Style

Tooth and consequences

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› culture@sfbg.com

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

Reflections on the death of Alain Robbe-Grillet

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RobbeGrillet.gif

By Erik Morse

The iconic French author and “phenomenologist” Alain Robbe-Grillet died Monday, Feb.18, at the age of 85 in Caen. His most lauded works include Le Voyeur (1955), La Jalousie (1957) and the critical essay Pour un nouveau roman (1966), which ushered in the titular literary movement synonymous with fellow authors Marguerite Duras, Claude Simon, and Nathalie Sarraute.

Alain Robbe-Grillet on Jean Genet, 2002

His very cinematographic style of writing also led to collaborations with noted French auteur Alain Resnais and the 1961 art-house classic L’Année dernière à Marienbad. Though he was not as celebrated – or as simultaneously vilified – in America as he was in his native France, Robbe-Grillet’s influence is immeasurable in the literary postmodernity he helped to engender.


A clip from L’Année dernière à Marienbad, 1961

Le Monde’s obit can be read here.

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: 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: Retooling along Americana’s byways

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› a&eletters@sfbg.com

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: 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: 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

>>Back to Noise Pop page

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

Monk’s Kettle

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› paulr@sfbg.com

First, although it’s early, let’s hand out our first annual Best Restaurant Name Award. This year’s winner is the Monk’s Kettle, which is a witty, memorable, and — since the place in question is a craft-beer bar with food to match; ergo, a kind of hipster tavern — evocative phrase. Everyone loves a monk, and kettle is just fun to say, especially after a fancy beer or two.

The Monk’s Kettle is not a brewpub. No beer brewing is done on the premises, which are probably too snug anyway. The deal instead is a wide offering of beers from around the world, in the manner of Toronado or Moe Ginsburg’s; some are draught, many others are in bottles, but all are served in one of the stunning array of specialty glasses stacked behind the bar like crystals in some extraordinary ice formation.

Pardon is hereby issued to those who don’t recognize the space as the recent home of a Thai restaurant, Rasha, and before that, of Kelly’s Burgers. The footprint is the same — deep and narrow, with the sizable, mirror-backed bar and a semiopen kitchen along the right side and, on the left, booths snuggled against the windows — but the smell of old grease is gone, the color scheme is now one of muted earth tones, and the harsh lighting has given way to halogen pinpoints and, above the booths, glowing disks that look like the shells of some huge mollusk.

But the aesthetic makeover, though thorough and stylish, is dwarfed as a marker of change by the crush of people trying to get into the restaurant. A year ago Rasha seemed to be largely empty, despite good food at moderate cost, a bright red neon sign, and a prime location; the Monk’s Kettle, at age two months, is already wall-to-wall crowds on weekend evenings, with even more people spilling out onto the sidewalk. And they’re young, hipstery people.

If the wealth of craft beers is part of the Monk’s Kettle’s appeal to this social cohort, so too must be the food, which is a surprisingly vegetarian-friendly version of pub grub. Many of the most memorable dishes are meatless and would do credit to the kitchen at Greens. But hipsters like their burgers too, apparently; on a recent evening while eating at the bar, we were flanked by young burger eaters dressed à la mode, two and three to a side.

The burger ($10.50) is good. The meat is grass-fed Niman Ranch and is served on a dense, chewy bun from La Brea Bakery. A slice of cheese (various choices) adds $1.50, and the American-style fries are fine. But there’s nothing exceptional here. As for the house-made veggie burger ($9.50): half a gold star for innovation, since the patty is falafel, laid out on the same La Brea bun instead of stuffed into a pita pocket with tahini sauce.

On the other hand, the Monk’s Kettle does offer quite a few treats you won’t regularly find on menus in the Mission or around town. There’s a fresh pretzel ($6.50), for instance, twisty soft and served with whole-grain mustard and a cheddar-ale sauce for dipping and dunking. We also liked the lightly crisped black-bean cakes ($8.75), a pair of slim disks scattered with roasted-corn salsa and artily piped with chipotle crème fraîche. Bruschetta ($8.50) — toasted bread spears smeared with cannellini puree — were plated in an overgrown garden of mixed greens and resembled statuary half hidden amid unkempt tendrils, but the greens were enriched by sautéed mushrooms and chunks of white cheddar cheese, bringers of flavor, texture, and heft.

Butternut squash soup ($6.50) needs special handling to rise above its usual station as a cold-weather commonplace. Do pepitas, the little pumpkinseeds of Mexican cooking, answer the call? The Monk’s Kettle kitchen installed them as a scattering across the surface of the soup, and they did their best, but the soup, while creamy, was a little too sweet and unfocused to satisfy, even with pepitas. It was also, however, nicely steamy, which brought some relief to my sniffly friend across the table.

Also nicely steamy was a bowl of Jude’s vegan chili ($6.50), a black-bean preparation laced with tomatoes, mushrooms, and olives. We did catch a whiff of some faint, faintly exotic, eastern Mediterranean spice in there and found ourselves thinking more of Turkey than Texas: mushrooms and olives in chili? The Turks, it must be said, prefer chickpeas to black beans. (The chickpea is thought to be native to southeastern Turkey.)

The kitchen seemed to be in possession of a mushroom mother lode, because tasty fungus recurred as a ragout in the day’s surprisingly elegant potpie ($14). I say elegant because the ragout had been baked in a handsome white crock with fluted sides, under a tarpaulin of butter-flaky pastry worthy of a beef Wellington. The potpie had the look of a huge, family-style dessert — a giant pot de crème, possibly, lurking under the pastry.

We never quite got around to actual dessert, but we did dabble in the beers (whose listings go on for several pages), in part to see which glasses would be used to serve them. St. Bernardus, a dark, caramelly Belgian brew ($7.75 for an eight-ounce pour), arrived in a vessel that looked like a giant cognac snifter, while Bitburger pilsner ($6.25 for 14 ounces) was presented in an attractive if slightly disappointing pilsner glass, a close relation of the ones I have at home. Mr. Cider, meanwhile, partook of the Fox Barrel black currant cider ($4.50 for eight ounces); this was served in a wineglass look-alike and was refreshingly unsweet in the European manner but did not really taste of black currant — a presence in name only, but we liked it anyway.

MONK’S KETTLE

Mon.–Fri., noon–2 a.m.; Sat.–Sun., 11:30–2 a.m.

3141 16th St., SF

(415) 865-9523

www.monkskettle.com

Beer and wine

AE/DC/MC/V

Noisy

Wheelchair accessible

Bent empire

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REVIEW Holy glowing gonads! That’s what popped into my head — as my eyes popped out — when I entered the second room of the de Young Museum’s gorgeous "Gilbert and George" exhibition, which encompasses 30 years and 65 pieces of the British duo’s video, graphic, and two-dimensional sculpture work. There, two neon-explosive series of four humongous photomontages — Death Hope Life Fear (1984) and Shitty Naked Human World (1994) — are hung directly opposite each other, tugging the viewer into a phosphorescent hallway of actual shit and roses.

The first quadripartite series is peppered with the pair’s customary images of ethnically diverse underage hustlers, English roses, and collaged ziggurats of the artists themselves, magically combined to suggest all that was evil and delicious about the Thatcherite ’80s. The second, famously, floats giant turds against a backdrop of luminescent color and naked shots of the artists’ ass cracks and shriveled penises. Both sets are gloriously naughty, and when I caught a glimpse of prim society matron Dee Dee Wilsey standing perplexed beneath World‘s giant ball of flying crap, I almost lost it.

The rest of the exhibit goes on like this: feces fly, sperm spurts, blood boils, men and boys bare all, and enough sacred cows are roasted to fill a few Sizzler menus. And always, the deadpan artists peek through the mayhem like two chipped teacups adrift on a postcolonial ocean of desire. Even though Gilbert was born in Italy, the inseparable pair, with their matching worsted suits, impeccable manners, and sexually coy public personae, are so very British. Surely they’re commenting, from their tidy little studio in Spitalfields, East London, on the wreck and temptations of empire?

The show’s first room, dedicated to the artists’ early graphic work, contains some excellent aesthetic tingles but mostly concerns itself visually with a rote investigation of the possibilities of red, white, and black. You can sense Gilbert and George limiting their palette to a trio of fussy tones perhaps to excuse their content, fairly outré for the ’70s fine art world: spray-painted penis graffiti (1978’s The Penis), sticky puns on orientalism (1974’s Cherry Blossom No. 1), and other furtive steps into the realm of rebellious hyperinfantilism they would soon make their own.

It was during this nascent period that Gilbert and George developed their singular style: mixing multiple photographs of themselves with those of their immediate environs to make a single image, then blowing it up enormously and subdividing it into a grid of framed panels hung flush with one another, like a stained-glass window of perfect squares. As their artistic journey progressed and as the show winds through the basement galleries, their pictures burst with clashing tints and increasingly weirder experiments with displaced symmetry.

Various themes — ’80s youth-culture fetishism (for hipsters infatuated with fluorescent leg warmers, this is the show of the century), the tormented and fashionable spiritual journeys of the ’90s, a pungent streak of antipapism, and more than a few dips into pedophilia — are given the scatological Manic Panic rainbow treatment. Then the 2006 Terror pictures arrive, made in response to the London bus bombings, and the palette recollapses into a stunned black, red, and white, the English roses become torturous thorns, and pilfered headlines like "Police Quiz Bomb Suspect’s Father" are scrawled across each panel. So maybe there are limits?

Crime cameras for the defense

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EDITORIAL We’ve always been dubious about San Francisco’s crime cameras. Filming everyone who passes through a public space creates severe civil liberties problems. There are real First Amendment issues. And as far as we can tell, the spy cams don’t work very well: none of the 178 cameras on Housing Authority property have ever led to an arrest in a homicide case. Chief Heather Fong told the Police Commission on Feb. 6 that her officers have requested footage nearly 80 times but only twice was it at all useful.

From the first days when the city began talking about installing the cameras, the American Civil Liberties Union and others pointed out that all the electronic surveillance on high-crime street corners would do was drive crime to other places. The commission has mandated that the cameras be turned off during political demonstrations, and some critics, including commissioner David Campos, are watching very closely to see if all of this intrusive electronic surveillance is making the city any safer.

But if we’re going to have crime cameras, they ought to be used to protect the innocent.

As G.W. Schulz reports on page 16, the San Francisco Public Defender’s Office has an interest in using the footage. Last August two young African American men were arrested and charged with robbing a pair of airline workers at the corner of 14th Street and Mission. The alleged robbers insisted they hadn’t been at that corner; in fact, they said, they were two blocks away, at 16th Street and Mission, the entire time.

That should have been easy to prove: there are cameras at 16th Street and Mission. But the city’s Department of Emergency Management refused to turn over the video footage to the public defender. Only by chance and the intervention of a conscientious police inspector was the lawyer for the two men able to get the tapes — which proved that the young men, who faced long prison sentences, were entirely innocent.

Public Defender Jeff Adachi says there are at least a dozen other examples of incidents when the cameras could have proved one of his clients innocent — but the local law enforcement authorities won’t give up the pictures.

That’s crazy. If the cameras can be used for prosecution, they ought to be available to lawyers for people who want to establish an alibi. There’s little or no risk here: defense lawyers are officers of the court, sworn to protect confidential evidence, and they are routinely given access to sensitive law enforcement information. The entire principle of a fair trial requires that the defense have as much opportunity to prove innocence as the prosecution does to prove guilt — and in most cases all of the state’s evidence has to be turned over to the defense. If cops and prosecutors can see the city’s crime-camera tapes, why can’t the other side?

Sup. Gerardo Sandoval, a former public defender, has introduced legislation that would allow defense lawyers access to the tapes; it’s a sensible, practical measure that ought to win easy approval. But Kevin Ryan, the Republican former United States attorney who runs Mayor Gavin Newsom’s office of criminal justice, is trying to scuttle Sandoval’s bill. This is exactly the sort of thing we were worried about when Newsom gave that job to an old-fashioned law-and-order type.

Newsom needs to show his cards on this issue. Does the mayor really think the cameras should be used only to lock people up and never to set them free? That would be an astonishing stance for a San Francisco mayor. Instead of leaving this to his aides, Newsom needs to come out in support of Sandoval’s bill and give Ryan a little primer on justice, San Francisco–style.

Noise Pop: Hot shots

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Mika Miko


Los Angeles’ proudly punky ladies have been busy tearing out new tunes back home. Expect them to show their hand in their constant quest to drive the audience bonkers. Also on board is more of their characteristically dark imagery. "There’s nothing worse than happy-joy-joy," drummer Kate Hall says. "You gotta go through some dark stuff." (Kimberly Chun)

With DJ Amp Live and Tempo No Tempo. Tues/26, 8 p.m., free for badge holders and VIPs. Rickshaw Stop, 55 Fell, SF. (415) 861-2011

Minipop


Indie pop rarely gets sweeter — or more radio-friendly — than in the hands of San Francisco’s preternaturally poised Minipop. The foursome found an avid listenership early in their career, and the recently released A New Hope (Take Root) finds the unit looking fondly back at the dreamy alt-pop of the early ’90s, with graceful nods to 4AD forebears. (Chun)

Feb. 27, 8:30 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

The Mumlers


Perhaps the Mumlers were channeling the spirit of William Mumler, a mid-19th-century man famous for claiming he could photograph ghosts, but once all seven band members touched their fingers to a Ouija board’s planchette, the board, they claim, spelled out their group’s name. Regardless, it’s clear their swaggered ruckus pop channels dead folk musicians galore. Despite the ghostly origins of their handle, the Mumlers’ live appearances tend into turn to lively celebrations, with the outfit dancing about the stage. Their repertoire of instruments rivals any philharmonic’s and includes guitars, drums, upright bass, various keyboards, euphonium, French horn, trumpet, clarinet, tambourine, pedal steel, and recently, eagle whistles from Mexico. While the tunes give old-time music an indie pop sheen, beneath the group’s sprawling arrangements the lyrics and vocal delivery compare to those of Johnny Cash’s later recordings — with a touch of early Bob Dylan. (Alex Felsinger)

With the Entrance Band, honey.mooon.tree, and Golden Animals. Feb. 27, 9 p.m., $14. Cafe du Nord, 2170 Market, SF. www.cafedunord.com

The Morning Benders


This group has no shortage of hooks and crescendos, and with a lighthearted indie pop style familiar enough to capture anyone’s attention and enough creativity to hold it, they stand out from their peers. Listeners have drawn comparisons to Voxtrot, the Shins, and Of Montreal for good reason, but in the end the Morning Benders’ biggest debt is to the Beatles. So far they’ve recorded all of their releases at home but have always managed to mimic that old analog sound, even when using nothing but a laptop and one microphone. With their upcoming debut, Talking Through Tin Cans (+1), they’ve successfully stepped into hi-fi wonder without losing their homespun feel. The Morning Benders don’t break any musical molds, but their solid songwriting and smooth deliver serve pop tradition well. (Felsinger)

With Kelley Stoltz, Grand Archives, and the Weather Underground. Feb. 28, 8 p.m., $14. Independent, 628 Divisadero, SF. www.theindependentsf.com

The Blacks


SF’s grungy indie rock band the Blacks sound so much like the Pixies that they ought to be called the Frank Blacks, but they trump the re-formed Pixies in stage presence tenfold. Vocalist JDK Blacker doesn’t sing much at all but rather focuses his energy on livening up the audience: sometimes he’ll help drummer Gavin Black smash cymbals, or perhaps he’ll simply thrash around with his trusty tambourine. Vocalist Luisa Black holds the group together with solid alternating rhythm and lead guitar, while Gavin Black’s drumming shines with stripped-down, solid beats. The Blacks take the simplicity of ’70s punk and garage rock and jump-start the attitude: the concept isn’t new, but then, a combo doesn’t need to be entirely original to rock. (Felsinger)

With Cursive, Darker My Love, and Judgement Day. Feb. 29, 8 p.m., $18. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

Jeffrey Lewis


Crass saved punk. They never fit the part, never ripped off the Rolling Stones, and never tried to become famous, because they genuinely wanted to create a better world and thought they could do so through music. But in the past four years every kid with a leather jacket has picked up an acoustic guitar to sing against the war and capitalism, recorded some songs on their PowerBook, then thrown them up on MySpace. Folk punk has swept the nation’s underground to the point where 924 Gilman Street Project hosts a monthly Acoustic Night. Bringing it full circle, New York City’s Jeffrey Lewis recently released 12 Crass Songs (Rough Trade), composed entirely of acoustic versions of Crass numbers, including some of the group’s best. Lewis came out of his city’s so-called antifolk scene — a Crass cover LP ought to be deemed anti–folk punk, right? — and his vocal patterns have a hushed, somewhat raplike flow. The CD’s best track has to be "Punk Is Dead," which Lewis delivers as a wistful ballad. Hearing a folk singer recite the lyrics 25 years after the first recorded incarnation makes more sense than ever — because the words are certainly truer today. (Felsinger)

With the Mountain Goats, OKAY, and Aim Low Kid. Feb. 29, 8 p.m., $18. Bimbo’s 365 Club, 1025 Columbus, SF. www.bimbos365club.com

British Sea Power


Do You Like Rock Music? is the provocative title of British Sea Power’s new Rough Trade LP. Well, sure, but do I like their brand of grand indie? Their engorged drums and highly dramatic overtures just might get them discounted as the Big Country of the ’00s, though their quieter moments and more experimental textures hint at increasing — and welcome — complexity and nuance. (Chun)

With 20 Minute Loop, Colour Music, and Off Campus. March 1, 9 p.m., $14. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Immigrant


These SF vets of Evening have come a long way from would-be bell-ringing bouts, taking on an epic yet poppy, synth-dappled alt-rock veneer with the self-released Novakinesis. (Chun)

With Panther, Wallpaper, and Distraction Fit. March 1, 9 p.m., $10–$12. Rickshaw Stop, 155 Fell, SF. (415) 861-2011

Port O’Brien


One might note that the flowing harmonies between the four members of Port O’Brien work so well onstage that the audience would be doing a disservice to the band if they joined in. But that would be an unfair request. Port O’Brien’s music emits the instant atmosphere of a warm campfire sing-along. The group’s more intimate acoustic concerts are now only rare gems, and their recorded efforts tend to fall short of capturing the same level of energy, yet their glowing personalities and dedication to the crowd are still evident at their amplified full-band performances. (Felsinger)

With Delta Spirit, What Made Milwaukee Famous, and the Mayfire. March 1, 9 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. www.cafedunord.com

The Virgins


Imagine Julian Casablancas with a freshened-up adenoidal approach and jaded ‘tude intact, backed by sloppy-cool disco-rock rats. Equipped with a taste for that tatty late ’70s intersection where punk and disco met, snarled, and duked it out on the train on the way back to the boroughs, these New York City decadance-kins seem likely to outshamble Babyshambles and their louche ilk. Too bad you can only be a virgin once — wonder what the combo’s next trick will be? (Chun)

With Airborne Toxic Event, the Blakes, and Man/Miracle. March 1, 9 p.m., $12–$15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

Shocked, G?

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When I first heard Digital Underground in 1989, via "The Humpty Dance," little did I imagine it would someday fall to me to announce the group’s end. After a 20-year run — including five albums, one EP, one rarities disc, solo albums by Shock-G and Money B, and a helluva lot of touring — DU are calling it quits. Their Feb. 22 show at the Red Devil Lounge may be your last opportunity to see these putf8um Bay Area OGs. You’d be a fool to miss it: their shows are a cut above most live-rap, P-Funk-style fests, driven by Shock’s keyboards and an endless array of MCs, including, at one time, 2pac himself.

"Every group from [Public Enemy] to the Stones has experienced a hiatus, some straight-up fallouts," says Shock, a.k.a. Humpty Hump, on the phone from Los Angeles. "I think we hold the record for longest harmonious run without a breakup. I gave it a loyal 20 years — ya can’t be mad at that."

Despite the lack of internal beef, however, Shock’s decision to disband DU is both personal and artistic. Constant touring, for example, has taken its toll, particularly with the group’s partying reputation.

"The energy was gettin’ bad," Shock concedes. "Both the group and the audience were becoming a bunch of alcoholics. That means it’s time for a break.

"I did several sober shows over the past few years, like 1 in every 10. However, when I suggested this to the band, everyone looked at me like I’m crazy, as if I suggested doing the show naked!"

Even more pressing, however, is Shock’s desire to expand as an artist, musically and otherwise.

"I’ve always wanted to give serious musicianship a shot," he says, "to sit down at the piano like a jazz musician and do complicated arrangements and improvisations with other musicians. But it’s hard to be fully present anywhere when I’m outta town every weekend to do DU shows."

While Shock confirms he has about two albums’ worth of unreleased DU he’ll eventually drop and doesn’t rule out the possibility of a reunion — "Ask me in five years," he says — for now he wants to direct his energies in nonmusical directions.

"I wanna go down to Hollywood and see what it do: voice-overs, comedic acting, films, TV — stuff I never had time for from recording and touring. For the first time since 1987, I have time to commit to something else. I’m excited.

"I used to use George Clinton, Sting, and RZA as my models," he concludes. "Now I plan to be more Ice Cube, more Puffy, more Jamie Foxx, more wherever I wanna be."

DIGITAL UNDERGROUND

Feb. 22, 8 p.m., $20

Red Devil Lounge

1695 Polk, SF

1-866-468-3399

www.reddevillounge.com

Tiger Beat bard

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› a&eletters@sfbg.com

If 1967 was the Summer of Love, then late 1968 through mid-1969 brought the seasons of mass deflowering. This wasn’t due to LSD, flower power, or even the trickling down of the sexual revolution. Rather, it was the perfidious influence of a nearly 400-year-old play that teenagers had previously read and watched with glazed eyes. Franco Zeffirelli’s big-screen version of Romeo and Juliet made underage sex look extremely hot, virtuous, and stick-it-to-the-man rebellious. And because it was rated G (until the Motion Picture Association of America subsequently wised up and gave it a PG) and based on, you know, the Bard, parents couldn’t object.

Foolish adults, so not with it! As sheer incitement to Get Laid Now, this Romeo and Juliet was the worst celluloid influence on America’s impressionable youth since Splendor in the Grass seven years earlier — and that was an old-fashioned movie whose mature stars (Natalie Wood, Warren Beatty) were only playing at being teens. Plus, they kept their clothes on.

Not so Zeffirelli discoveries Leonard Whiting and Olivia Hussey, age 17 and 15, respectively. It took her frenziedly heaving bosom and his famously bare ass (the shot that perhaps heated up gay lib as much as Stonewall) to add new life to hitherto yawnsville poetry, making everyone under the age of consent desperate to be in love, thwarted, secretive, coital, and tragic. That last is, after all, the ultimate teenage fantasy: to die knowing that grown-ups will finally realize that crushing your delicate feelings drove you to it. Oh, now you’re sorry! Enjoy that eternal guilt! (In 1981, Zeffirelli would film the ultimate camp incarnation of this theme, Endless Love.)

Much was made of the principals’ youth, for once close to that of the characters as envisioned by Shakespeare. The most famous prior screen version, MGM’s 1936 extravaganza, had cast thirty- to fiftysomethings in the lead roles. Onstage, various famed thespians practically portrayed the young lovers into senility. Zeffirelli — who’d successfully tamed famous couple Richard Burton and Elizabeth Taylor in a robust Taming of the Shrew the year before — not only selected young actors but also juiced Romeo and Juliet with a hyperbolic style designed to excite. The film’s color-saturated photography, costumes, and production design make Renaissance-era Veronese life the apex of sensuality. Nino Rota’s score (with a love theme that topped the United States pop charts as a Henry Mancini instrumental) is romantic catnip. Male testosterone — including that of Tybalt, as played by Michael York, who’d never seem so flamingly heterosexual again — jumps off the screen in splendor, with equally rattling sword fights and projectile codpieces.

The goal was intoxication, and as obvious as some of the above tactics might appear now, Romeo and Juliet remains a heady brew. The mega make-out movie’s principals handled such fantastic early pop culture fortunes with varying success. Hussey carved out a long, diverse adult acting career in projects around the globe. Whiting, an unhappy teen idol ("Oh Romeo, Romeo, why are you so difficult to talk to?" Tiger Beat lamented), tried to earn cred in an eccentric array of projects. But most were poorly received, apart from 1973’s exceptional all-star TV movie Frankenstein: The True Story, in which he played the bad doctor. The next year he retired to engage in other pursuits.

Zeffirelli — an opera director before, during, and after his relevancy as a screen auteur — revealed himself to be a maestro of overripe kitsch in such films as 1971’s Brother Sun, Sister Moon (a now-unwatchable Jesus People Movement–era shampoo-commercial take on St. Francis), 1988’s Young Toscanini (La Liz meets C. Thomas Howell), and 1999’s Cher-starring Fascist Italy soft sell Tea with Mussolini. He’s openly gay, yet a big-time papist (who supports the church’s stance on homosexuality), as well as a member of media magnate and corruption magnet Silvio Berlusconi’s conservative Forza Italia party. One of his greatest legacies may turn out to be inadvertent: Bruce Robinson, who plays Benvolio in Romeo and Juliet, later claimed Zeffirelli’s on-set overtures inspired the genius character of Uncle Monty in Robinson’s immortal 1987 directorial debut, Withnail and I.

Thanks to Marc Huestis’s one-night-only 40th anniversary revival at the Castro Theatre — with Hussey in person, interviewed, and no doubt impersonated by local personalities in the preshow — Zeffirelli’s Romeo and Juliet will be celebrated as a cultural phenomenon. The cheesy contemporary amp-up that Baz Luhrmann engineered in 1996, with Leonardo DiCaprio and Claire Danes doing the heavy breathing, also struck a popular adolescent chord, but its trendy vulgarity has already aged a whole lot worse than Zeffirelli’s version. The latter remains breathless, and is duly classic.

ROMEO AND JULIET

With Olivia Hussey in person

Thurs/14, 7 p.m., $12.50–$25

Castro Theatre

429 Castro, SF

(415) 863-0611

www.castrotheatre.com

From Juliet to Mother Teresa and Mrs. Bates

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Born in Argentina and raised in England, Olivia Hussey was just 15 when she was chosen to play li’l miss Capulet in the 1968 version of Romeo and Juliet. Since then she’s had a bewilderingly diverse career that encompasses work with Burt Lancaster ("a lovely gentleman"), Vanessa Redgrave ("such a giving lady"), and Michael Jackson (Hussey acted in an unreleased Jackson music video that also featured Lou Ferrigno), as well as legendary softcore directors Radley Metzger and Zalman King. Hussey has played the Virgin Mary, Mother Teresa, and Norman Bates’s mom. She’s done voice work on Pinky and the Brain and Nintendo games. She appeared in the infamous 1973 musical version of Lost Horizon and starred in the 1974 mother of all slasher flicks, Black Christmas. She’s been in adaptations of Sir Walter Scott, Stephen King, and Harold Robbins. Her résumé also includes Turkey Shoot (a.k.a. Escape 2000), a particularly nasty and effective 1980 Australian spin on "The Most Dangerous Game."

In addition to acting gigs, the still gorgeous 56-year-old Hussey remains busy with her clothing line of romantic kaftans and tunics, which are quite beautiful. She’s also a sales rep for mangosteen beverage ZanGo (the health benefits of which had not yet been determined as of deadline by yours truly). She recently spoke with me by phone from her Los Angeles home. The interview had been delayed by a home emergency.

OLIVIA HUSSEY I really have to apologize for missing your call earlier.

SFBG No problem, but as punishment my questions will now be limited to Lost Horizon and Turkey Shoot.

OH Oh god! But people do ask me about Turkey Shoot. I laugh about it as one of the worst movies ever made. Yet a friend of mine in Rome loves it — he hosts regular screenings.

SFBG I actually heard your Romeo and Juliet before seeing it. A junior high English teacher played the soundtrack to our class, which laughed uncontrollably because there’s so much panting. Of course, it made sense in context later on.

OH Oh yes. Franco [Zeffirelli] really pushed us for what he called "that breathlessness of youth." He was obsessed with it.

SFBG Speaking of which, your breasts were so pushed-up — you must have been extremely tightly corseted.

OH I was! A lot of the clothes were very imperial style, [with] high-breasted velvet. But to get them even more so I had interior corsets pulled tight — it was really hard to breathe. Sometimes they had to take breaks between shots simply because the costumes drenched me with sweat.

SFBG Your Romeo, Leonard Whiting — are you still in touch?

OH We’re still close; I just spoke to him last week. Most actors do maybe a hundred films, and they’re lucky if they do one real classic that’s remembered. Romeo and Juliet is still shown to students everywhere. I get e-mails from young people all over the world. It’s such an honor.

SFBG What was it like working with Zeffirelli on both Romeo and Juliet and Jesus of Nazareth?

OH He’s the best. In a perfect world I would have worked with him only, forever. People always ask if I had a crush on Romeo, but I had a crush on Franco! The man had so much passion for what he did.

SFBG Your career slowed down for a few years immediately afterward.

OH I was offered all kinds of things. But when I was the hottest young actress in the world, I didn’t feel like acting. I’m that kind of person.

SFBG You got very busy later on, though. What are some of your other personal favorite movies or roles?

OH I loved doing a 1974 low-budget film in Canada with a new director, Bob Clark — Black Christmas. We had a blast. Much later I auditioned for the Steve Martin film Roxanne, and he stuck around just to meet me. He said, "You starred in one of my favorite films of all time." I said, "Oh, Romeo and Juliet?" But it was Black Christmas. He’d seen it 10 or 12 times.

SFBG Any particularly unpleasant experiences?

OH I didn’t like doing [the all-star 1978 Agatha Christie mystery] Death on the Nile. I had agoraphobia at the time, and that was really hard. On the other hand, Peter Ustinov was so much fun, Angela Lansbury an absolute delight, and David Niven lovely. We were all so excited to meet Bette Davis — she was such a legend. But it’s awful to work with someone who’s just unpleasant.

Also, three weeks into rehearsals for Lost Horizon, I knew it was going to be bad. [Costume designer] Jean Louis kept asking me, "Are you eating too much?" and letting out my waistlines. I was afraid to tell the studio I was pregnant.

Clubs: I feel so Debaser

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debaser2 sml.bmp

Yes, shake yourself, wake yourself, shiver ye timbers, and don ye olde kinderwhore frock. There’s a newish club in town, courtesy of those Neon kids: Debaser, a ’90s alternative dance party that has yet to find its firm monthly footing but will nonetheless shake the rafters at the Knockout Saturday, Feb. 9.

Tomorrow’s Valentine’s special showcases DJs Jamie Jams (Avery Island), EmDee (Club Neon), and Jessica (Club Lovely); bearer of the best Courtney Love-style baby doll dress gets a gift certificate to Thrift Town. Sorry, no lurid imagery available yet: Jams confesses that lame ole 2D pics fail to convey the “sheer mania” going down. Last month, he says, “We seriously had 300 people in flannels moshing to records and screaming all the words to the Cranberries.” Scary! But fun at the same time, no? And never fear, Breeder babies, if you miss this month’s, you can always get your Kurt on at the next party on March 1.

Debaser
Saturday, Feb. 9; 10 p.m.; free with flannel before 11 p.m., afterward $5
Knockout
3223 Mission, SF

Partying Indiefest style

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By Vanessa K. Carr

Yes, the SF IndieFest is about great independent film, but let’s be real: it’s also about theme parties and free booze.

indie.jpg

The opening party last night at Cellspace did not disappoint. What better way to follow two hours in a dark theater than with a rowdy mechanical bull, enough free beer and lychee martinis to loosen the hips and morals of everyone in the place, a live alt-bluegrass band in the back, and Dolly and Burt presiding over the whole affair as Best Little Whorehouse in Texas rolled on the big screen?

Buckle up, bags

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Intern Candice Chan test drives a seatbelt bag — and decides to stick with the old model.

It goes without saying that seatbelts in cars are all about promoting safety before comfort, and after a weekend with a pink polka dot seatbelt bag by Harveys, that philosophy seems to apply even when the belts have been reincarnated into tote form.

While carrying my happy pink polka dotted seatbelts last weekend, I walked with an undeniable sense of security; if someone tried to bring hurt my way, I’d take them down first with a deftly placed swing of my indestructible purse to their groin. Conceived by Dana and Melanie Harvey while they were installing new seatbelts in their Buick, the bags are an intriguing alternative in a sea of leather bags. They are, without question, sturdy and well-made, but the contentious issues for me lie in their comfort and style.

After my field test, during which I asked several ladies if they would consider carrying a similar purse, it seemed that there was universal agreement: everyone could see how someone else would wear it. Not the kiss of death, but definitely not overwhelming enthusiasm.

seatbelt.jpg
They didn’t ask to be made into bags! It’s not their fault!

Ballin’

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› kimberly@sfbg.com

SONIC REDUCER "I get to go to the ball!"

Longtime Oakland soul hopeful Ledisi isn’t spilling the beans about what designer she’ll be wearing to the Grammy Awards on Feb. 10, but on the phone from New York City, where she’s as deep into the wardrobe as the lion and the witch, she guarantees, "I’ll be cute!"

Red-carpet frocks, on-and-off awards ceremonies, and nominations for Best R&B Album for last year’s Lost and Found (Verve Forecast) and, get this, Best New Artist ("People say I’m a new artist, and I am a new artist in this mainstream world," says the woman who put out her previous two CDs on her LeSun label. "I’ve never had third-party involvement in anything!") — it’s all high drama for Ledisi Anibade Young. Nonetheless, she knows she’ll be enjoying herself to the core and even more because she’ll be exactly where she wants to be: namely, comfortable in her own skin.

"I just feel like I’ve finally come into my own, meaning I’m OK with myself," the vocalist says, bubbling like de Brignac. "I’m still hungry, but I’m not begging anymore."

As we speak, Ledisi is floating, as she puts it, in more ways than one: she’s drifting between residences in NYC, Oakland, and Washington DC and lifting higher about the national spotlight that comes with her nominations, a recognition laid on a clutch of other once and present Bay Area artists like Keyshia Cole, Machine Head, and Turtle Island Quartet and local indie label Six Degrees (for Bebel Gilberto, Ce’U, and Spanish Harlem Orchestra). Regardless of how you feel about the continuing relevance of the Recording Academy paperweights — yes, the Best Polka Album category is still in place — the thrill a nominee like Ledisi feels is catching, especially when one considers the flights of ups and downs she’s undergone over the years.

"I didn’t think I wanted the pressure of being in the front again, with all the issues of image and the style of singing and choosing a category to be in — you know, all that kind of the pressure!" she says, recalling the times she thought about giving up performing. After her debut, Soulsinger (LeSun, 1999), won near-universal praise but garnered zero coveted R&B radio attention, she left Oakland and moved to NYC because, she says, she was "tired of going around in circles." With an understudy role in Broadway’s Caroline, or Change in her change pocket, Ledisi had begun developing the stage version of The Color Purple when she signed to Verve and dropped out of the production to work on Lost and Found.

But after working for a year and a half to get her deal, "the guy who signed me," Verve president Ryan Goldstein, was suddenly laid off among many others. She finished the record, took a breath, and went back into the studio, fearing the new powers that be would require further alterations.

Meanwhile, she adds, "I was finding myself in my personal life": she ended a long relationship and met her father. Her R&B vocalist mother had already told her that her biological father was Larry Saunders, but only when Ledisi traveled to Amsterdam and mentioned his name to a DJ there did she realize others knew The Prophet of Soul, the name of Saunders’s 1976 Soul International LP. "He said, ‘We know who he is!’ and pulled out his record," Ledisi remembers. Her parents had met on tour when Saunders was a starring performer and her mother a backup singer, and when Ledisi finally met her father, "it was just like peas in a pod. I never felt so complete. Now I don’t have those things around me going, ‘Who am I?’<0x2009>"

Ledisi also discovered that her father was the love child of blues vocalist Johnny Ace, who achieved legend as an early rock ‘n’ roll casualty, allegedly shooting himself during a Russian roulette game on Christmas Day, 1954. "When I found out," she says, "I was, like, ‘No wonder we’re all singers!’<0x2009>"

"You know this record is really powerful, with all this happening during its process," she says of Lost and Found, which eventually debuted at number 10 on Billboard‘s R&B chart. "I tell you, with all the stuff that went on, it’s all worth it. Win or lose, I’m just so complete. I just want to stay in the moment — couldn’t ask for a better moment to happen."

WALKING PNEUMONIA, HERE WE COME

THE EVERYBODYFIELDS


Everything’s OK with these tenderhearted crust-country kids. With I See Hawks in LA. Wed/6, 8 p.m., $12. Independent, 628 Divisadero, SF. www.theindependentsf.com

PIERCED ARROWS


Dead Moon rising: "Walking Wounded" vets Fred and Toody Cole keep flying that lo-fi flag. With Black Lips. Fri/8, 9 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

TERRIBLE TWOS


Motor City kiddies trade in snot-laced cacophony. With Top Ten and Wylde Youth. Sat/9, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

PALEO


Gimmick or gimme-gimme? Brooklyn’s David Strackany followed in the footsteps of Suzan-Lori Parks with his "Song Diary" project: 365 songs, one written and recorded each day for a year. But his next trick after that media blitz? With the Blank Tapes and Eddy Burke. Sun/10, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

MERLE HAGGARD


NorCal’s country music giant reaches east with 2007’s The Bluegrass Sessions (McCoury/Hag) — see where it takes him. Mon/11, 8 p.m., $65. Grand at the Regency Center, 1290 Sutter, SF. www.ticketmaster.com

LOS AMIGOS INVISIBLES


The very newest sounds from the Venezuelans of disco derring-do? With Si*Se and DJ Franky Boissy. Mon/11–Tues/12, 8 p.m., $22. Independent, 628 Divisadero, SF. www.theindependentsf.com

Double visions

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› kimberly@sfbg.com

After almost 10 years and four albums, Pinback’s Rob Crow and Armistead "Zach" Burwell Smith IV rightly take it in stride that major differences, and slender fissures, will occasionally open up between them. Consider, for example, this Osmonds fixation of Crow’s, soon to appear in the form of a rock block of tunes by the ’70s Mormon clan band on one of two Goblin Cock LPs Crow is now resurrecting after a certain hard-drive disaster. "A lot of Donny’s synthesizer work is really outrageous and predates a lot of people!" Crow, 36, mumbles enthusiastically over the phone from San Diego, comparing the Osmonds’ "My Drum" to something off the Melvins’ last LP. "There’s no Osmonds record that’s good all the way through, but there’s at least one awesome song on each one."

"Yeah, I don’t get that one at all," the easygoing Smith, 37, says, speaking separately from the band’s hometown. He’s toiling on his own projects — Three Mile Pilot and Systems Officer discs — during Pinback’s monthlong break. "He played me something once, and I said, ‘Oh, this is all right,’ and ever since, he’s, like, ‘But you said you liked it one time in the car!’ Oh, god, I’ll never live that down."

Similarly, arguments during the making of albums are a given — although of all their recordings, Crow says, their latest, Autumn of the Seraphs (Touch and Go), inspired "the least amount of bickering. I think it had to with drinking wine during the day, which made everything go faster and seem more productive." Likewise, side projects have become de rigueur for the twosome, with Crow unofficially becoming known as the most prolific songwriter-collaborator in the so-called Southland — thanks to Goblin Cock, Aspects of Physics, Thingy, and various other diversions. "We both have different outlet for things that don’t work with us," Smith offers. "He has 20 of them, and I try to keep it to two."

Yet all of that doesn’t mean Pinback isn’t still meaningful for both musicians. The proof lies in Autumn of the Seraphs: like the best full-lengths, it ebbs and glows, tugging the listener along from the percussive, Genesis-style AOR pop of "How We Breathe" through the arch, rubbery progressions of "Blue Harvest" and its softer, more sorrowful relation "Torch" to the fittingly stirring closing epic, "Off by 50." They’re songs that not only "displace you from reality," as Smith puts it, but also satisfy Crow’s requirements for honest music making. "I just try to make sure we like what we’re doing and it has an emotional thing for us," the latter says.

If the pair can avoid pinning those emotions to new obsessions, they hope to put out another Pinback album within a year and a half rather than their standard three years. The danger for Smith: World of Warcraft. "You need to have groups for this, like Warcraft Anonymous or something," he says with a rueful laugh. "Luckily, I have too much music to do."

PINBACK

Sun/10, 8 p.m., $25

Fillmore

1805 Geary, SF

www.ticketmaster.com

G-Spot: Nookie by the numbers

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› culture@sfbg.com

We asked and you answered — oh, how you answered. More than 200 of you responded to our questions about what goes on between your sheets, or at least between your legs. And although there are lots of you happily living your vanilla-and-roses love lives (straight! Missionary style! Share my partner? Never!), there are plenty more proving our city’s reputation for alternative gender and orientation identities, kinky sex, and free love is well deserved. Check out our poll results, as of Jan. 31, below. (Numbers are percentages.)

1. How do you identify, in terms of your sexual orientation?

Straight 59

Gay 12

Queer 10

Bi 9

Depends on how much I’ve had to drink 5

Alternative answers include four kinds of bisexual with caveats such as "bi-affectional" or "bi for political reasons," one transsexual, and one person who identifies simply as "feral." Meow.

2. How often do you have sex?

Once a day 11

Once a week 37

Once a month 10

Once upon a time 2

Alternate answers give even more specific frequencies, most often three to four times per week, as well as the fabulously Victorian answer "fortnightly." Several people said it depends on relationship status (though there was no mention of whether frequency increases or decreases with commitment). The one we identify with most? "As much as possible. Every day if you count with myself."

3. What’s the kinkiest thing you’ve done or would do?

Sex before marriage 15

Spanking 24

Suspension 16

"Two Girls, One Cup" 11

Alternative answers include bondage, multiple partners at one time ("ye olde three-way"), role play, sex in public places (bookstore? Hot), snowballing, sex with someone else’s date, anonymous encounters, homosexual dalliances, and the winner for Most Likely to Have Come from Lolita: "I got my chewing gum caught in a guy’s pubic hair once."

4. Where’s the craziest place you’ve ever had sex in San Francisco?

Mission Bar 8

16th and Mission Bart stop 4

My bed (missionary position, of course) 26

We’ve clearly been shopping in the wrong places. You people are having sex in Noe Valley storefronts, butcher shops, the dressing rooms of upscale retailers (Saks, JCrew, Banana Republic), and phone booths and against a wall in the Haight. How’d we miss this? Perhaps we were too busy with the rest of you in parks (Golden Gate, Balboa, Dolores), parking lots, school yards, and hot tubs. Some of our awards? Most original goes to "bowling alley in the back with the pins." Most ambitious? "Nothin’ crazy yet, but it’s only 9am. Give me a chance to wake up."

5. How polyamorous are you (or were you in your last committed relationship)?

Love is limitless and meant to be shared (my partner and I have other partners) 8

Love has limits, but sex is meant to be shared (my partner and I have other bed buddies) 13

Love and sex have limits, but some fantasies are meant to be shared (my partner and I occasionally invite others into bed with us) 12

Love, sex, and fantasies have limits, but dinner is meant to be shared (my partner and I have friends) 58

Most of you don’t want to share your partners — "I’m a jealous bitch," one person responded — though at least one of you wishes you could. But a good amount of you are open to all kinds of couplings, including the most open-minded of all: "AMA — all mammals allowed."

6. What gets you in the mood?

Gary Danko — foie gras and a 1985 Angelos Gaja 6

Amber — Pabst Blue Ribbon and a shot of well whiskey 15

The Stud — tequila and Trannyshack 8

What doesn’t? 54

For some of you, all you need to do is see your beau or betty and you’re ready for love. Others need drugs (weed and coke are favorites) and porn. And congrats to those of you who know exactly, specifically, without a doubt what you need: Morrissey and a Georges Bataille novel, horny thoughts and Spanish-language TV channel Azteca America, molasses coffee with grits, Madagascar chocolate from Recchiuti Confections, or rain. We love the answer "long tones." (Let’s talk about sax, baby.) And we’re not sure how to feel about the person who needs "a pint of Malibu and a good swift kick in the jewels."

G-Spot: Don’t fear the jeweler

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› culture@sfbg.com

Poor well-intentioned, misunderstood, Valentine’s Day! For a holiday meant to joyously celebrate the plentiful doses of compassion and generosity love can bring, V Day has a notoriously bad reputation — probably because choosing the right gift on this, the third-largest retail day of the year, always elicits at least a little anxiety, occasionally a good deal of panic, and, in dire cases, even immense fear. Who knew that buying chocolates and flowers could bring on anxiety attacks and performance crises? In an attempt to give the little day that could a chance to redeem itself, we bring you this year’s shopping guide.

GRAB ‘N’ GO


The perfect floral accent to your V Day celebration is a must, and you’re sure to score an electric grin the size of Canada when you show up with a selection from Church Street Flowers (212 Church, SF; 415-553-7762, www.churchstreetflowers.com). With the beautiful arrangements and personalized advice, it’s tough to make a wrong choice. Can’t make it there to pick up les fleurs yourself? The shop offers same-day deliveries within city limits. No wonder it’s won Best of the Bay six years in a row.

Chocolate Covered (4069 24th St., SF; 415-645-8123) in Noe Valley packs a pleasurable punch with delectable sweets and knowledgeable staff. Keep an eye out for the owner, Jack, who will help you select exactly what you need — even if you aren’t quite sure yourself — in sugary cocoa form. Plus, the blue and white custom print boxes can feature almost any picture you want.

In your intrepid search for arm candy for your arm candy, make a stop at Manika Jewelry (11 Maiden Lane, SF; 415-399-1990, www.manikajewelry.com) in Union Square for unique, distinctive designs. A warm staff will help direct you through the wide selection, some of which is locally designed, to find a one-of-a-kind piece. And feel free to try pieces on, as this establishment isn’t shy about giving you a chance to find exactly what you want.

Sexy, snazzy, and a little taste of naughty come together at Agent Provocateur (54 Geary, SF; 415-421-0229, www.agentprovocateur.com). But its Swarovski crystal–encrusted riding crops might break the bank. For more monetarily accessible lingerie, mosey on over to Belle Cose (2036 Polk, SF; 415-474-3494) in Nob Hill. From comfy-cozy to rawr-tastic, a purchase from this store is sure to be worn many times — if not for long.

ADDIN’ A LITTLE FLAIR


Give a jewelry piece (or a pocketknife) extra pizzazz and a touch of thoughtfulness by including a tiny message somewhere on its shiny surface. You’ll be able to cue the oohs and aahs in surround sound if you enlist the help of Alden Engraving (208B Lily, SF; 415-252-9072, www.aldenengraving.com) in Hayes Valley to bring happiness in the form of script.

If you’ve got no time to scour the streets but are big on impressions, check out Apple’s new pink iPod nano (www.apple.com). This ridiculously adorable iPod comes not only in a V Day color favorite but with free laser engraving and free Apple gift wrap if you order online. It’s not quite the MacBook Air, but there will probably be very little complaining if you give something that pretty in pink.

Willing to drop a little more bank? Book a spa date for two at the Nob Hill Spa at the Huntington Hotel (1075 California, SF; 415-345-2888, www.huntingtonhotel.com). The space is picturesque and features an infinity pool overlooking the city, food service, and knockout massages. A day spent here will guarantee that postdate afterglow.

For those who are interested in a little stage-side romance, the American Conservatory Theater (405 Geary, SF; 415-749-2228, www.act-sf.org) opens its production of Blood Knot on Feb. 8. Granted, it’s not the most uplifting piece — the story features two brothers having existential crises in South Africa during the apartheid era. But it will still blow the socks off your theater-loving sweetie when you smoothly place the tickets on the table and say, "I thought we’d try something different tonight."

Those willing to trek across the bridge to the East Bay can spend an evening at the Berkeley Repertory Theatre (2025 Addison, Berk.; 510-647-2949, www.berkeleyrep.org), which is featuring Taking Over, Danny Hoch’s one-man show in which he hilariously morphs into multiple characters from one neighborhood. Another option? Catch Carrie Fisher’s biting repartee (yes, Princess Leia in the flesh) as she recalls her years in Hollywood in Wishful Drinking.

Of course, if the whole V Day extravaganza is causing unbearable amounts of stress, consider spending an afternoon strolling through the Japanese Tea Garden (Tea Garden and MLK Jr., SF; 415-752-4227) in Golden Gate Park. Its five acres of eclectic gardens and a Japanese-style teahouse mean it shouldn’t be hard for you to find the perfect spot for whispering romantic nothings into each other’s ears.

However, in the event you’re looking to spend an evening in, Good Vibrations (603 Valencia, SF; 415-522-5460. 1620 Polk, SF; 415-345-0400. www.goodvibes.com) is always a safe bet for fun goodies. The store’s recommendations for its wide range of adult toys are helpful and friendly, and you’ll be hard-pressed (heh heh) to not find something you’ll enjoy. Honestly, who could pass up chocolate body pens or a fun-filled match of the Tantric Lovers Game?

Caine is able

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The opening scene in a tragically forgotten 1968 swinging-London artifact called The Touchables — released stateside to universal catcalls — had four model-gorgeous "birds" breaking into an off-hours Madame Tussaud’s. Goal: stealing the object of their desire, a wax dummy of Michael Caine. This proves too fleet a diversion — the glamorous gang are soon off to their next plot-dominating caper, hijacking a handsome pop star to a countryside inflatable plastic pleasure dome for extended go-go dancing and S-M games. But it does make the point that in 1968, Michael Caine was a huge pop icon. And not just in the United Kingdom but also in the United States, where Beatlemania had temporarily made all things Brit — Twiggy, Tom Jones, even Herman’s Hermits — automatically crushworthy.

We’d certainly emulated and admired England all along, after that unpleasant colonial-separation business. But in the ’60s it was no longer a matter of aristocracy envy. Suddenly the Mick Jaggers and the Lulus and so forth made being working-class British cute and desirable and ever so "now." Caine was the first Cockney sex symbol — which made him a celebrity in America but a downright cultural sensation at home.

The Mechanics’ Institute’s February "Raising Caine" series revisits some of his defining roles, though only one ventures past 1972. The first selection, 1966’s Alfie, was his breakthrough. Casting him as a rascally ladies’ man who strings along women (from Jane Asher to Shelley Winters) while entertaining us with direct-camera-address commentary, it both celebrated the sexual revolution and delivered a reassuring moral spank-down.

Caine had earlier made a major impression in 1965’s The Ipcress Files as Len Deighton’s spy hero Harry Palmer, a scruffier, less impenetrably sophisticated alternative to Sean Connery’s James Bond. The movie’s sequel, 1966’s Funeral in Berlin, is second in the Mechanics’ retrospective. (The third Caine-as-Palmer feature, 1967’s Billion Dollar Brain, surrendered to Bond-style fantasy excess and a surprisingly prescient anti–Yank imperialism. Recently released to DVD after decades of difficult access, it’s worth a look.)

The resulting fad was weird but laudable: Caine landed on the average side of handsome (complete with spectacles), had bad hair, and spoke like a mensch. (Memorable quotes include "I’m the original bourgeois nightmare — a Cockney with intelligence and a million dollars.") When Connery ditched Bond, he had to prove himself as an actor. When the Palmer films and Alfie and such were finished, Caine just kept working — sometimes brilliantly but often indiscriminately, in movies that could only have dangled as lure the money he admitted was a deciding factor. The good ones include 1971’s Get Carter and Sleuth (which complete the Mechanics’ series along with the 1983 translation from the stage Educating Rita), John Huston’s 1975 Rudyard Kipling adventure The Man Who Would Be King, and Woody Allen’s 1986 Hannah and Her Sisters (for which Caine won his first Supporting Actor Oscar).

The bad ones? For starters, twin Irving Allen "disasters" The Swarm (1978) and Beyond the Poseidon Adventure (1979). Not to mention 1987’s Jaws: The Revenge, 1992’s The Muppet Christmas Carol … need more be said? Only that Caine has his cited On Deadly Ground (1994) costar Steven Seagal as the only person he’d never work with again. (Good choice!) Caine (it’s "Sir Michael" now, which he must find hilarious) hasn’t lost his touch, though. As an aged Cockney hustler in 1998’s Little Voice, he gives a climatic rendition of "It’s Over" that is the most lacerating deliberate bad singing this side of Jennifer Jason Leigh in Georgia (1995). He was superb handling the more sentimental aspects of 1999’s The Cider House Rules (winning a second Oscar), in the underseen Brit ensemble classic Last Orders (2001), as the true protagonist of 2002’s The Quiet American, and as one brainy holdout amid the Orwellian future of Children of Men (2006).

So is he more served or subservient playing butler to Batman? (I’d say the former.) Caine is an excellent actor who always admitted that selling out was part and parcel of the trade. Sex symbol then, willing tool now (and also then), he never blew pompous public wind or truly embarrassed himself onscreen, even when the films embarrassed themselves. He once said, with bracing honesty, "You get paid the same for a bad film as you do for a good one." Either way, he earns the check.

RAISING CAINE

Feb. 1–29, $10

Fri., 6:30 p.m.

Mechanics’ Institute

57 Post, SF

(415) 393-0100

rsvp@milibrary.org

Bound for better

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› kimberly@sfbg.com

INTERVIEW You probably stumbled over it during your holiday shopping travails: a little 2008 pocket date book branded "Slingshot" with a hand-drawn cover of kids wearing engineer boots and "A is for anarchy" garb, picking flowers, vegetables, and fruit in an idyllic garden scene, a cityscape looming in the distance. Inside, each page is embellished with a quirky hand, oddball fonts, and quintessentially activist remembrances like "1979 Police machine-gun a mass rally on the steps of San Salvador cathedral, killing 25" (May 8) and "1925 Lenny Bruce b. ‘If you can’t say FUCK you can’t say FUCK THE GOVERNMENT!’" (Oct. 13), as well as faithful reminders for all of the Berkeley Critical Mass rides in ’08. The bold-faced coups de grâce: the international radical contact list, quasi phrasebook, and quick tips to "Resist Government Repression." Other anarchist groups throughout the world put out calendars, but this year Berkeley collective Slingshot published an organizer that allows you to literally organize more than just the crap that surrounds you.

This year is a banner one for the planner, and for the 20-year-old nonprofit as well. After several cryptic bouts of phone tag, I spoke to a group representative — who appropriately called himself Slingshot — earlier this month, and he said the group printed 30,000 pocket and spiral-bound 2008 editions, a jump from the wee 400 copies issued when the organization began printing them 14 years ago. Now with distribution in 50 states and a dozen countries, they’re almost sold out, though copies are still available at Bound Together Books at 1369 Haight.

What started out as a fundraiser — inspired by the radical organizers made by European collectives — for Slingshot’s free newspaper has taken on a somewhat anarchic life of its own. "Technically we’re trying to promote historical knowledge about liberation struggles and trying to disseminate contact info for those engaged in social justice work," Slingshot explained, though the handmade, cut-and-pasted, non-computer-generated paperback is also a pure product of a pre–digital age, DIY aesthetic.

Each collective member worked independently on four pages per organizer, drawing from a huge compendium of historical events for each date, so no one person controlled the overall style or process. "It’s contrary to the way the mainstream press looks, where everything [is] programmatic," Slingshot stressed. "Just like life, each page has a different look." The artists, whom Slingshot described as "the people who were filling the streets at the [World Trade Organization]," remain anonymous, except on the cover, which is signed Molly Crabapple.

"Anyone can make art. If we waited for professionals to start the calendar or the paper, we never would have gotten there," he continued. "I think that’s why people like our calendar. People want to feel engaged and not just spectators in their lives."

Next up in Slingshot’s own organizer: the collective hopes to create a zine-making space in its office at the Long Haul Infoshop in Berkeley, complete with typewriters and other materials. "We’re not really against computers per se," Slingshot confessed. "But it’s not a good thing to not question whether everything has to be computerized. We can make it accessible here: people don’t have to have skills other than using scissors."
slingshot.tao.ca