Wine Tasting Room of the Week

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A too-cursory review of a press release led me to believe that Murphy-Goode’s brand-new tasting room is a “green” structure—solar panels, sod roof, that sort of thing. Turns out the downtown Healdsburg location is a keystone in a “green tourism” strategy. It purportedly saves wine tasters some 75 gallons of gas per week as compared to driving to their Alexander Valley winery. That’s laudable, applaudable. (Of course, every conscientious wine taster taken off the road will be replaced by three yuks who come to simply drink and throw away their green at the casino.) I’m not saying that the gambling-themed winery, which has earned its down-to-earth, straight-talking image, is bluffing its hand. I’m saying: fire up the gas grill and bring out the reds and the whites!

Because I can’t be content to just read a press release, I ambled down to the new tasting room and learned some other things I didn’t know about Murphy-Goode:

• Murphy-Goode has farmed huge quantities of grapes in the Alexander Valley since 1985, but grows none of its own Zinfandel, one of its most successful varietals. 

• Minnesota Chardonnay is not an appellation. It’s aged in American oak barrels that are sourced from the great state of Minnesota, from whence also originate the winery’s founders.

• Jackson Family Wines has owned M-G for two years.

• The purple color scheme is a tribute to home favorites the Minnesota Vikings. (Does the whole Minnesota-purple thing explain anything, I mean at all, about Prince?)

Once there, I also learned what’s good about Murphy-Goode:

• The sparkly, retro style bar is made from shards of recycled glass that has the appearance of abalone shell.

• An oversize photomontage above the tasting bar features regular folks, like the cellar crew and other staff working and horsing around.

• The owners have retained the winery’s focus on reasonably priced, high-quality Sonoma County wines with no attitude added.

And most importantly, I learned the wines that I like at Murphy-Goode:

The  hands-down bargain is the 2007 “The Fumé” Sauvignon Blanc ($11.50), perfect for anyone who doesn’t mind a mild whiff of eucalyptus on the way to a full, only mildly oaky mouthful of barrel-fermented goodness. Summer party wine? Chardonnay lovers and haters can make peace on this one as Meyer lemon and butterscotch dally in a cool sip of 2006 Minnesota Chardonnay ($18). The simple, exuberant, warm brambleberry fruit of the irrepressible 2005 Liar’s Dice Zinfandel ($21) upstages the greener, spicy but more refined 2004 Snake Eyes Zinfandel ($35). An initial suggestion of fresh bread and raspberry perfume belies the serious dark violets of the 2005 Petit Verdot ($28), finishing with a brief tannic thud, like a leather football in an iron glove.

What’s green, yet purple, a toss of the dice, but always a sure bet? Murphy-Goode Winery, 20 Matheson St., Healdsburg. Open daily, 10:30am to 4:30pm. Tasting fees, complimentary or $5 for reserve. 707.431.7644.



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News Briefs

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06.04.08

Prettying up the Parks

Over a million outdoor enthusiasts nationwide are expected to head to a favorite park, forest or recreation area on Saturday, June 7, for a day of trail work and celebration. Established in 1993, National Trail Day (NTD) now includes almost 3,000 separate events across the country. Volunteers refurbish national, state regional and local park trails. Organizers offer workshops, educational exhibits and new trail dedications in addition to giving folks the opportunity to give a little elbow grease in payback.

Rod Helms is the executive director of the Sonoma Trails Council, the nonprofit spearheading Sonoma County’s efforts. Helms encourages everyone who has ever used a park to lend a hand in NTD trail-maintenance efforts. In the past, Helms says that he’s enjoyed everything from “brushing trails, tread-work and reversing erosion from lumber trails into creeks” to “removing seaweed off a beach” to luring potential bike-riding volunteers off the path “with cookies.”

In Marin, volunteers will meet at Tennessee Valley to do fence-building, clear brush and construct a raised turnpike. In Sonoma, the event is Trail Days-with-an-ess as the work at Salt Point State Park runs Friday&–Sunday, June 6&–8, with work needed on the pygmy forest and rhododendron preserve, as well as such mundane places as the beach. In Napa, volunteers get an unprecedented chance to enjoy the new Newell Preserve, an open space acquisition not yet open to the public, as they tour the area that is slated to one day be the River to Ridge Trail, part of the overall Bay Area Ridge Trail.

Aside from the satisfactions to be had from a well-spent day of magnanimous labor and camaraderie, all volunteers receive free raffle tickets good for mounds of outdoor gear provided by REI, Sonoma Outfitters, Camelbak and Marmot. In Sonoma County, the gear will be handed out at the Sonoma County Trails Jamboree, which is slated for Saturday, June 21, at Santa Rosa’s Juilliard Park. The featured guest speaker is Traci Verarbo-Torres, the legislative and policy director for the California States Parks Foundation.

For further details on Sonoma County NTD events, call 707.490.4950 or visit www.sonomacountytrails.org. Marin County residents can call 415.561.3068 or visit www.parksconservancy.org. For details on the River to Ridge Trail event, call 707.647.7275.


Fill ‘er Up

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06.04.08

No way, man! Why’d you get a tattoo of Waffle House?!”

Like anyone with a prominent tattoo, I’ve come up with a variety of explanations for my Waffle House tattoo depending on my mood. I lost a bet, I’ll say. I made a dubious pact with some friends. I wanted to try to get free food. I love the songs on their jukebox. I’m on a one-man campaign to bring Waffle House west to California.

All of the above is true, but the real reason I got the tattoo is what anyone who’s ever been on the road with a band already knows: the Waffle House is the perfect tour stop. If it’s after a show and it’s 3am and you’ve only got 20 bucks in the band fund, the entire group can eat like royalty inside one of the bright yellow Waffle Houses that dot freeway exits across the southern Midwest.

Most people recoil at the thought of regularly consuming what the Waffle House serves up as “food.” But when I think about all the unsavory specimens I’ve eaten while on tour—tentacle cauldron stew in Spain, inedible vegan slop in Minneapolis, something I can’t even explain in Indiana—Waffle House’s food sounds downright glorious. And when I think of all the delectable home-cooked meals, the heaping plates at amazing hole-in-the-walls and the regional treasures one encounters between playing shows, it makes me wonder what I’m doing sitting at a desk writing this article.

So I turn things over to a handful of North Bay musicians to sing the praises—and curses—of their most memorable meal on the road.

Judah Nagler (The Velvet Teen) “When we were in Japan, we were treated to a meal called chankonabe. It’s apparently the favorite food of the sumo wrestler, a concoction of all kinds of different meat from a variety of animals and seafood. It’s served to you in a huge Crock-Pot, all mixed together in boiling liquids—really meaty, really tasty. But as a side dish, there was this sort of squid that they had, which looked really stringy and kind of gooey and gross-looking and dark, dark brown. It had the taste of sugar and chocolate and the sea and decay, all at once. It really tasted foul.”

Charlie Musselwhite “One of my favorite restaurants is Alcenia’s at 317 N. Main St. in Memphis. I love everything they have and I especially love their hot-water cornbread, as it’s just like what my mom used to make. Usually cornbread is a cakelike thing that’s too dry and crumbly for me. Hot-water cornbread is dense and moist. A typical rockin’ meal at Alcenia’s will be chicken-fried pork chop with turnip greens and black-eyed peas and mashed potatoes and fried green tomatoes. After you finish your greens, the juice left in the bowl is called ‘pot liquor.’ You dip your hot water cornbread in that pot liquor and, man, that’s some mighty fine down-home Southern eating.”

David T. Carter (Trailer Park Rangers) “In the town of Rio Vista, there’s a pub called the Longhorn. The wall is adorned with hundreds of animal carcasses from all over the world, from years back. It’s overwhelming—they’re all watching while you eat, all of them. While biting into her burger, my woman said she felt guilty. All I could think was, ‘Christ, the beef must have tasted so good back then.'”

Dan Kelly (Tegan and Sara) “Fazoli’s. If you haven’t heard of it, it’s because you live in California and there’s a Midwestern conspiracy to keep it away from us. It’s best described as fast-food Italian. What better combination is there in the world than soggy spaghetti and paper plates, especially at the low price of $3.29? Once on a cross-country trip, I spotted a Fazoli’s sign from the freeway. I immediately jerked the wheel of the 18-passenger Ford Econoline van—with double-axle trailer—and crossed no less than four lanes of traffic to just barely make the exit.”

Eden Mazolla (A Pack of Wolves) “Our most memorable meal on tour is a place we hit every time in Spokane. It’s called Neato Burrito—half burrito bar, half regular bar—and every Wednesday they have 50 cent PBRs. You start at one end of the burrito bar and choose everything you want from the type of tortilla, to the beans, to the meat. The best part is that they have a bunch of crazy shit like honey, barbecue sauce or veggies. Seriously, this is the best cure for an after-show hangover.”

Ben Henning (Polar Bears) “My favorite road-food experience wasn’t a full meal but rather an Italian shaved ice in Winter Park, Fla., in 2004. When I used to live there, I would always ride my bike to this little drive-through stand in the parking lot of a strip mall to cool off with passion fruit ice in moist 100-degree weather. When we were touring, we decided to check if it was still there; it had been seven years. Sure enough, intact all those years later with the same signed Rancid album cover inside the stand and the same fucking delicious, sweet and refreshing ice that had saved my life back in my early teenage punk rocker years. Chomping into it, the past rushed back to me like a tacky Florida version of Proust’s madeleine.”

Joni Davis “In Amsterdam, we [tried] a simple coffee shop, but they served open-faced sandwiches. There was fresh mint tea everywhere, so we got excited. I ordered a goat cheese sandwich with some mint tea, and out came a hunk of grainy bread with some sun-dried tomato pesto smeared on it. On top of that was a thick slab of goat cheese, the kind with a rind, and it had been toasted so it had a lovely light brown crust. On top of that was dressed rocket, and on top of that was half of a perfectly ripe avocado. Fuckin’ incredible!”

Ephraim Nagler (soundman for Cursive) “Tim Kasher and I shared a hot plate in Tokyo, where you cook your own meats and dip them in some different sauces and drink your Sapporo. We were asked all at once if we preferred ‘normal’ or ‘weird’ food. We of course asked for the weird. You got your usual tongue and whatnot, but it started getting freaky when they brought us womb and raw liver.”

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

Food-related comings and goings, openings and closings, and other essays for those who love the kitchen and what it produces.

Recipes for food that you can actually make.

Stay Up Late

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06.04.08

It ain’t all about Damian on the big stage this year. The Harmony Festival has teamed up with Jazziz magazine to bring together some truly creative music from around the globe in what they’ve for the past four years called the Ambiotica Lounge. A late-night chill-out experience, this year’s Ambiotica brings artists from all around the world, including Pakistani vocalist Sukhawat Ali Kahn, Israeli guitarist Roni Ben-Hur and Tibetan vocalist Yungchen Lhamo. Saturday night’s double-punch is hard to beat: percussionist Babatunde Lea and upright bass wizard Charnett Moffett team up for jazz excursions, while songwriter KJ Denhert slides in afterward with her powerhouse blend of urban folk and acoustic jazz.

Saturday night also means the long-running Techo-Tribal Community Dance, and this year’s headliner is San Francisco favorite DJ Cheb i Sabbah, an artist who wields a magnetic pull over every rare world-beat groove on earth and blends them with taut skill. A notable standout on the bill is RJD2 (above), a Philadelphia DJ who around the turn of the century created two flawless and hugely cinematic instrumental hip-hop albums which essentially crumble under the weight of their own texture. But last year, he delved headlong into crooning indie-folk-pop musings for his latest release, The Third Hand. Will he scratch or will he sing? Either way, don’t miss it.

The Harmony Festival runs Friday&–Sunday, June 6&–8, at the Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa. Damian Marley, George Clinton, Mickey Hart, Angelique Kidjo and Lila Downs are among the weekend headliners, while the Devil Makes Three, John Courage, the Goddess Alchemy Project and others fill the smaller stages. For full lineup, see [ http://www.harmonyfestival.com/ ]www.harmonyfestival.com.


Letters to the Editor

06.04.08

Secrets and Lies

What John Sakowicz didn’t mention in his story about swaps and derivatives (“Secrets and Lies,” May 28) is that Warren Buffett, the world’s richest man and most successful investor, started warning the world about them as far back as 2003. In his 2003 annual letter to shareholders at Berkshire Hathaway, Buffett’s investment company, he called swaps and derivatives “financial weapons of mass destruction.”

He said that because the contracts were too complex and allowed Wall Street to recklessly speculate without putting up any cash or collateral, they posed “meta-catastrophic risk” to the economy.

Warren Buffett also warned of the potential for large-scale fraud. I quote: “Swaps and derivatives generate reported earnings that are often wildly overstated and based on estimates whose inaccuracy may not be known for years.”

I am copying Sakowicz’s article and sending it not only to our congressional delegation here in Northern California, but also to all our presidential candidates. I’m also emailing it to many of my more politically active friends and colleagues.

Shannon Morris

Ukiah

He Found Us!

Thank you so much for continuing to run these articles on the state of the economy. Where did you find this John Sakowicz? He’s great!

Gabriella Toro

Santa Monica

Plain Old Guts

This article (“Secrets and Lies”) smacked me right in the face with its searing honesty and incendiary revelations and explanations. Wow, I had no idea that anything like this lurked below the glitter of Wall Street! It takes guts for the author to have written this, and even more guts for your commendable paper to publish this. I am going to tell everyone I know. And I am going to send this link to our legislators with a note to pay attention.

This sounds like a new and insidiously malicious mafia to me, with echoes of the well-known recorded tapes from the downfall of Enron. We can’t just sit back and let this party go on, unregulated—especially when the average American is really suffering these days.

Marva Marrow

Hesperia

PrÊt-À-Porter

Patricia Lynn Henley’s “Between Sizes” (May 7) was a real eye-opener. As an older male, I can now understand much better why clothing shopping has always been unpleasant. I’ve had some of the same experiences.

As a retired electrical engineer, I find it somewhat ironic that now, in the 21st century, the ready-to-wear industry is still based on a model originally designed to meet the needs of military uniform garment. (A lot of things we use today originated from military need, and they’ve all changed our lifestyles, not always for the better.)

It’s almost been three decades since sci-fi author Frank Herbert (Dune) described a technological solution in an introductory book on computers; the necessary technology to implement a basic model existed even then.

A customer should be able to go to a ready-to-wear service center, where she could get her measurements professionally taken and entered into a database. She could then order from a virtually limitless variety of fashions, fabrics, patterns and colors, and her order would be cut by CNC equipment, assembled and delivered.

The technology necessary to implement this model exists today with the bells and whistles on. I believe that the first business to implement this model today would have so many women beating a path to their door, they’d have to beat the customers off with a stick!

John Meshkoff

Petaluma


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Don’t Treat the Earth Like Dirt

06.04.08

When my homeopathically inclined friend makes a tincture for my allergies by placing small vials on one side of a nondescript little machine, and a tincture bottle filled with Grand Marnier on the other, and then turns on a magic switch for 30 seconds, my rational mind tells me that what exists in the tincture bottle has not changed. It was and still is Grand Marnier. My body, however, feels differently, and within 15 minutes of taking my tincture, I can breathe again. Biodynamic farming is sort of like this. Founded on a holistic and spiritual understanding of nature and humanity, biodynamics is difficult to explain and at the same time, undeniably effective.

Considering the fact that biodynamic farming was invented in 1924 by Rudolph Steiner, the father of Waldorf education, one should expect the unexpected. Steiner was anything but conventional, and he believed that we need to have the same holistic approach in our farming methods as we do in educating our children. There are obvious aspects to this method of farming that are hard to contest: biodiversity; no artificial fertilizers, pesticides or herbicides; working with the cycles of nature; and composting. Then there are the less easily explained phenomena. Like the cow horn.

When Mimi Gatens, director of sustainability at the Benziger Winery in Glen Ellen, tells me about the cow horn, I have a hard time containing my enthusiasm. I first encountered the cow horn when doing a story on Steve Rose, of Rose Ranch, who supplies Benziger with some of its biodynamic grapes. Now, here I am, perched atop a small hillock, surrounded by a biodynamic vineyard and farm, overlooking one of the “insectaries”—an elaborate garden space that attracts the good bugs into the vineyard—and I get to see a real cow horn burial ground!

This is the perfect example, Gatens tells me, of how biodynamics can freak some people out while enthralling others. The cow has the most advanced digestive system of any living animal. Somehow, Steiner figured out that the cow’s digestive juices interact with the horn in order to form the ideal vessel—not too thick, not too thin—for turning manure into compost. Filled with manure and planted in the ground at fall equinox, the horns come out of the ground containing the richest soil imaginable, which is then used on the farm before sowing and planting.

Biodynamic farming is labor-intensive. It involves a committed staff, close attention to the biodynamic sowing and planting calendar following the lunar cycles, elaborate herb-based preparations made from herbs grown here on the farm and a strong belief that by working with the cycles of nature one can produce a better wine. The 85-acre Sonoma Mountain estate, which I toured on a lovely tram, is situated in a perfect 360-degree bowl. The vineyard houses sheep that roam the vineyard in the winter, tilling the soil and eating the weeds, as well as Scottish Highland cows, which are kind enough to provide the farm with manure. The goal of a biodynamic farm is to be self-sufficient, keeping external inputs at an absolute minimum. And of course, the work is never done. Despite being certified by the Demeter Association, founded in Europe in 1928, there is always something to be improved upon.

After a sweeping ride around the farm’s extensive water-filtration system—in which the vineyard’s wastewater flows down into a series of ponds, where it is filtered of impurities by carefully constructed wetlands and used for irrigation—our tour ends at the tasting room. Rodrigo Soto, director of winemaking, meets us here and proceeds to tell me all sorts of wonderful things about the different wines, how they are made, whether they come from biodynamic grapes, organic grapes or sustainably grown grapes, why sulfites are necessary for stabilizing the flavor in a quality wine and about the delicate relationship that exists between growers and vintners.

As I struggle to swirl this very good wine in my glass, Soto tells me something that resonates. Conventional farming is like mining the land, he says. In 10 to 15 years, a piece of property can be virtually destroyed. Living as we do in a county drowning in vineyards, I can only hope that the growers out there believe in this message. Poor farming practices affect not just the food we eat, but the water we drink and bathe in, and the air we breathe. Steiner may have been a far-out dude, but he knew a thing or two about true sustainability. Perhaps it would behoove us to listen.

For more information about Benziger Winery, go to [ http://www.benziger.com ]www.benziger.com.


Know What Imeem?

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06.04.08

In the small Midwest town where I grew up, the only access I had to current pop music that wasn’t Top 40 was the local college radio station. On a clear day, if I stood in just the right spot of my bedroom with the radio antenna pointed just so, the college station broadcast would be mostly audible, albeit ridden with static.

If a user-friendly music-sharing website had existed in those stone-age days , I’d probably have gobbled it up, and my mother, instead of repeatedly asking me to cease watching late night television and finish my homework, would have had to instead drag me away from the computer.

It sounds great, doesn’t it? A virtual land of countless songs free for the listening, pre-selected for quality by scores of celebrities, friends and strangers—or, in hopeful terms, friends-to-be. And that’s what makes websites like imeem.com so popular. Remember Napster, the ill-fated, oft-sued charter of free Internet music sharing? After that empire toppled, Napster’s Jan Jannink cofounded imeem in 2004, and, after a fairly short gestation period, the site exploded; late last month, Wired reported that imeem is now the most popular social music site in the country.

There are a couple different reasons for its popularity, but the main one is imeem’s breadth of content, focus on high-profile playlists and ease of use. Last year, College Music Journal posted a free playlist over 270 songs long, featuring acts appearing at their CMJ Music Marathon and Film Fest. And they’ve made deals with all four major record labels, allowing imeem to be a veritable Candyland of streaming music: click on the song, the whole thing plays for free, and if you like it, you can download it from iTunes or Amazon for a small fee.

Shortly into my own excursion with imeem’s ad navigation and playlist browsing, I began to think of more exciting things to do. There was too much of everything—ads, songs, videos—and I don’t even have enough time to listen to the music I already have to begin with.

All of the playlists categorized as “shoegaze” sucked. I could have created and posted my own superior shoegaze playlist, but that would have taken time and effort. Truth be known, it would have been something I did not for the greater good of shoegaze music, but because I wanted people I’d never met to know how much cooler I was than them.

While vacationing recently in a small town adjacent to a national park, I stumbled across an antique mall. One section held shelves and shelves of country music records, most of them from the 1960s, and most of them in excellent condition. They were 50 cents each, and I felt my pulse quicken. Although we’d just visited the only temperate rain forest in North America, I knew I’d come away from the trip boasting of 50 cent country music records. It took restraint, but I only bought two albums, seeing as we don’t actually have a record player.

But I love the way the records smell, and I love the photos on their covers of my favorite Nashville Sound divas with their bouffants and puffy-sleeved prairie dresses, and the men with their pompadours and Nudie suits. And that’s the difference between me and a satisfied imeem user. These music-sharing sites—save ads and videos and user profiles—are pure music, scads of it, but the context is a computer screen and a set of speakers. To me, I guess music is a bunch of musty records I can’t even listen to.

That’s too bad, maybe, because sites like imeem give music lovers more control over what they listen to than ever before. For those who care about Nicole Richie, imeem shared her own Best Of 2007 playlist (number five is Maroon 5’s “Wake Up Call”). But for those who, like me, could care less if Nicole Richie fell off the face of the earth, imeem posted dozens of other year-end playlists to choose from, compiled by artists like Spoon or Aesop Rock.

It’s almost as if Spoon made a personalized mix just for you, except they didn’t. Spoon made a playlist of stuff they like, not stuff they think you, specifically, will like. If Spoon came over and brought one of those record players you could use to upload songs to your computer, I’d make them a playlist of my new Loretta Lynn and Porter Wagoner gospel albums. No one would ever have to settle for standing on one foot just to listen to the college station ever again. Unless you wanted to.


Keeping It Light

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06.04.08

A Music Matters concert bears about as little similarity to a night at the opera as a Yo-Yo Ma concert would have to an extravaganza featuring Celine Dion,” says acclaimed soprano Rebecca Plack (above). And indeed, anyone who thinks classical music is stuffy and pretentious is in for a pleasant surprise as Santa Rosa’s Friedman Center presents the final show in its monthly “Absolute Music” series.

The season closer is a little program titled “Music Matters,” in which Plack and tenor Stephen Guggenheim are joined by pianist Blaise Bryski for a peppy, informal concert described as offering “a refreshing alternative to the staid, traditional concert-going experience.” The show features works by Haydn, Schubert, Mussorgsky and Mozart, but should not be thought of as another showcase of gems from the concert hall and opera stage.

A 90-minute recital, the performance highlights Songs from Letters by daredevil composer Libby Larsen—clever musical settings of letters written by Western legend Calamity Jane to her daughter in the early 1900’s—and The Nursery, Modest Mussorgsky’s playful song cycle about nannies, toys and cats. Each piece is accompanied by the performers’ sprightly and light-hearted remarks about the composers and their music. The artists have designed these shows to make classical music more accessible to young and unfamiliar audiences, with the intention of planting little seeds of musical appreciation that will spout and grow and turn everyone into lifelong music lovers. They do it in the most ingenious and insidious of ways—by making it fun.

“Music Matters” takes it lightly on Sunday, June 8, at the Friedman Center, 4676 Mayette Ave., Santa Rosa. 2pm. $18; students, free. 707.538.1899.


Raised on Radio

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06.04.08

When the sun went down, our radios came on. Faintly through the twilight, then with increasing clarity as the darkness intensified, the clarion 50,000-watt signal of KOMA reached across the midwestern plains, a beacon of aural gratification for a town full of teens hungering to hear the hits.

Although our backwater enclave was hundreds of miles away from the station’s studios in Oklahoma City, we knew we were dialed in to what was happening musically. This was the mid-1960s, the era when Top 40 radio ruled the airwaves, and “playing the hits” was radio’s raison d’être from coast to coast. For a generation—the one I share with Pete Townshend—that artistically agnostic weekly tally of the records that got played, requested, sold, memorized, imprinted on a generation, was the embodiment of the democratic ideals that seemed so irrelevant in civics class.

For these were our songs, the favorites (and all the rest) that served as something important and meaningful that could help maintain and reinforce the connections that we in our class and our school and our town and our county shared with our counterparts in all the other classes and schools and towns and counties and even states across the country.

This wasn’t really anything new. Music publishers began tracking the sales of sheet music a century earlier, making Stephen Foster a temporary superstar long before the term was coined. And the nationwide radio broadcasts of The Lone Ranger and Amos ‘n’ Andy and The Shadow and Jack Benny and dozens more fulfilled a similar function until television added pictures and swept them into the new medium.

As music returned to fill the void, regional stations began to share ideas—promotions, business innovations and on-air talent, too. And when the earliest innovators figured out that they could play the same songs that were sounding from local juke boxes—over and over and over—what soon became Top 40 radio was, in short order, a nationwide presence.

Reinforced by weekly charts in the trinity of trade magazines—Cashbox, Record World and Billboard—Top 40 radio was musically ecumenical, ready to play almost anything that would generate a flurry of calls to the request line. Thus we had such incongruous juxtapositions as Elvis Presley and Perry Como jostling for position at the top of the charts in the spring of 1956; Louis Armstrong (“Hello Dolly”) bumping up against the Beatles (“Can’t Buy Me Love”) in early 1964; or Sept. 20, 1969, when the Rolling Stones’ glorious “Honky Tonk Women” had its four-week run as the nation’s No. 1 song ended by, of all perverse possibilities, “Sugar, Sugar.”

Yet this same stylistic color-blindness also allowed all kinds of strange and wondrous exotica to slip onto the national playlists, giving naive teens tastes of ska (Desmond Dekker’s “Israelites”), African pop (Miriam Makeba’s “Pata Pata”), bossa nova (Getz/Gilberto’s “The Girl from Ipanema”), skiffle (Lonnie Donnegan), pure gospel (“Oh Happy Day”) and such jazz artists as Cannonball Adderly, Dave Brubeck, Hugh Masekela, Ramsey Lewis and Mongo Santamaria.

It also left room for an endless stream of comic “novelty” records, creating careers for Stan Freberg, Alan Sherman, Ray Stevens and “Weird Al” Yankovic.

Top 40 radio was the wave that carried California surf music around the world, and gave certain cities a clear musical identity, such as New Orleans, Detroit, Memphis or later, San Francisco. It lifted local acts to (often fleeting) national prominence from such unlikely cities as Minneapolis (the Castaways, “Liar, Liar”), Seattle (the Ventures), Pittsburg (Tommy James & the Shondells) or rural Louisiana (Tony Joe White).

As FM emerged as the medium of choice for deeper musical explorations, Top 40 radio became even more eclectic, embracing the cream of serious rock (the Beatles, the Stones, etc.) scrambled with the likes of Tony Orlando, Cher, Helen Reddy, Bread, the Carpenters and other middle-of-the-road acts whose painfully unhip hits never darkened the turntables of the “underground” stations.

Whether or not they acknowledge it, many practitioners of that “freeform” approach to FM programming surely had their ears opened, at least to some degree, by the anything-goes ethic of their Top 40 antecedents. But given the timid playlists and corporate conservatism that dominate broadcast radio today, and the vast array of narrow niche formats that has blossomed on satellite and Internet radio, it’s a wonder how a new generation can find, share and learn from a world of music. For us, it was once encapsulated in an ever-shifting list of 40 favorite songs.


Don Byron at the Healdsburg Jazz Festival

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Though billed as “Bug Music for Juniors,” both the seven-year-old child and the fifty-something-year-old man on either side of me at the Raven Theater smiled and bounced their heads last night as Don Byron launched into “Siberian Sleighride.”
The youngster was thrilled that the cartoons were back up on the movie projector screen in the form of Meatless Flyday, a wacky 1944 Warner Bros. cartoon, and the man was thrilled at hearing one of Raymond Scott’s bounciest compositions revived by Scott’s greatest acolytes.
Holding court on a demonstrative jazz concert, meant mostly for kids, Byron spent equal time explaining chords, syncopation, and why musicians write on piano as he did playing the part-klezmer, part-swing, part-avant-garde jazz that’s his trademark. Watching the New York clarinetist explain jazz to kids, however, was a performance in itself.
“So you can kinda hear it, right?” Byron asked the kids, after playing select passages from both Raymond Scott and John Kirby. “Raymond Scott’s all wild, but John Kirby’s more elegant. He’s like, chillin’ at the club, drinkin’ Cristal. More slick, smooth, and cool. He’s like P. Diddy—you know, the way P. Diddy would hang—draped in nice clothes, clean clothes.”
One by one, Byron introduced the instruments in his sextet, conducting the proceedings like a game show announcer and ending with a drum solo that turned into an off-the-cuff version of “Shaft.” During “Powerhouse,” Scott’s most famous tune, a toddler danced in front of the stage, and Byron played off of its vocal noises during the breaks.
Bugs Bunny and Tom & Jerry cartoons screened in the background, as did old film reels of jazz bands; Byron also spoke at length about the Cotton Club and Duke Ellington, whose “The Mooch” opened up eventually into a free-for-all blowing session—and into the Byron that fans of records like his excellent Ivey-Divey are used to.
After a few solos during “The Mooch,” and after applauding for each one, the seven-year-old next to me turned and said, “We’ve already clapped, like, four times for this song!”
“Do you know why?” I asked.
“No.”
“Because they’re not reading from music. They’re making it up as they go along.”
“You mean they don’t know what they’re playing? Why do they do that?”
I was stumped. “Because,” I told him. “It’s jazz.”

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