Brother Interior

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02.04.09

Like his cultural antithesis Madonna Ciccone, Henry Rollins is an expert at transformation. Debuting as the tattooed and muscle-bound singer for legendary punk band Black Flag in 1981, now an activist and world traveler edging toward 50, Rollins has lived at least nine lives. After Black Flag’s breakup in 1986, he hit his stride in the Rollins Band; in another incarnation, the literature aficionado established the publishing imprint 2.13.61, releasing his own poetry and tour journals along with books by Nick Cave and Exene Cervenka. After being designated “Man of the Year” by Details magazine and winning a Grammy for Best Spoken World Album in 1994, he played Hollywood with parts in films like Lost Highway and guest-hosted on MTV.

Refusing to sink into obscurity, Rollins has entered the 21st century with a bang. He produced a Saturday-night radio show for Indie 103.1 and briefly morphed into a talk-show host with The Henry Rollins Show, featuring guests like Sleater-Kinney and Werner Herzog. Through it all, he has been an inveterate spoken-word and USO performer, entertaining troops in Iraq and Afghanistan, as well as a documentary filmmaker, recording his own concerts in New Orleans, Israel and South Africa.

On the phone from Los Angeles where he lives, Rollins is friendly and open. This comes as no surprise since no topic is off-limits during his speaking tours. Cultivating a mix of social critique, political analysis and personal narrative, Rollins brings his scathing observations about everything from Burger King in Beirut to dating in La-La Land when he appears at the Wells Fargo Center on Feb. 7.

“I’ve always had fun with the dating thing onstage, because it’s always been so difficult for me to meet women,” Rollins says with a laugh. An outspoken advocate for gay rights, with refreshingly feminist inclinations, Rollins has learned to look for the true beauty in women. “It took me a while to where the looks didn’t matter so much as, well, I want to be friends with this person, and that makes them sexy. I’m seeing a different kind of beauty,” he says.

Strong opinion is a trademark of a Rollins performance. Current material is culled from his recent travels to Saharan Africa for the Desert Music Festival, and includes observations about experiences in Tehran, Syria, Lebanon, Burma, Vietnam, Cambodia and Thailand.

“You see the commonalities more than the disparities. Peace is a true north for people, some kind of stability,” Rollins says about traveling the world. “People might be ‘dipped in dirt,’ but they are vigorous, they’re working everyday. No matter where you go—Ho Chi Minh City, Islamabad, Pakistan—people are trying to get ahead, they’re striving towards dignity and peace.”

The recent transition of presidential power, an experience Rollins likens to being “in fifth gear in a Maserati going down the Autobahn, when before the mule didn’t want to get out of the gully,” will also come into play.

 

With a mix of humor and pathos, Rollins skirts the line between standup comedy and angry political commentary, but he resists being characterized as a comedian. “When I’m onstage sometimes, I will kind of trip over humor, or it follows me home like a dog, and sometimes when you’re talking about meeting 23-year-old boys with 60 percent of their brain removed who will spend the rest of their lives in diapers changed by their mom, there’s no humor there,” he says, in reference to lessons learned from touring military hospitals like the Walter Reed Army Medical Center.

“I basically call it like I see it, for better or for worse, and sometimes it’s damn funny, and sometimes it’s all you can do to keep from crying. The good, the bad, the ugly but, hopefully, the real—that is the constant I strive for.”

 Henry Rollins appears on Friday, Feb. 6, as part of the Copperfield’s Books Renowned Speakers Series. Wells Fargo Center, 50 Mark West Springs Road, Santa Rosa. 8pm. $19.50. 707.546.3600.


Flying for ‘Peanuts’

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01.28.09

NASA Photograph-courtesy of the Charles M. Schulz Museum & Research Center
BON VOYAGE: NASA secretary Jamye Flowers Coplin holds a stuffed Snoopy out for a final earthbound pat from Lt. Gen. Thomas Stafford as he prepares to embark on the Apollo 10 flight.

On May 25, 1961, President John F. Kennedy submitted his lunar-landing program to Congress for approval, spurring the nascent NASA agency skyward. On July 20, 1969, Neil Armstrong became the first man to walk on the moon. But Snoopy got there first. In fact, he did it twice.

Aiming to become the “first beagle on the moon” in March of 1969—at least in Charles M. Schulz’s wildly popular “Peanuts” comic strip—Snoopy adorned his WW I flying ace scarf and goggles with a clear, round globe protecting him from the moon’s thin atmosphere as he piloted his doghouse upward. He got there before that stupid cat next door and, with NASA’s approval, he got there before Neil Armstrong. Just two months later, he and Charlie Brown actually circled the moon, playing host to astronauts Thomas P. Stafford, Eugene A. Cernan and John W. Young. Well, at least the lunar and command-service modules bearing their names did. The Charles M. Schulz Museum pays tribute to the strip’s space adventures by hosting Cernan, Stafford and others on Jan. 31.

In 1969, “Peanuts” was at the zenith of its popularity, read by some 355 million people in 75 countries. Snoopy and the gang were perfectly poised, NASA felt, to help the American public rally around the space program after the disastrous 1967 Apollo 1 launch pad fire that killed astronauts Virgil I. “Gus” Grissom, Ed White and Roger B. Chaffee while tragically trapped in their seats. Thinking of the successful Smokey Bear campaign, NASA heads decided that they needed a way to extend the agency’s strict safety standards to its many subcontractors and award those whose work was truly outstanding. With Schulz’s enthusiastic support—he drew a new logo and service posters for the project gratis—NASA established the Silver Snoopy award, still given to space-agency service providers whose work is stellar. But Schulz’s enthusiasm and his work extended further into the program.

 

When Apollo 10 launched on May 18, 1969, the command module was named Charlie Brown; the lunar module, Snoopy. When the two craft successfully recoupled after moon recognizance, Mission Control showed the crew a special strip Schulz had prepared depicting Snoopy kissing Charlie Brown with the thought balloon, “Smack. You’re right on target, Charlie Brown!” And when the recovery team picked the crew up after their safe return, the underside of the helicopter read “Hello ‘der, Charlie Brown.” It was all “Peanuts,” all the time for this space flight, one that exemplified the hope and vision for NASA’s ambitions.

 Capt. Cernan and Lt. Gen. Stafford are joined by Navy frogman Wesley T. Chesser, Navy helicopter pilot Chuck Smiley and secretary Jamye Flowers Coplin when they appear at the Schulz Museum on Saturday, Jan. 31, from 1pm to 3pm. 2301 Hardies Lane, Santa Rosa. Free. 707.579.4452.


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Saints & Spells

02.04.09

Love is the exploding cigar we willingly smoke.

—Lynda Barry 

Legend has it that St. Benedict (480&–547 A.D.) was one horny fellow. Sources attest to this, citing young Benedict’s three years of perpetual arousal while still a struggling hermit. Deliciously lewd fantasies, it’s said, surged through Benedict’s pre-saintly loins, while electrifying, intoxicating and lubricious passions lay waste to his pre-holy soul.

Birthed of a single furtive glance at some now-forgotten lovely, these tribulations constituted unending rounds in Benedict’s lifelong wrestling match with provocations of the flesh. Persistent visions of the woman continued to fire up his equipment, even in the sparse, cool depths of his hermetic digs. Just as he set to uttering a Dark Ages version of “Fuck it,” thereby condemning himself to frolicking his life away in ecstatic, orgasmic and joyfully unfettered sin, God Himself (or so says the saint’s chronicler, Pope Gregory the Great), came to Benedict’s rescue by fashioning for him the wilderness equivalent of a cold shower.

Gregory writes that Benedict purged himself through a “wallow” in thick briers, staying “so long that, when he rose up, all his flesh was pitifully torn: and so by the wounds of his body, he cured the wounds of his soul.”

According to social critic and Simpsons creator Matt Groening, love has nothing to do with other people but lots to do with pain. “Love,” Groening says, “is a snowmobile racing across the tundra and then suddenly it flips over, pinning you underneath. At night, the ice weasels come.”

To burrow deep inside this, we turn to modern science and biological chemistry. Most everyone knows the yoni-yin of estrogen, testosterone’s wang-yang, and what each means to our sexual identities. Perhaps you’re acquainted with dopamine and its role as the so-called pleasure chemical, which, upon release, sails us gently amidst clouds of sensual bliss.

Add to these the stress hormone cum neurotransmitter norepinephrine. Norepinephrine exhibits adrenal similarities to cocaine. But it’s legal, and it’s free.

Now ponder the hyperhorny alkaloid phenylethylamine, one crazed-monkey substance if ever one existed. Phenylethylamine produces such an unreflective “let’s ball whoever you are” methlike euphoria that it’s labeled “the love drug.” In fact, some studies suggest that the drug Ecstasy, which is also called “the love drug,” obliges the dosed body to produce massive quantities of phenylethylamine. Fall in love this very moment, and your body mainlines you a maxi-load of phenylethylamine.

It’s the stuff of love legend, producing the rarified state actor John Barrymore addressed when noting that “love is the delightful interval between meeting a beautiful girl and discovering she looks like a haddock.” Phenylethylamine is so addictive that some race from one lover to the next just to keep their high going. The reason, of course, is that the chemical’s effects inevitably attenuate. Those of a more monogamistic disposition mostly just grin and bear the emotional letdown. But others suffer severe postpartum depression with phenylethylamine’s waning.

Could it be that Benedict dived into his briar patch while sky-high on phenylethylamine? Like the dendrophiliac, who gets his jollies by engaging orgiastically with trees, perhaps Benedict’s phenylethylamine rush bulldozed him into some roughly equivalent state, though he engaged briars and nettles instead, sparing the poor defenseless hickory its innocence.

Just as phenylethylamine jolts our body-beast into dopamine production, likewise dopamine stimulates the creation of oxytocin. Oxytocin can and does cause sexual arousal, but it’s a safe bet that this “cuddle” hormone wasn’t Benedict’s challenge, nor his cup of tea. His was likely a more highly charged, urgent, and perhaps pathological state, more akin to classic priapism.

Some will, no doubt, suggest human sex pheromones lie at the root of Benedict’s crisis of faith. Indeed, his meals were likely wrapped in cloth before being lowered into his cave. Said cloth was oft touched and perhaps worn too as a garment. Contact with bodily excretions that enhanced and stiffened it over decades when to bathe or wash clothes was verboten might indeed have driven an otherwise saintly Benedict stark raving horny. Problem is, there’s not much peer-reviewed material to back up this suggestion.

Which brings our chemistry quest to endorphins, nature’s way of saying “morphine.” Could be, had Benedict engaged a challenging regimen of exercise, his condition might be chalked up to the release of endorphins into his system. First problem with this scenario, though, is that the endorphin rush is one of opiated contentment and a sense of well-being, not the anxious, turgid need to screw. Besides, Benedict was still living in his cave and eating very little. It’s doubtful he had much energy or inclination for the extended aerobic output endorphin release requires.

But regardless his impulses, or the whys and hows that led to such behaviors, St. Benedict’s tribulations illustrate what’s been true since humankind first attempted to make sense of love and the libido—that no matter our enormous body of speculative, hearsay and scientific evidence, when it comes to these sweet things, we don’t know squat from Sasquatch.

Extract the chaff from human existence and what’s left are three simple essentials: eat, sleep, procreate. The eat and sleep stuff’s easy, but we’ve yet to get a handle on our procreate thing. Some religionists insist it’s our sacrosanct imperative to exclusively engage in coitus as though the process were merely some planned-obsolescent assembly plant meant to crank out cherub flesh. You know, do your duty, shut down the operation, and then keep the equipment quietly zipped up in your pants. Forever. If so, then why did this God design us so as to make intimate explorations of the flesh so continually desirable, stimulating and fulfilling long after our gardens have gone fallow?

When it comes to sexual genetics, do physiological responses to body chemical shifts determine where libido takes us, or does plain wanton desire need to be cultivated in order to access pure unrestricted pleasures our species is so handsomely designed to offer? Clearly, we clueless barbarians, eager but stupid, don’t yet really know .

It may be that old-time religion, the kind Benedict helped to create, and today’s scientific notions of love and the libido reflect upon one another, squeezing us into a deeper understandings of the nature and power of solo, mutual, hetero, gay, omni and still-to-be-conceived sexual conundrums.

Perhaps the poet Dorothy Parker best expressed our human love condition in appropriate poesy rhyme:
“Oh, life is a glorious cycle of song,
A medley of extemporanea;
And love is a thing that can never go wrong;
And I am Marie of Romania.”


Wonderwall

02.04.09

Children under five might want to be elsewhere, but everyone else with a fanciful streak should love Coraline, a stop-motion animated masterpiece by Nightmare director Henry Selick.

Adapted from the Neil Gaiman book, the story contains elements from Alice in Wonderland and E .T .A. Hoffmann’s “The Nutcracker and the Mouse King”; there’s even a spot of help from Keats’ poem “La Belle Dame Sans Merci.” In 3-D, this is a fascinating and strangely beautiful tale.

A bright-blue-haired Oregon girl discovers a magical portal and takes up a chimerical parallel existence just on the inside of her new house’s wall. Coraline, voiced by Dakota Fanning, could use some escape. Her blue hair is the sharpest color in a muddy landscape soaking in the worst of the spring rains. Coraline’s house is a pale-pink Victorian in the outskirts of Ashland. The plumbing is bad, and water bugs and centipedes wriggle out of the woodwork. Her parents work at home, drudges chained to their computer keyboards.

Coraline pays little attention to her neighbors, theatrical retirees who were likely drawn to Ashland by the Shakespeare Festival. In the basement apartment lives a pair of broken-down English burlesque artists (Jennifer Saunders and Dawn French). The ladies live with a horde of Scotties, most of whom are dead. The tenant above Coraline’s place is a bulgy Russian acrobat (Ian McShane). Nearby, a boisterous kid named Wybie roars around in the mud on a minibike. He’s adopted a beat-up stray cat. Coraline has little use for the boy and his pet.

Exploring her house, Coraline finds a locked crawl space. When she at last breaks through, she discovers a glowing blue tunnel. At its other end, her Other Parents are waiting for her. They’re sweet and attentive, and there are no dismal computers in sight. They load Coraline’s plate with cakes, flatter her and tend an animated garden of plants celebrating her existence. The only hitch is that this Other Mother and Other Father have shiny black Raggedy Ann-style buttons for eyes. Coraline’s help in the trouble to come is the skeptical feral cat, voiced with lovely insinuation by Keith David, who goes as he pleases between worlds.

If Selick has something in common with Tim Burton, it’s the Burton of Beetlejuice. Troubling changes of size occur in the fantasy world, in the same way that the zebra-striped demon Beetlejuice was sometimes man-size, sometimes a scuttling mouse. The revelation of the Other Mother’s true self comes with a startling change of size and proportion. Selick’s plays on both sides of the line between the uncanny and the cute; asymmetry and strange angles rule the creatures in the fantasy world.

Coraline is girl-centric. Perhaps it was the thousands of Goth (or merely off-beat) girls out there who responded the most deeply to Skellington and Sally. The changing rapport between mom and daughter (as well as between the not-mom and not-daughter) makes this a very womanly tale. The men are off to the side in a power struggle among maiden, mother and very bad crone.

Watching fairy-tale films, too often you’re tensed up, worrying that you will be fed a trite motto that will spoil the pleasure. Coraline has its moral, an Old Country one: Those who gorge us on sweets may not have our best interests at heart.

But Coraline‘s symbolism seems artful and troubling, rather than simple. As in the Grimm Brothers stories, there’s something very pagan in Coraline, something that doesn’t jibe with our feelings that good always defeats evil. Rather, it insists that cleverness and a little treachery is always needed to save our skins.

‘Coraline’ opens Feb. 6 at select North Bay theaters.


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Letters to the Editor

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02.04.09

Like we wouldn’t print this

Loved the “Field Trippin'” article by John Moss (Jan. 21), and it made me so nostalgic that I just had to write you about the many incarnations of the Bohemian that I’ve observed over the years.

Your birth was in Monte Rio around 1979 as The Paper and I still have many articles saved from that time. With Nick Valentine as editor and Tom and Elizabeth as publishers, this brave little weekly with beautiful graphics and extraordinary layout (before computers) became must reading for all us counterculture types. It replaced Bliss Buy’s previous paper, the Sonoma County Stump as the activist publication, and was one of the reasons that we were so successful in 1980, the first year that we protested at Bohemian Grove. It took us through the early 1980s protests at Rancho Seco, Diablo Canyon and the Livermore labs as well as covering all our doings here at home.

The only problem was that it lost money in droves as it leaned much more to covering the resistance than advertising for the establishment. I won’t go into why Tom and Elizabeth gave it up and left for Australia, but it’s a great story. Then you moved to Freestone and later Forestville under new management, and somewhere along the line you became the Sonoma County Independent. You were still doing a good job of covering the community, but unfortunately, in order to survive, your focus started leaning more toward economic reality and the radical edge began to tarnish. When you moved into Santa Rosa and became county-oriented as opposed to West County&–oriented, a lot of us old timers were a bit miffed. When you changed to the North Bay Bohemian, I really got pissed.

I gave up on you for a while and then, lo and behold, Gretchen Giles took over and slowly you have been pulling it back from the abyss. You still have way too much advertising, but in my head I do understand.

I appreciate Peter Byrne, P. Joseph Potocki and John Sakowicz’s reports; they bring back that edge I have so missed. And John Moss’ acid trip was just what I needed to put it all in perspective. So thanks for that, and let us never forget our roots.

Mary Moore
Occidental

Slow Going

Clark Wolf made some great suggestions for things we can all do for small family farmers during these hard times (“Change We Can Eat,” Jan. 28). Our local Slow Food chapter has been putting a lot of time and energy into alerting people to the very real danger of losing the Gravenstein apple. There are now only 900 acres of Gravs left, and if our farmers don’t get some help, more of them will destroy their orchards and plant wine grapes. And now, besides the economic catastrophe, we have a drought. The good news is, most local apples are dry-farmed!

Here are few things you can do to help save our apples and the biodiversity of our community: (1) Buy Gravensteins and happily pay a few cents more per pound this year so our farmers can afford to keep growing and tending their orchards. Buy them direct from the growers or at local farmers markets, or ask your favorite market to be sure to stock local Gravs this season. (2) Get involved in our movement. Go to www.slowfoodrr.org or email us, [ mailto:in**@********rr.org” data-original-string=”PWmfHXoRFYFKqKBGvMye3w==06amjUQ3Q/2GAR6GfOlWOCJ5tAcobuw4Zg1BXaSM+ZvHZ6+hKswfNDh5N7+sp+ATGmC2K83j2rRSt5PEFlV0RqfO7FawZ3oBnK/gHVKWBJj3D5TAWKKLil5J/BRi09e4VgTCLJ9efglSIUlJ/D4ipBQSRdPT3ysoX40AkQhPIy720y7oScgnYWXL7GkWQZYSfQm5rLJ2WkV5DtgMQ6zrTztir6aEt0yHMO7bpR71teUk5C3yxHqcvuV9CJEWydHvio7VGO9ALXZh0tBwLhV2phteQ==” title=”This contact has been encoded by Anti-Spam by CleanTalk. Click to decode. To finish the decoding make sure that JavaScript is enabled in your browser. ]in**@********rr.org.

Paula Shatkin, Slow Food Russian River
Occidental

 
 

Thanks, we think

I do hope you are not considering cutting “This  Modern World.” I have to say that personally, it is often the most cogent and interesting thing I find in the paper.  And I leaf through the rest as a result. 

L. B. Williams
Guerneville


&–&–>

Grey’s Anomaly

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02.04.09

Plenty of fresh-faced girls enter the adult industry at a young age, following the common adage that most resort to porn after they realize their mainstream Hollywood ambitions have failed. But 20-year-old Sasha Grey, who has been variously described as the future of porn and “the next Jenna Jameson,” came to the industry knowing exactly what she wanted. At 17, she studied porn vigorously for a year in her hometown of Sacramento and moved to Los Angeles when she turned 18. In the two years since, she’s made over 150 films and routinely defended her career—on The Tyra Banks Show, for example—as performance art, as self-expression and as catharsis. Sometimes she simply says it’s fun.

Grey is out of the ordinary in porn not only in that she’s got normal-sized, unimplanted breasts and has sternly controlled her business affairs (she represents herself through her own agency), but also in that she’s got unpredictable, avant-garde tastes. The majority of her own films are the usual low-production, no-plotline porn fare, but she’s declared a curious inspiration in directors like Jean-Luc Godard, Werner Herzog, Pier Paolo Pasolini and Catherine Breillat. Likewise, her iPod is filled with experimental bands like Throbbing Gristle, Faust and Tape Recorder. It’s easy to find porn stars who rock out to AC/DC—but Squarepusher and Behemoth, not so much.

Grey, a left-handed guitarist, has joined the experimental music arena this month by releasing a limited-edition clear-vinyl 7-inch with her noise duo, aTelecine. She calls it an “experimental-death-dub-orgasm kind of project.” With six tracks and collage artwork by Grey herself, the record’s first run of 300 copies sold out quickly in preorders. The Brooklyn-based Pendu Sound, who released the 7-inch, also sells LPs and cassettes by art-noise groups equally influenced by John Cage and Slayer; they plan a cassette-only release with aTelecine in the near future.

Grey’s got a hectic schedule of sex in front of a camera, but says that aTelecine are planning to play live and to release more mixed-media material in the future. She’s also been cast in a Steven Soderbergh movie, The Girlfriend Experience, crossing the famous firewall between adult film and mainstream film, and two more independent films in which she appears, Quit and Smash Cut, are in post-production now. Recently she shot music videos both by the Roots and Smashing Pumpkins, as well as contributing vocals to a Lee “Scratch” Perry album. A renaissance porn star? It’s possible.

 


Let the Sun Shine

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02.04.09

Some time ago, in the not-so-distant past, a waitress at an upscale Cuban restaurant decided to put down her serving tray and pick up a guitar. “I would have something that gave me endless vitality, something that helped me through joys and sorrows, a constant through inconsistency and a blessing to pass on to everyone else,” says Philadelphia-based singer-songwriter Birdie Busch of her decision to leave behind the world of steaks and platters for the world of songwriting and creativity.

Busch makes a stop at the Orchard Spotlight on Feb. 7 as part of her U.S. tour. Joined by a full backing band made up of local Philly musicians and friends, Busch’s songs exude a classic, warm living-room Americana-sound—think Lucinda Williams without all the whiskey and cigarettes. In an Auto-Tune pop universe, the Collingswood, N.J.&–bred musician provides an honest dose of solid, simple songwriting. Listen to the charming hooks on the song “Mystical,” from the 2007 release Penny Arcade, whistle along with the sunny chorus and be cleansed of any residue left from 2008’s gagtastic proliferation of robotic, dead vocals.

A buzzed-about artist in Philadelphia, Busch has opened for Regina Spektor, Amos Lee and Dar Williams. She’s just wrapped up recording on her third album, with the help of band member and producer Craig Hendrix. “I love witnessing the quality of music that comes about when people are thrown together because they are neighbors and friends, believers and musicians,” says Busch on her MySpace page, “all able to have this dialogue that somehow seems more intimate.”

With such bright horizons, it’s no surprise that the woman who has received critical praise from the Village Voice, Harp and No Depression is an optimist. “I want to be like sunflowers and not a midnight rose,” she sings on “Go Go Gadget Heart,” a sweet little ditty about love and yearning, and those of us who tend to seethe glass as half empty can join Birdie Busch for a second in believing wholeheartedly that it might be half full.

Birdie Busch performs with the Spindles and Joni Davis on Saturday, Feb. 7, at the Orchard Spotlight, 515 Orchard St., Santa Rosa. 8pm. $10. 707.542.7745.


The 411 on 211

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02.04.09

Marin and Napa counties already have a one-stop number for volunteer opportunities, questions about health insurance and information on food stamps, but on Wednesday, Feb. 11, the newest three-digit number phone line finally launches in Sonoma County. The number is 211, and the fact that it debuts on 2-11 is no coincidence. Unlike its counterparts 911 and 411, 211 is not for life-or-death emergencies or to be used as simply a directory.

“Two-one-one is an easy-to-remember health and human service number, so that when you have a need—let’s say that you just got evicted or your PG&E is going to be turned off—they’ll refer you right on the spot to the correct person or agency that can help,” explains Stacy Ruppert, the communications manager at United Way of the Wine Country. “Right now, people have to make an average of nine calls before they get to the right number; this cuts it down to two.”

Instead of reaching an automated message or someone in India, calls to 211 will be directed to real people in the community. “Right now it’s located in county center and staffed by real people who live here, 24 hours a day,” Ruppert says. “After-hours and on the weekends, it will be sent down to another 211 call center, but during the day it will still be here in Sonoma County.” United Way agencies across California are taking on 211’s launch. United Way of the Wine Country is launching the number not only in Sonoma County, but also soon in Mendocino and Lake counties.

“Sometimes, 911 is fielding calls that aren’t relevant to it,” Ruppert continues. “In times of disaster, you can call 211 and whatever you need, it’s right there.” This new support line is also important in reducing calls to 911 when natural disasters occur. Last summer during Southern California’s ravaging wildfires, 911 call centers in many areas went down from the influx of calls, but 211 was still up and ready to help people trace family members and find important resources.

Cell phones cannot dial 211, but can reach its services at 1.800.325.9604. Walk-in clients are welcome at Human Services Dept., 8:30am–5pm. 2550 Paulin Drive, Santa Rosa.


Improv This

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02.04.09


The scene: the recent presidential inauguration, out on the mall. The situation: 5 million people and only 5,000 Port-a-Pottys. “Suddenly,” explains Bridget Palmer, barely containing her laughter, “It was suggested that President Obama was in one of those Port-a-Pottys, and everyone was running around opening doors to see which one he was in so they could, you know, meet the new president. And then there was this Secret Service agent, but he wouldn’t tell us which potty Obama was in.”

Though this anecdote sounds like either the best untold news story of the 2009 inauguration or some kind of twisted delusion, it is in fact the highlight moment of the night during a recent performance by Sixth Street Improv. Since the beginning of January under Palmer’s direction, the quick-thinking team of actors and comedians has taken over the Playhouse’s Studio theater, landing twice a month to open the dams of improvisational comedy. Sixth Street Improv employ a combination of classic improv games and live spontaneous songs, invented on the spot with the help of a live accompanist on piano. According to Palmer, the goal is higher than just earning some quick laughs.

“Well, we definitely are aiming to be funny,” she says, “but our primary emphasis is on story, so a lot of our improv bits are like little tiny plays, based on suggestions tossed out by the audience. Fortunately, most of the time the stories we get from the audience are pretty hilarious, and if they’re not obviously humorous, like the inauguration thing, our cast is pretty good at finding the humor in it and taking it as far as we can go.”

Since opening the series, the group has proven surprisingly popular, selling out their first night and threatening to turn people away ever since. As an art form, improvisation is on the rise in Sonoma County, with more and more improv acts appearing on the lists of local entertainment events. Palmer thinks it has to do with a growing need for laughter and a desire for community.

“Our purpose,” she says, “is to create a place where people know there will be improv in a theatrical setting on a regular basis. There really is a certain community that develops around these kinds of comedy series, and that’s what we’re hoping to build over at Sixth Street.”

Catering to a somewhat less refined, decidedly younger crowd is the World’s Largest Comedy Duo, a team of some eight insanely quick-on-the-uptake actors performing every Thursday night at Santa Rosa’s Black Rose Irish Pub. Formed two years ago by Adam Aragon, the group has developed a strong local following, in part through their presence on YouTube and through their website ([ http://www.biggestcomedyduo.com/ ]www.biggestcomedyduo.com).

Says Aragon, “Our goal is to just be as funny as we possibly can, to hopefully make the audiences laugh so hard they hurt. We practice that, making people laugh so hard they hurt, and we’re getting better and better at it.”

The group really does practice. Each week brings a different theme to the evening’s activities—science fiction, politics, vacations, bad literature and drunkenness—and the troupe meets weekly to plan out games and routines specific to the theme.

“We find that, in doing improv, the more you do it, the quicker you get,” Aragon says, “and timing is as important in improv as any other comedic form.”

 

The group took the drunkenness theme to hilariously improper levels, demanding that every member of the company have at least a couple of beers in them before they could take the stage.

“We probably weren’t as quick as we usually are, I admit that,” Aragon laughs, “but the audience understood the theme, and since all of the routines were about different aspects of drunkenness, it turned out to be one of our funniest shows. Everyone wants to know when we’re planning to do another one like that.”

 Sixth Street Improv play the second and fourth Saturday of each month, with the exception of April, when the group appear the second and fourth Sunday night, through June 6. Sixth Street Playhouse, 52 W. Sixth St., Santa Rosa. 8pm. $12. 707.523.4185. The World’s Biggest Comedy Duo play every Thursday night at 8pm at the Black Rose Irish Pub, 2074 Armory Drive, Santa Rosa. $3. 707.546.7673.


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Raging Bull?

0

02.04.09

There are few substances in the world that can both exterminate a species of crop-munching insect and increase your chances of ending up in a threesome. But ever since scientists began messing around with pheromones, nature’s sexiest cologne, a world of possibilities has opened up for both the casual dater and the angry farmer.

Pheromones are naturally created chemicals that animals use to tell others of the same species everything from “the food’s over here” to “let’s get it on.” They are colorless, odorless, tasteless and can work in amounts so small you’d need an electron microscope to see them.

Since 2007, when the California Department of Agriculture tried to eradicate the invasive light brown apple moth using crop-dusting airplanes to spray vast swaths of the Central Coast with pheromones, thereby throwing the moths into a confusing state of sexual overload, there have been plenty of opinions about these controversial chemical compounds. That’s why it was with some hesitation that I agreed to try out “human pheromones” and put to bed the debate over whether the opposite sex can be tricked into the sack using materials other than alcohol, drugs, sports cars or cash.

Pherlure brand cologne advertises itself as a surefire way to “attract sexual attention instantly from the opposite sex.” The product’s website displays claim after claim from men who say they sprayed themselves with this love juice and within minutes became the lunchmeat in a hot chick sandwich. I was a little skeptical at first, but thanks to the site’s video endorsement from supermodel CJ Gibson, who essentially claims this stuff can get a comic-book store clerk with eczema and a level 62 gnome paladin character in World of Warcraft laid, I was eventually convinced.

Four days and $55 later, a tiny 1-ounce bottle of human pheromone spray arrived. I should have known something was amiss when I noticed that the bottle was accompanied by an instruction booklet chock-full of hints like “listen to her,” “make eye contact” and “be interesting.” Didn’t I buy this stuff so I wouldn’t have to do any of those things?

But putting aside the initial letdown, I pumped a few nozzles full onto my neck and wrists (it smelled like your standard Macy’s counter cologne) then headed home to my unsuspecting girlfriend. Bracing for a sexual hurricane, I positioned myself on the couch and waited for my clothes to be ripped from my torso. But when nothing besides the normal “How was your day?” exited her lips, I began to wonder if this stuff was legit. And while it should be noted that I did eventually seal the deal, it was accomplished more by tried-and-true determination on my end than by any subconscious hypnotism by my cologne. Or was it?

“Pheromones are very important in the animal world,” says UC Berkeley biology professor Wayne Getz, who has studied the effects of pheromones in bees and cockroaches. “Whether they are effective in humans is debatable. The vomeronasal organ [used to detect pheromones] in humans is highly atrophied, which tells us that it doesn’t play as centralized a role as in other animals. One thing to note is that pheromones, when effective, need to come in low concentrations. Too much and females can’t find males because the pheromones are coming from all angles.”

“Too much” was exactly the strategy the Department of Agriculture thought would confuse and kill off the LBAM. Sexual signals from all angles! Chaos!

  

But maybe, with people, it’s possible to skip the “kill off” part and just stick with “confuse.” After all, confusion caused by alcohol has led to quite a bit of sex in humankind’s sordid history. Perhaps Bernard Grosser, a professor of psychiatry at the University of Utah, could help sort it out. Grosser was part of a team of scientists that in 2000 isolated and patented androstadieone, a pheromone compound harvested from human hair and skin. He stands passionately behind his research, which is now used in Natural Attraction cologne.

“[Androstadieone] is a compound very common in male sweat,” says Grosser. “We discovered that the effect of this compound on women wasn’t sexual, but it reduced tension and anxiety. In my opinion, a human pheromone or humanlike pheromone does exist.”

OK, so pheromones are real. Whether humans use them for anything other than cologne-making schemes, however, is questionable. And since by the end of my experiment, the only thing I attracted was several housecats, it can be concluded that, yes, it’s a good idea to smell good if you’re planning on having sex. But unless you’re a light brown apple moth or a tabby cat, you’re going to need more than mojo spray if you’re looking to bag a babe. 


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Raging Bull?

02.04.09There are few substances in the world that can both exterminate a species of crop-munching insect and increase your chances of ending up in a threesome. But ever since scientists began messing around with pheromones, nature's sexiest cologne, a world of possibilities has opened up for both the casual dater and the angry farmer.Pheromones are naturally created chemicals that...
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