@sfbg.com

Compañía Nacional de Danza

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PREVIEW When Nacho Duato, crowned with laurels from his years in England and Holland, returned to his native Spain in the 1980s, the country’s national ballet company offered him its directorship. He took one look at the ensemble’s anemic repertoire and decided he could breathe some life into it. Consequently, today Compañía Nacional de Danza is a repository of Duato’s choreography. Spain could have done worse: Duato has put contemporary Spanish ballet on the world map like no one else. Don’t expect even a shadow of bolero or flamenco in the two different programs that constitute his company’s San Francisco debut. You will get the fruits of an exceptionally broad musical imagination and dancing that is full-bodied and energized — still ballet based but moving into a lush contemporary sensibility. One of this tour’s pieces, Castrati (2002), also performed at the University of California at Davis a few years back, recalls the brutal ceremony that insured boy sopranos retained their voices beyond puberty. To the sounds of the most glorious Vivaldi, cassocks fly about the stage in a none-too-gentle representation of those initiation rituals. An older work, 1996’s Por Vos Muero, splendidly evokes the role of dance as a social occasion and is performed to 15th- and 16th-century Spanish music. The newest work, Gnawa (2007), named after Moroccan descendents of slaves, explores connections within Spanish and North African cultures. Also on the program are Gilded Goldbergs (2006), White Darkness (2001), and Rassemblement (1990).

COMPAÑÍA NACIONAL DE DANZA Program A, Wed/20–Thurs/21, 8 p.m.; Program B, Sat/23, 8 p.m., and Sun/24, 2 p.m.; $35–$55. Yerba Buena Center for the Arts, 700 Howard, SF. (415) 392-2545, www.performances.org, www.ybca.org

Gyan Riley

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REVIEW I first heard Gyan Riley on the spectacular, otherworldly The Book of Abbeyozzud (New Albion, 1999), by his father, minimalist maestro Terry Riley. The younger Riley’s playing on "Zamorra," a guitar duet with David Tanenbaum, reached new heights of raging classical guitar intimacy.

In 1999, Gyan Riley was the first guitarist to receive a full scholarship to the San Francisco Conservatory of Music. Since then, he’s been around: he’s had major commissions from the Carnegie Hall Corp. and the New York Guitar Festival, given performances worldwide, and held an artistic directorship with the San Francisco Classical Guitar Society and a teaching gig at Humboldt State University. So the stakes are high for his new full-length, Melismantra (Agyanamus Music). With an almost preternatural sense of musical presence, it doesn’t disappoint.

The four-part "Progression of the Ancestors" suite showcases the range of Riley’s complex sensitivity as a guitarist and composer. He never rushes the moment unless an overwhelming musical force takes control of the song on its own. Tabla giant Zakir Hussain’s elegant pops and rolls and Scott Amendola’s persuasive drumming add texture to the mix. Tracy Silverman’s electric violin playing — introduced prior to "Progression of the Ancestors" on the epic title track — touches on everything I love about not just violin but sound itself. Throughout the album Silverman leaps and bounds in world-turning harmony with Riley.

Melismantra‘s opening three-song cycle, "Mobettabutta," recalls the fusion jazz and somewhat self-interested tone poems of guitarists Larry Coryell and Pat Martino — especially the latter’s odd 1976 album Starbright (Warner Bros.). This doesn’t quite jibe with the rest of the recording, but in a way "Mobettabutta" opens your mind to the delightful guitar perversions of "Herbie Moonshine’s Last Dance." Riley might make thinking people’s music, but he knows how to party.

GYAN RILEY With Tracy Silverman and Scott Amendola. Thurs/21, 8 p.m., $19.50. Freight and Salvage Coffee House, 1111 Addison, Berk. (510) 548-1761, www.thefreight.org

Beaufort

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Avoiding taking a political stance in favor of depicting a military operation under extreme circumstances with stark, vivid immediacy, Joseph Cedar’s Beaufort reenacts the Israeli Army’s evacuation of the titular fortress during its 2000 pullout from Lebanon. Constructed next to an ancient castle built by 12th-century crusaders, the enormous bunker — in which characters often seem to be running around like rats in a maze — was taken from the Palestine Liberation Organization in 1982 and fortified to an even more imposing degree. The skeleton crew that remains is anxious about both leaving and staying. As their planned departure nears, surrounding Hezbollah troops step up their shelling to make it appear they chased the Israelis out. This creates numerous harrowing situations; so do the self-doubt and inflexibility of youthful commander Liraz (Oshri Cohen), who makes some serious tactical errors and finally seems reluctant to let the men complete their mission by blowing the whole place sky-high. It’s not on the movie’s agenda to question whether Israel should have been there in the first place, which may seem a titanic omission to some viewers. But by simply conveying the unpredictability, heightened emotions, and claustrophobia of being under siege, Beaufort is perhaps the most visceral war movie since Downfall.

BEAUFORT Opens Fri/22 in Bay Area theaters.

A la Turca

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TURKISH TREAT Lebanese, Syrian, Greek — a craving for Mediterranean or Middle Eastern can be satisfied at a number of Bay Area restaurants, yet what if you want the one cuisine bridging the two? Inexplicably, Turkish restaurants are sorely missing from an otherwise all-inclusive food scene.

But deep in the cracked-out heart of the Tenderloin resides the consistently delicious and ridiculously affordable A la Turca. It’s a virtual Xanadu for any aficionado of the Byzantine: flat-screens showing Turkish channels, an all-Turkish waitstaff, hard-to-find Turkish dishes like fried carrots in yogurt sauce, a swarthy Turkish chef in the window shaving glistening slices of doner off a spit, the potent Turkish tea served in the traditional diminutive tulip-shaped glasses, and Turkish wine selections. Add the smell of diesel, cigarettes, and that ubiquitous lemon cologne, and I would swear I was in the back streets of Istanbul.

And thankfully, the food is incredible. The lahmacun (Turkish pizza) is perfectly crunchy on the edges and covered with a thin mixture of flawlessly seasoned tomato and ground lamb. The doner is divine. But I would go to A la Turca for the manti alone. Manti is Turkish comfort food — meat and onion ravioli in a spicy tomato and garlic yogurt sauce (bring Altoids). I’ve never found it outside Turkey, but A la Turca has a delectable version available only on Sundays (I’ve always thought the mark of a great restaurant is that it can make demands on you).

The desserts were surprisingly bland, but the rest? Çok güzel.

A LA TURCA Mon.–Thurs. and Sun., 11 a.m.–10 p.m.; Fri.–Sat., 11 a.m.–11 p.m. 869 Geary, SF. (415) 345-1011, www.alaturcasf.com

“Low Life Slow Life: Part One”

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REVIEW "Low Life Slow Life: Part One" is a self-curated portrait of the artist Paul McCarthy as a young man told with a few of his favorite things. It’s a very personal exhibit, much of it culled from the archives of a now-grown enfant terrible, and lays out a canny narrative about artistic influence that throws the viewer more than a few MacGuffins.

Before McCarthy fully developed his taboo-vioutf8g aesthetic — which found its most abject expression in his foodstuff- and prosthesis-filled performance pieces of the 1970s and ’80s — he was a Utah painting student whose first steps in using his body as a medium were guided by the action-based events of artists such as Allan Kaprow, Kazuo Shiraga, and Yves Klein. A first edition of Kaprow’s canon-making Assemblage, Environments, and Happenings (H.N. Abrams) is on display here, alongside paintings, photographs, sculptures, and printed matter by or related to several of the artists included in the 1966 volume.

Much of what McCarthy has chosen would slot neatly into the syllabus for one of the art history classes he now teaches at the University of California at Los Angeles. Which is to say that he is aware of how institutions inevitably shape an artist’s time on Earth into a career, placing it within a historical context in relation to and often as a reaction against other artists. McCarthy’s piss take on these sorts of creative genealogies starts with Dada collagist John Heartfield’s swastika-shaped Tannenbaum (1934), then jumps 30-odd years to Joseph Beuys’s 1962 sculpture made with fallen pine needles, whose brown color is shared by McCarthy’s dead Xmas tree and bric-a-brac pileup (2007). The trees’ tinder skeletons look like the survivors of a pillow fight on a paintball range. Wisely, McCarthy leaves other works out of such daisy chains of facetious art history scholarship. Mike Henderson’s giant, ghoulish oils Nonviolence and Castration (1968) stand alone as apocalyptic visions of the dark underside of American life. I wonder if they remind McCarthy of his salad days of stuffing Barbies up his ass while besmirched with ketchup. (Matt Sussman)

LOW LIFE SLOW LIFE: PART ONE Through April 12. Tues. and Thurs., 11 a.m.–7 p.m.; Wed. and Fri.–Sat., 11 a.m.–6 p.m. CCA Wattis Institute for Contemporary Art, 1111 Eighth St., SF. (415) 551-9210, www.wattis.org

Years of Lead

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› a&eletters@sfbg.com

REVIEW Reflecting on his work on millenarian Europe, the autonomist and political philosopher Antonio Negri stated, "This is certainly one of the central and most urgent political paradoxes of our time: in our much-celebrated age of communication, struggles have become all but incommunicable."

Long an influential campaign in Negri’s native Italy, autonomia, or self-rule, has received little critical attention from the English-speaking world. Editors Sylvère Lotringer and Christian Marazzi’s Autonomia: Post-Political Politics (Semiotext(e), 340 pages, $24.95), originally released as part of the short-lived Semiotext(e) magazine series in 1980, proffers the first English-language introduction to one of the most controversial movements of postmodernity.

Developed in the vibrant Götterdämmerung of the late 1960s in reaction to the largely corrupt and co-opted Eurocommunist parties, the worker-inspired Potere Operaio and its immediate descendent Autonomia Operaia were a philosophical umbrella, or, as one government critic put it, "a veritable mosaic made of different fragments, a gallery of overlapping images of circles and collectives without any social organization." At its heart, autonomia was a rejection by individuals and marginalized groups of not only the capitalist state but also its traditional ideological enemy — Marxism and its central doctrine of class struggle — for a postideological and immaterial way of life.

Brokered in universities throughout Bologna and Rome but dedicated to labor activism and the street-level situationism of sessantotto (student unrest), autonomia was powered by a number of formidable philosophical proponents. They included Negri, Oreste Scalzone, and Paolo Virno, as well as French sympathizers and arch collaborators Félix Guatarri, Gilles Deleuze, and Paul Virilio. Autonomia collects the various polemics, letters, and récits of these authors in an attempt to again dramatize the revolutionary and sometimes violent struggles between neofascists, unionists, and the ultraleft during the ensuing "Years of Lead."

Semiotext(e) editor Lotringer prefaces this new edition with a short travelogue describing his interactions with the various underground factions of Rome and Bologna in the shadow of politician Aldo Moro’s assassination by the dreaded Red Brigades, or Brigate Rosse. Long associated with the neofascists and socialists as the armed division of the Autonomia Operaia, the Red Brigades began resorting to terrorist propaganda, bombings, and assassination in the wake of government crackdowns in the late 1970s.

Lotringer encounters a gaggle of activists, intellectuals, and simulationists who may or may not pledge loyalty to the Red Brigades and who live in compounds and squats hiding from the omnipresent carabinieri, who continue to surveil the streets. Some are in costume and others spin Velvet Underground records; still others may be government informants or simply thrill to the hip simulacra of espionage. According to Lotringer, this alternative and autonomist space may have accomplished, however briefly, the utopic "non-fascist living" of Deleuze and Guattari.

Throughout Autonomia‘s 300 pages of densely translated text — from theorists and tricksters, reporters and members of the lumpen proletariat — the truly inclusive and sometimes circuitous worlds of the title movement become all the more apparent, yet never transparent. Negri’s contributions are particularly inspiring and frustrating in their brilliant opacity. Ultimately, in rejecting the verticality of hierarchies of power — textual, political, and economic — the autonomists opened up larger interpretative spaces: realms that existed beyond capital and beyond empire.