Rockin’ This Vote

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05.21.08

On June 3, the people of Sonoma, Marin and San Francisco counties will select the Democratic Party nominee for State Senate, which is the same thing as electing a senator, since Bay Area Republicans are as rare as rattlesnakes. Many years ago, the Burton Brothers machine carved out our weirdly shaped senatorial district to protect the Burton brand of liberalism: promoting socially conscious and pro-labor legislation while wallowing in overpriced public works projects and practicing cronyism.

Our sitting senator, Carole Migden, was nurtured by the Burton machine, as was her opponent, San Francisco assemblyman Mark Leno. But the third candidate in this race, Joe Nation, as his campaign funding reports show, is a creature of the RAND Corporation, Chevron, Dow Chemical, ExxonMobil, Coca-Cola Corp., the ultra-right-wing American Enterprise Institute and the health insurance industry. Locally, he is funded by Pflendler Ranches, Basin Street Properties and bankers with ties to Rohnert Park casino interests, such as Clem Carinalli.

Let me be clear: Migden must go. She was recently fined $350,000 for using campaign credit cards for hundreds of thousands of dollars in personal expenses, and concealing $1 million in donations. Migden’s malfeasance is not a mere technicality. Were she not a state legislator, she would stand accused of a white-collar crime.

On the other hand, I have observed Assemblyman Leno since Willie Brown appointed him to the San Francisco Board of Supervisors in 1998. Frankly, he surprised me by quickly becoming his own man. I have learned to respect his integrity and the political savvy he has shown taking the lead on such vital issues as marriage equality and fiscal responsibility. Vote for him, not the corrupted, vainglorious Migden.

And under no circumstances should one cast a vote for Joe Nation. When Nation ran for Congress in 2006, I interviewed him at length. His “signature” issue, then and now, is opposing single-payer healthcare by proposing phony “universal” healthcare plans that are ploys concocted to derail genuine healthcare plans. Nation’s current Trojan horse healthcare plan is designed to primarily benefit the clusters of insurance companies, pharmaceutical corporations and medical groups that are stuffing thousand dollar bills into his half-million dollar campaign purse.

In the Assembly, Nation has twice proposed legislation designed to kill genuine healthcare bills. His AB 1670, which failed in committee, would have ordered every person in California to buy a commercial health insurance policy with a deductible of up to $5,000. Those without coverage would have their tax refund seized—a disaster for poor people. After Nation’s bill was shot down, he resurrected it, with changes, as AB 1952.

In addition to forcing people to buy health insurance (without doing anything about the ever-inflating costs of medical care), the new bill proposed to fine people who do not obtain health insurance—at prices set by the insurance cartel—by fining them twice the cost of the average premium. The insurance industry, of course, adores compulsory premium paying, and Nation is their running dog.

Furthermore, this RAND Corporation&–employed candidate has reinvented himself as a “climate change advisor.” (RAND was responsible for designing the defoliation of Vietnam during the 1970s, and it currently profits off causing pain in Iraq.) Nation moonlights for an international consulting firm called Environ. That privately owned company counsels industrial corporations, Fortune 500 types, on how to protect corporate interests in a world increasingly hostile to degrading the environment by emitting greenhouse gases.

In a telephone interview, Allan Delorme, an owner of Environ, declined to name his client list or to say anything about Nation’s work for Environ, except that it is performed “as needed.” One of Environ’s specialties is negotiating the sale of corporate carbon pollution credits called “cap and trade.” Environ’s Nation calls for dealing with global warming by selling these carbon emissions credits.

His top legislative agenda, he says, will be enabling the sale of pollution credits from one polluting corporation to another polluting corporation. Say, for example, that ExxonMobile befouls the air in one state at 100 tons a day less than normal. It can sell a “right to pollute” to Dow Chemical so that Dow can pollute 100 tons a day more than normal—perpetuating global warming!

According to an article on carbon markets in the December 2007 Scientific American, responsible scientists and politicians (unlike Environ and Nation) are calling for an end to pollution credits. The best way to combat global warming, scientists say, is to tax corporations for emitting carbon: “[C]ap-and-trade systems hinder planning. Tax systems reduce opportunities for political favoritism and corruption.”

Enough said.

  

 A former ‘Bohemian’ columnist, Peter Byrne is currently at work on a book for Oxford University Press about famed physicist Hugh Everett III.

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Taking It Slow

05.21.08

Just as European nations are protecting their Champagne and Parmesan and Port from generic designations unrelated to geography, so too are American providers beginning to understand that what is produced exactly and only here is unique and worthy. That’s where the Slow Food Nation steps in. Working outside of, say, such besmirchments as the 2008 Farm Bill, SFN works to “inspire and empower” Americans, it says, to rebuild our food network, returning it from a mass distribution system that grossly impacts the planet to the simpler days when agriculture and consumption were cleaner and fairer.

Slow Food Nation’s inaugural event is slated for Labor Day weekend in San Francisco’s Ft. Mason and the downtown Civic Center area. Featuring such reliable speakers as Marion Nestle, Michael Pollan, Wendell Berry, Slow Food’s own Carlo Petrini, Alice Waters and others, this three-day celebration of real food by and for real people will also offer a marketplace, a tasting pavilion and even an old-fashioned victory garden to be planted in the city’s center; a dinner for 500 will be held around that garden.

Speaking of that hateful real Farm Bill, the one that rewards factory farming, allows subsidies for wealthy growers and is generally a meal ticket to those who need it least, SFN will offer a ceremonial presenting of a “model” farm bill that outlines what such a government doc would resemble were it truly by and for the people. Expect to see plenty of North Bay neighbors at this event, from the Russian River Slow Food chapter to many local providers. Most events at this three-day fandango are free, but some warrant ticket purchase now. For details, go to [ http://www.slowfoodnation.org/ ]www.slowfoodnation.org.

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.

Three for the Treble

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05.21.08

Hip-hop is full of shoulda-beens. Currently filed in Los Angeles’ urban dead letter office is an expertly crafted recording representing the multiracial makeup of that city. Made by a black and Asian rapper with a white DJ, it’s hard to say why the 2005 album Fly School Reunion, by Giant Panda (above), never took off. Throughout, MCs Maanumental and Chikaramanga wrestle the polyrhythmic beats of Newman in pure Angeleno style: smooth, hot and confident, even interpolating A Tribe Called Quest’s “Midnight” (you know the transaction) to pay tribute to the golden era in the “’90s.”

The group releases its follow-up, Electric Laser, this week, and the title reflects Giant Panda’s new chosen sonic turf: lots of synthesizers, lots of electronics. Check ’em out when they perform with Pigeon John, the Crown City Rockers’ Raashan Ahmad, Distant Relatives and Lost Role Models on Friday, May 23, at the Raven Theater, 115 North St., Healdsburg. 8pm. $20. 707.433.6335.

Sebastopol’s own Smoov-E has occupied a similar spot of obscurity in Bay Area hip-hop, with the usual reason offered (“He’s white”) that unfairly simplifies his unique aesthetic as the Ron Jeremy of hip-hop. Not hard enough for the gangsta contingent, yet too persona-driven for the backpackers, Smoov-E may be the tightest dude ever to actually rock a player piano and a bullhorn.

Sex plays heavily in Smoov-E’s raps, but within that approach his methods are as tricky as a pick-up artist; he’s international spy Long Duck Dong one second, ’70s disco king Larry Dallas the next. His latest incarnation, Rusty Squeezebox, “the Fornicating Cowboy,” debuts on Saturday, May 24, at the Raven Theater, 115 North St., Healdsburg. 8pm. $20. 707.433.6335.

Finally, to fully spin heads into a tizzy, the affable and laid-back Devin the Dude comes to town this weekend in a rather underpromoted but no less exciting North Bay debut. The Dude pops up in the zaniest places—on Carson Daly, in Treal TV and on Dr. Dre’s Chronic 2001 album, wedged, for one brilliant verse, between Snoop and Dre—and this weekend, he’s at the Flamingo Hotel, of all places. Pool party afterwards, by chance?

With one of the most conversational styles in hip-hop, the Texas prattler eschews an aggressive flow for a more ruminative, distracted result; his awkward pauses are as much a part of his success as an MC as his humorous outlook. Devin’s the only rapper ballsy enough to name his album To the X-Treme after Vanilla Ice’s best forgotten crapolafest, and “Doobie Ashtray” is a comical, in-the-know description of herb gettin’ ganked by roommates. He appears with guest DJs and comedians on Friday, May 23, at the Flamingo Hotel, 2777 Fourth St., Santa Rosa. 7pm. $30&–$35. 707.545.8530.


Who’s Minding the Kitchen?

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05.21.08


Use your fingers. I don’t care if you burn them, you weren’t given fingers not to burn them.

—Chef Marco Pierre White, White Heat

Anyone who watches the Food Network knows that professional chefs work their magic with bare hands, citing the increased dexterity, tactile finesse, speed and even safety that skin provides over rubber or metal.

And with the proliferation of exposition kitchens in restaurants, diners may be seeing the barehanded magic up close. Yet in the eyes of national restaurant inspectors, these chefs are no artists. They’re a potential health hazard, and what they’re doing is against the law. Since the Federal Food and Drug Administration’s most recent food code was issued in 2005, bare-hand contact has been prohibited for commercial kitchen personnel. The rules are clear: gloves or utensils, such as tongs, are required when handling anything ready-to-eat.

Unless you’re a California chef.

Because in a compromise reached last summer between the State of California Food and Drug Branch and the FDA, Golden State restaurant workers have been granted special permission for bare-hand contact.

Under the new California Retail Food Code (Cal Code) that went into effect last July, how a chef handles food is now up to his or her preference. That means food can be touched with naked fingers, then sent out for immediate consumption by a diner.

California may be the first to adopt such lenient guidelines; the FDA allows variance within its codes for states, and even for the 58 counties within California. Many chefs are cheering, but some are ready to throw up their hands—bare or gloved—as they try to figure out how it all really works.

Long Hand of the Law

The FDA Food Code prohibits bare hand contact with ready-to-eat foods under section 3-301.11 Preventing Contamination from Hands.

—Lisa Whitlock, regional food specialist, FDA, email March 8, 2008

The bare-hand issue is nothing new. Extensive FDA research concludes that many viruses are spread through hands, and food is an excellent vehicle for pathogens, so workers are required to use serving utensils, tongs, single-use gloves, deli tissue or dispensing equipment when touching it.

When the new Cal Code went into effect, however, it replaced the California Uniform Retail Food Facilities Law (CURFFL) as the governing legislation for retail food facilities throughout the state. The goal was to update food vendor rules to bring them in line with national guidelines focusing on current risk factors for food-borne illness as identified by the Centers for Disease Control.

It was an enormous undertaking, spanning a full decade of discussion between numerous boards and restaurant industry professionals throughout the state. When the California Department of Public Health drafted the final language, it resulted in an exhaustively detailed 132-page manual.

Before it was unveiled, chefs and kitchen workers were encouraged to attend county food handler’s programs outlining the changes. There they learned that while the Sonoma County Environmental Health Division (SCEHD) now “discourages” using bare hands, according to division director Walter Kruse, it does in fact allow it.

Except that maybe it doesn’t. Or maybe, depending on how you interpret CURFFL, it has all along.

Gloves Are Off

A busy North Bay cafe sports a novelty sign in its front window reading, “Sorry We’re Open.” Guests sit at a counter overlooking a tiny open kitchen, watching the chef prepare a full carousel of tickets. She scoops a handful of fresh greens to a plate, and then dumps a bowl of fried calamari over it. She slices some bread, tosses frozen french fries into bubbling oil, then turns to answer the phone.

The call finished a few moments later, she slices some raw chicken and puts it on grill, takes toasted bread off a neighboring burner, picks a few slabs of bacon out of a package and wipes her chin with the heel of her hand. After dragging her hands down the front of her apron, she salts some raw burger, drops the patty on the grill, slices a chunk off an enormous piece of raw tuna, then builds a chicken sandwich, piling cooked bird, lettuce, avocado and cheese over the toast.

The chef is wearing gloves. Yet throughout an hour-long lunch service, she never stopped to change them. The number of violations that have just occurred are too numerous to count.

It’s a graphic, real-life example of why Cal Code officials rethought the FDA gloved-hand mandate for the new laws. “Gloves can offer a false sense of security,” says the SCEHD’s Walter Kruse. “People think because their skin is insulated, they can’t contaminate.”

Instead, Cal-Code has now toughened its hand washing requirements, within a new, 1,215-word description of what clean hands mean. To not properly wash hands—as when between touching raw and cooked meat—is a “major” violation in the new law.

“The issue we’re concerned about is cross-contamination,” Kruse says. “Hand hygienic practices become the area of concern, [and new] hand-washing procedures and requirements are specified.

“Bare hand is OK,” Kruse adds, “but cross-contamination is not.”

Fingering a Violator

On a busy Saturday night at the West County Grill, the seats at the counter overlooking the exposition kitchen are filled. Mere feet away from the diners, chef Darren McRonald is a dervish in a short-sleeve shirt, black pants and a long white apron. He’s manning a fiery, charcoal hardwood grill laden with perhaps a dozen orders of Fulton Valley chicken, Niman Ranch pork loins and Liberty duck breasts.

He pokes the meat with his fingers, and when a piece of chicken springs back the way he likes, he uses tongs to move it from the flames to a plate. Quickly, his hands almost a blur, he drops the tongs, positions the poultry just so with his fingers, arranges a pile of matchstick potatoes, plops down a bunch of watercress, brushes a stray bit of jus off the plate rim and moves the dish out to service. He wipes his hands on a clean cloth flung over his shoulder, then whirls back to start another set-up.

Since the restaurant opened last spring on the Sebastopol Plaza, the pace has been like this for McRonald and crew, through lunch and dinner, seven days a week. He’s used to the pressure, having worked in the business for more than 20 years, including at Chez Panisse, Napa’s Table 29 and Barbuto and Bellavitae in New York. 

For a guest perched at the dining counter overlooking the exposition kitchen, it’s like watching a frenetic ballet. Later, McRonald is asked if he was aware how much he’d used his bare hands, and if perhaps he shouldn’t have.

Maybe. “I have to admit, I’ve gotten used to doing things a certain way,” he says. “But no matter how busy it gets, we need to be ever mindful and diligent about our actions.”

Then he shrugs. The Cal Code rules can be confusing, he says, on what he’s now allowed to touch, or not to. “I’ve talked to the health department,” he says. “The response I got from them was that they’re not too sure about [all the details] either.

“I moved from New York City two years ago, where the health codes are different,” he continues. “[Last] January, I attended a seminar given by the Sonoma County Health Department where even the health inspectors admitted that there are a lot of gray areas they’ll have to iron out in time.”

No wonder chefs are confused.

The Bohemian contacted a half-dozen California health officials to track down the exact nature of the new guidelines. Inspectors and officers provided often conflicting regulations, contradicting correspondences and bureaucratic language that made deciphering one single question nearly impossible: Are chefs allowed to touch ready-to-eat food with their bare hands?

“It’s important to note that there has not been a change in California law as it relates to bare-hand contact,” wrote SCEHD environmental health program manager Jerry Meshulam in an email dated Feb. 20, 2008. Yet this was as a response to a follow-up question for Kruse’s Dec. 20, 2007, statement that “as to why California decided to allow bare-hand contact, you should contact the State of California Food and Drug Branch within the California Department of Public Health,” the party responsible for drafting the new code language. (Several emails to their communications staff went unanswered.)

Indeed, the new Cal Code section 113961(a), reads, “Food employees shall minimize bare hand and arm contact with non-prepackaged food that is in a ready-to-eat form.”

As Kruse points out, “The word ‘minimize’ is important, because it does not say ‘eliminate.’ Cal Code allows bare hand contact.”

Yet Code F03 &– §114020 of Sonoma County’s own Explanation of Critical Violations warns in very specific terms, “Employees shall use proper utensils (tongs, spoons, spatulas, plastic gloves) to eliminate unnecessary hand contact with cooked and prepared foods.”

If it’s possible for Meshulam to sound frustrated via email, when responding to another request for clarification, he does. “There is no conflict between the older CURFFL wording and the new Cal Code wording. Both allow bare hand contact. The phrase ‘eliminate unnecessary hand contact’ still allows necessary hand contact, under conditions specified in the code.”

Necessary Evil

Well, what’s necessary? Listening to the chefs, it seems that all bare-hand contact is.

As McRonald points out, “If you’re wearing gloves, that sometimes causes you to wash your hands even less, because you’re unaware of how your hands feel or what’s on them.” He adds that he does use gloves for handling raw chicken, but otherwise finds them restrictive.

“I’m sort of old-school in that I like hands for certain things I know,” he says.

Some chefs feel gloves are unsafe, noting that they can numb feeling and cause knife cuts. Rubber or latex can melt around a hot stove. And they can be impractical, says Mateo Granados, chef-owner of the eponymous catering company in Healdsburg. “It is much harder to change gloves than to wash hands. It can slow down production in a busy restaurant. Wearing gloves also limits artistry, because you lose sensitivity to feel temperature or assemble dishes,” he says.

“My feeling is that it is much better to work with your hands,” agrees Douglas Keane, executive chef and co-owner of Cyrus in Healdsburg. “Cooking is often based on feeling how something is finished, and you learn from an early age as a cook to touch and feel. Gloves take the personal feeling out of it. If you make a cook cover their hands, you may as well blindfold them, too. I am actually baffled that this law exists.

“How can you dress a salad and feel if it is coated perfectly when you have gloves on?” he continues. “You would have to put some of the salad in your mouth and taste it. You are going to use your gloved hand and put it to your mouth and then use the same gloved hand to redress the salad if any modification is necessary—it just doesn’t make sense.”

It also doesn’t necessarily go appreciated. “You get customers calling and asking if you wear gloves in the kitchen,” McRonald says. “And then they’d say, ‘Well, we can’t eat there because we have a latex allergy.'”

Tong vs. Right

Utensils aren’t the solution either, chefs and county officials agree. “Do they say you can’t use the same tongs for chicken and steak? Use different spatulas for turning fish versus turning poultry?” McRonald asks. “If a chef is using tongs for handling food, does he need to disinfect the tongs between use of raw and ready-to-eat foods?”

The SCEHD’s Kruse says, “The preferred method would be to have separate tongs for raw meat, for example, and cooked meat, rather than relying on the employee to stop and wash, rinse, sanitize the utensil between uses.”

Tongs can ruin food, says Granados, who has worked at Charlie Palmer’s Dry Creek Kitchen, San Francisco’s Masas, 42 Degrees, Alain Rondelli and Rubicon, as well as Manka’s Inverness Lodge. “In my experience with fine dining,” he says, “everyone has their own spoon, with washing in between tasks.”

Keane, too, uses spoons instead of tongs, so as not to “rape” the delicate food.

Yet even the biggest arsenal of utensils doesn’t guarantee perfection. At a Scottsdale resort recently, a Food Network Iron Chef laughed and pointed to a pile of spoons sitting on his workstation during a cooking demonstration. He’d just stuck his forefinger into a blender of pear balsamic vinaigrette, then into his mouth for a taste. “I have to stop and pause for a spoon,” he shrugged. “My hands, they’re always with me.”

Cleanliness Next To?

Food employees are required to wash their hands with cleanser and warm water by vigorously rubbing their lathered hands and arms for at least 10 to 15 seconds and rinsing with clean running water followed by drying of cleaned hands.

—Cal Code, Section 113953.3

At Go Fish in St. Helena, a trio of chefs decked in crisp whites and black caps work quickly and quietly behind the sleek marble sushi bar, rolling rice bundles in bamboo mats and slicing exquisite cuts of silky bluefin tuna belly. Their hands are bare and as softly pink as the salmon sashimi they lay out on the glistening steel countertops.

Every few minutes, they glide their hands under sinks at their station, scrubbing like surgeons with soap from a turquoise pump. They pluck a disposable towel from a pile, rub thoroughly and then drop it in the trash.

Their ritual should pass muster with the pickiest health inspectors, and is a perfect example of why bare-hand contact with ready-to-eat foods can benefit both chefs and diners. According to Kruse, “It is the scrubbing action of rubbing soapy hands together and running water that washes dirt and other contaminants away.”

Regulated or not, it’s what the best professional chefs are doing anyway.

“I worked at Le Cirque, and every shift we would have to present our hands to the chef,” McRonald remembers. “Hand checks like in the military. They’d look clean, he’d check our nails. We’d keep nail brushes by our hand sinks.”

Ultimately, whether or not California actually has introduced groundbreaking rules with its bare-hand contact regulations isn’t clear. Meshulam directed the Bohemian to the FDA’s Whitlock, who in turn directed the Bohemian to Meshulam. Yet it seems it would be a good thing for them to take credit for.

Meanwhile, the county continues to monitor kitchens by instructing inspectors to watch chefs at work, weighing their feedback and sending the kitchen staff scurrying.

“I think the inspectors are doing their best to work with us, trying not to make anyone angry,” McRonald says. “It’s a tough position.”

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.

Vital Vacation Vittles

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05.21.08

Apples, milk and chicken. Yucky-fun insect stuff. Soccer. Puppies and their trainers. Stuffed birds, Hula-Hoops, gooey arts, awesome crafts, freebie books. Kids can enjoy all this and oodles more by simply showing up for lunch at one of 33 Sonoma County sites hosting Redwood Empire Food Bank’s Summer Lunch Initiative.

As our national economy continues its depthless dive, doubtless determined to sleep down there with the fishes, an ever-mounting strain is placed on public services, particularly for those most affected by program cuts. And that would be kids, little ones with mouths to feed and bodies to grow.

For the last five years, the Redwood Empire Food Bank has organized hundreds of volunteers serving tens of thousands of hot meals to hungry kids throughout Sonoma County. Their Every Child, Every Day program is designed to fill summer’s three-month respite when students who’d enjoy free or reduced-price lunches during the school year fall into a dark nutritional sinkhole.

According to REFB executive director David Goodman, summer means “nearly 20,000 kids are left without.” Goodman adds how everything worsens for low-income families in belt-tightening times like this. The food bank’s lunch program is one small remedy addressing the needs of the many. “Our summer lunch program,” Goodman says, “is increasingly important to the well-being of the children and the community.”

Jill Barron is REFB’s community programs coordinator. A Sonoma County native who returned home after completing her degree in community studies at UC Santa Cruz, Barron stresses the county’s need for the five-year-old program, noting that it’s grown from serving 40,000 meals in 2006 to over 53,000 last year. She’s enthusiastic about the work she does. “I’ve always had an interest in nonprofits,” she says. “I worked for the YMCA and really enjoyed going to work each day.” Barron leads a team of five REFB staffers coordinating the efforts of over 150 volunteers at sites in Santa Rosa, Healdsburg, Rohnert Park-Cotati, around the Russian River and in Petaluma.

The Redwood Empire Food Bank’s Summer Lunch Project runs from Monday, June 9, through mid-August at 33 different sites. For volunteer information or to learn where to go to eat, call Jill Barron at 707.523.7900, ext. 34.


Muchos Gracias

05.21.08

I congratulate Bruce Robinson and you for the column summarizing Judge Tansil’s recent ruling and the events of the past few years with regard to KBBF-FM radio station in Santa Rosa (“Clearing the Air,” Blast, May 7). This bilingual public radio station, the first in the nation, is a treasure that needs attention and nurturing from our many citizens, both English- and Spanish-speaking. There will be another election soon, and it is an opportunity that invites good reporting and citizen participation.

I sincerely hope that you will continue to have coverage so that the community can understand the issues in depth, and be fully able to take action to preserve and develop what should be a community resource, building bridges across languages and cultures, and especially providing essential information to the Latino, Chicano and all indigenous peoples of Sonoma County.

Ann Tompkins

Santa Rosa

Great story here by P. Joseph Potocki (“We Are Family?” April 30). This is the sort of story that is usually under-researched and deserves a closer look. Costco’s practice of spinning off separate companies to work in its stores allows it to have its cake and eat it, too. The demonstrators don’t eat quite as well, and the rationale is offered that the income for them is merely supplemental. Not a pretty picture, but an accurate one. Thanks for publishing work of this quality.

Jeff Fletcher

Weaverville, N.C.

How can we miss him if he won’t go away?

 Alex Easton-Brown

Lagunitas

This may be too Orwellian for some people, but it may appeal to those sharing my cynicism regarding the pandering of all the potential presidential candidates.

The only absolute truth we know about them is their body type and appearance. You want a pear-shaped, 60-year-old white woman or a tall, thin, youngish dark man or a 72-year-old, hunched-over, arthritic white guy? Wait until they match up with their vice-presidential candidates to make your final choice; opposites may attract.

Working this premise, pundits would probably find that each “type” of candidate has a subliminal appeal to his or her body-type look-alike no matter what they do—or don’t—promise.

Meaning, Tom Cruise and Pamela Anderson are not electable.

neil davis

Sebastopol

I would like to take a moment to share the positive experiences that I have had with Valerie Brown over the past 20 years. I met Valerie in 1998 when she was an active board member of the Sonoma Valley farmers market. In 1990&–1992, when Valerie moved on to the city council, she was present when we had community issues arise, including supporting the Sonoma Community Center, the Vintage House, Valley of the Moon Boys and Girls Club and Sonoma Valley High school among others. Valerie was appointed in 2002 to the Sonoma County Board of Supervisors, where she has been a strong voice and supporter of the Sonoma Valley.

I see Valerie in our community at the Glen Ellen Fire Department pancake feed, the Boys and Girls Club auction, the Sonoma Valley farmers market, town hall meetings, school fundraisers and in our town, dining at our local restaurants. Valerie is a true representation of Sonoma Valley, and I proudly take this opportunity to voice my support. I encourage you to vote for Valerie Brown.

Sheana Davis

Sonoma

 

Food writers, put down that fork and pick up that mouse! We need you. Please send a short, graceful note to ed****@******an.com introducing yourself and explaining why you should be able to chew not only on, but for, the Bohemian. Clips, links and other past expressions of the written word that reflect kindly upon your freelance talents are hugely welcomed. No calls, please. We’re way too cranky.


&–&–>

Jazz Journey

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The book of photographs opens to a shot of a young girl without shoes, lounging in the grass at the 1969 Monterey Jazz Festival. Looking closely, it’s clear that the girl in the photo is a young Jessica Felix, listening to Miles Davis on a summer’s day.

Almost three decades later, not much has changed. On a recent hot May afternoon, Felix, barefoot, sits on the floor of her Healdsburg living room—but instead of being in the audience, she’s behind the scenes, checking the incoming email on her laptop. “Someone just spent $640 on tickets!” she says. “Great!”

Felix is in “command central” for her 10-years-and-running Healdsburg Jazz Festival, where the décor is as busy and varied as a Sonny Rollins solo: a Gretsch drum kit sits in one corner, an original pressing of Thelonious Monk Plays Duke Ellington in another. Kitchenware competes for space with sculptures, cassette tapes, firewood, magazines, percussion instruments and 30 shelves crammed with CDs. Photos of such jazz luminaries as Billie Holiday, Johnny Hodges and Rahsaan Roland Kirk look down from every available wall space.

This is a real jazz fan’s house, and Felix, founder and director of the Healdsburg Jazz Festival, is perhaps one of the most passionate supporters of the genre in the entire Bay Area. In a sea of phony-baloney festivals nationwide which prop up fading icons of pop and rock yet siphon from the cultural cachet the term “jazz” confers, the Healdsburg Jazz Festival is an island of taste and vitality for true jazz lovers. This year’s festivities, running May 30&–June 8, mark the 10th anniversary of Felix’s creation, and to celebrate, she’s booked an incredible lineup featuring greats like Joshua Redman, Bobby Hutcherson, Charlie Haden, Cedar Walton, Charles Lloyd and Don Byron.

Felix throws Byron’s Bug Music on the player, curls up on her couch and talks about the life of a jazz promoter. “There are a lot of people who don’t understand jazz,” she says, “I guess ’cause it’s not easy, toe-tapping background music. But it’s a great art form that has expression and feeling and so much emotion. It can take you somewhere, it can transplant your feelings. Most music is, you know—can you dance to it or not dance to it? Can you sing along to it? Jazz takes you on a journey.”

Felix first fell in love with the genre right out of high school through Charles Lloyd’s Forest Flower, which, she says, “really took me to the other side.” She played the album every single morning for a year. Living in Los Angeles, she made some like-minded friends, and they’d go out to places like the Lighthouse in Hermosa Beach or Shelly’s Manne Hole to expand their musical horizons.

After moving to the East Bay, she put on the annual Eddie Moore Jazz Festival at the old Yoshi’s and presented one-of-a-kind jazz concerts in her Piedmont home for 10 years. It’s the stuff that urban legends are made of. Giants like Michel Petrucciani, Dave Holland and Pharaoh Sanders played in the living room while Felix cooked for everybody in the kitchen. “We had almost a hundred people crammed in there,” she says, recalling the magic of the performances in the restored Victorian. “When you have a grand piano and the music’s right there, there’s nothing better than that moment!”

In 1995, Felix moved to Healdsburg—then a sleepy, semi-rural town with more John Deere fans than John Coltrane fans—to work as a jeweler and store owner. Something about the wine country atmosphere beckoned jazz, she says, and she decided to put on a show at a small coffee shop with famed pianist George Cables. The night sold out, and Felix started planning her first festival soon after with three giants from the Blue Note era of jazz: vibist Bobby Hutcherson, pianist Cedar Walton and a towering drummer who would come to represent both the triumph and tragedy of the festival, Billy Higgins.

“Billy was so much the spirit of the festival,” Felix says. “He was constantly reaching out to children and the community.” With an amazing career, premiering with Ornette Coleman’s original quartet and drumming on Lee Morgan’s most famous records, Higgins was to headline the 2001 Healdsburg festival when a long battle with liver disease finally overtook him. Shattered, Felix nonetheless rearranged the year’s lineup as a tribute; the festival’s finale featured a half-dozen drummers honoring Higgins.

The hospitality and intimacy of Felix’s Oakland house shows is an underpinning of the Healdsburg Festival, where artists lodge at guest houses and big-name concerts are presented in small-town venues. Many of the musicians bring their families, stay for days on end, and hate to leave. “When Roy Haynes left, he said it’s the best he’s ever been treated,” Felix says of the most-recorded drummer in jazz. “To me, that was a sad statement. There are even people who ask me, ‘Why do you treat them so well?’

Them“—she sneers at the term. “Who are ‘them’? I wish I could convey how important it is that these great artists get the respect they need.”

Felix naturally finds it hard to name her personal highlights over the last 10 years. “Billy Higgins playing solo was amazing,” she says. “Abbey Lincoln, I just love Abbey Lincoln. Roy Haynes. Of course, always having Charles Lloyd. I just can’t pick a favorite. Every year, there are great moments.”

For every big headliner at the festival—McCoy Tyner being a standout—there are a dozen lesser-knowns that Felix has struggled to promote in a county where the only “jazz” station plays smooth jazz. “I like a lot of creative, edgy jazz,” she explains. “I haven’t even brought one of my favorite bands, which is Trio 3, with Oliver Lake, Reggie Workman and Andrew Cyrille. But I have to be careful, because this area doesn’t know how to listen to that kind of music that well.”

That may be changing. By bringing jazz to a worldwide audience, Louis Armstrong earned the nickname “Ambassador Satch,” and in the past 10 years, Healdsburg Jazz Festival ticket sales have steadily grown as more people recognize what Congress recognized in 1987—that jazz is a brilliant, thriving art form and a unifying force borne from American soil.

But don’t be too quick to dub Felix “the Ambassadress,” no matter how fitting the title may be. She’s already got her own nickname, emblazoned on her license plate: “JAZZICA.”

As this year’s festival nears, Felix hasn’t been sleeping much. Her mind races from one logistical concern to the next, and raising money to continue the festival remains her biggest obstacle. “Everybody comes to Healdsburg thinking that they can start something and that there’s all this money here,” she says, “but it’s not that easy.” She’d love to continue for another 10 years, but her back is giving out and she needs the rest. “Physically,” she says, “I don’t know if I could make it.”

At the same time, Felix truly is the face of the festival; at almost every show, she announces the musicians like they were old friends. Many of them are old friends. Asked if she’d ever consider handing off the festival to anyone else, she’s hesitant. “I’m just a fan who loves the music,” she insists. “I never was that great an organizer, but all of a sudden, I’ve become the organizer! I was always the one who wanted to be the flaky one.”

Of course, Felix is anything but flaky, checking her email during the interview, looking at ticket sales and coordinating promotions. But her face lights up the most when chatting about musicians, and she reflexively shakes her foot in time to Bug Music.

“I always feel like we’ve not only had great music,” Felix says, “but we’ve had so much love. That’s the only word I can use—love. It’s a wonderful feeling of being together. It makes the music greater. You can feel it.”

The Healdsburg Jazz Festival runs May 30&–June 8 in various venues throughout Healdsburg. For details, see www.healdsburgjazzfestival.com.

Sixty-Eight Up

05.21.08

This summer, America’s film directors say in chorus: We wish it was 1968.

We miss the space program: There are three feature-length animated films, ‘WALL-E’ (June 27), ‘Space Chimps’ (July 18) and ‘Fly Me to the Moon’ (Aug. 22).

We miss Indian swamis: Mike Myers is the outrageously accented ‘Love Guru’ (June 20).

We miss Playboy magazine: Anna Faris as ‘The House Bunny’ (Aug. 22).

We miss marijuana: The Judd Apatow/David Gordon Green pot-heist comedy ‘Pineapple Express’ (Aug. 8).

We miss Vietnam: ‘Tropic Thunder’

(Aug. 15) has a cast of buffoons trying to make a bigger Vietnam movie than Apocalypse Now. Ben Stiller and Jack Black team with Robert Downey Jr. as an Australian actor who undergoes a John Howard Griffin&–style skin-darkening. We apparently miss blackface, too.

We miss the TV shows we used to watch, especially the ones about wacky spies: Adam Sandler’s dialect comedy ‘You Don’t Mess with the Zohan’ (June 6) and ‘Get Smart’ with Steve Carell channeling Don Adams (June 20).

We miss superheroes, or shit—any heroes: The most zeitgeist-heavy summer release of them all is ‘The Dark Knight’ (July 18), a revival of that caped hero of ’68 (“There must be some way out of here, said the joker to the thief”). Here, Batman (Christian Bale) is hunted by the Gotham City police department and attacked by the Joker (the late Heath Ledger). When things aren’t blowing up, Batman shows off his usual moment of Hamletesque wrestling in the face of duty.

The rest of the scad of superhero movies are slightly less metacritical, although wartime metaphors abound. ‘Indiana Jones and the Kingdom of the Crystal Skull’ (May 22) sees our hero setting a deluded U.S. military back on track. Just as Iron Man satirizes the weapons trade, so the Edward Nortonized ‘The Incredible Hulk’ (June 13) has the green-eyed monster about to be pressed into khaki by Gen. Thunderbolt Ross (William Hurt). Our secret weapon against demon terrorists is Hellboy, who turns up in ‘Hellboy II: The Golden Army’ (July 11). Guillermo del Toro directs the tandoori-colored hero.

‘Hancock’ (July 2) unveils Will Smith as an arrogant superhero who tries to reform, a little, with the help of Charlize Theron. ‘Wanted’ (June 27), based on a graphic-novel series written by Mark Millar, deals with a sect of superassassins (including Morgan Freeman and Angelina Jolie) whose motives aren’t as clear as they seem. ‘Kung Fu Panda’ (June 6) is full of computer-animated Hong Kongisms, so it counts as a kind of superhero movie.

We miss psychedelics: ‘The Chronicles of Narnia: Prince Caspian’ (May 16) wraps its Christian fairyland in a story about the Blitz of World War II. Let’s also note the highly psychedelic Spike Jonez/David Fincher presentation of Tarsem Singh’s ‘The Fall’ (May 30), which mixes up a cast of whirling dervishes and Charles Darwin, as related by an English (-speaking) patient languishing in a Southern California hospital.

Even one of the summer’s few romances, ‘Elsa & Fred’ (July 11), concerns an Argentinean lady’s obsession with La Dolce Vita. Hou Hsiao-hsien’s ‘Flight of the Red Balloon’ (May 16) paraphrases a famous 1956 French children’s film. And as a kind of commentary on how a film becomes a legend, ‘Star Wars: The Clone Wars’ (Aug. 15) arrives. Dispensing at last with the troublesome humans, George Lucas goes animated, apparently using a cast of Zwinkies.

We miss TV, part two: There are the further adventures of that quartet of cougars in ‘Sex and the City’ (May 30), while ‘Bangkok Dangerous’ (Aug. 22) stars Nicolas Cage in an American remake of a bucket of Thai mayhem by the Pang Brothers. ‘The X-Files: I Want to Believe’ (July 25) finds the producers evidently wanting to believe that David Duchovny is not box-office poison, and ‘The Mummy: Tomb of the Dragon Emperor’ (Aug. 1) brings back Brendan Fraser to duel with the mummy of a Chinese emperor.

We miss knowing how it all turns out: The pants are recaptured in ‘The Sisterhood of the Traveling Pants 2’ (Aug. 8). ‘Journey to the Center of the Earth 3D’ (July 11) has Brendan Fraser retracing the steps of Arne Saknussemm. ‘The Strangers’ (May 30) stars Scott Speedman and Liv Tyler in a motiveless home-invasion shocker. As the ads say, based on a true story. The true story is that there’s a place called France, where they made a movie called Ils, remade as a film called The Strangers.

And the summer’s most prestigious sequel, ‘Hamlet 2’ (Aug. 22), gives us a new view of that trash-talking but lovable Danish college student, in the context of a Tucson tale told by an idiot (Steve Coogan). (Mentioning students means mentioning the comedy ‘College,’ which should make Animal House look like Hamlet 1.)

We miss today: A few films even dare to engage with 2008. For example: there’s a must-see study of some of those dispossessed by the Three Gorges Dam, ‘Up the Yangtze’ (June 13). Fatih Akin’s ‘The Edge of Heaven’ (July 11) concerns cross-cultural tensions between Turkey and Germany in a feature film by the director of Head-On. ‘Brick Lane’ (June 27) has similar cultural head-butting when a Bangladeshi girl moves to east London for an arranged marriage.

Alan Ball’s ‘Towelhead’ (Aug. 15) follows a young Lebanese girl caught between American racism and Arab tradition. It’s not to be confused, but it will be anyway, with ‘Baghead’ (Aug. 1), the Duplass brothers’ no-budget romance featuring mumblecore sweetheart Greta Gerwig. In ‘Alexandra’ (May 30), Alexander Sokurov (Russian Ark) views the Chechnyan conflict through the eyes of a Russian grandmother.

We miss laughing: There’s one nonescapist comedy this season, ‘Swing Vote’ (Aug. 1), which concerns a New Mexican schlub (Kevin Costner) who gets to decide the presidential election. ‘Meet Dave’ (July 11) stars Eddie Murphy as the humanoid vessel for a team of miniaturized aliens. ‘Mamma Mia!’ (July 18) is the monster hit ABBA musical with Meryl Streep revealing to her daughter (Amanda Seyfried) which of three men sired her. (The preceding sentence is an example of fair and balanced journalism, as it does not describe listening to ABBA as like having warm mayonnaise funneled into the ears.)

‘The Accidental Husband’ (Aug. 22) features Uma Thurman as a Dr. Laura type who discovers she’s been married for years. Steve Conrad’s ‘The Promotion’ (June 13) teams John C. Reilly and Seann William Scott as rivals at a Chicago supermarket. The Sundance hit ‘The Wackness’ (July 3) concerns love and angst in Rudy Giuliani’s New York.

‘The Rocker’ (Aug. 1) tries to promote Rainn Wilson to the front line as an aging rock drummer who tries to glom onto his own nephew’s band. ‘Choke’ (Aug. 1) has Angelica Huston as a senile mom kept by a desperate son who works days as a historical re-enactor. ‘Step Brothers’ (July 25) teams John C. Reilly and Will Ferrell as a pair of lazy louts who are forcibly related by marriage.

We would never have missed this in 1968: The newest genre is tween interest. After the mammoth gross of the Hannah Montana concert movie, expect this category to grow over the years. ‘Kit Kittredge: American Girl’ (July 2) has Patricia (I Have Heard the Mermaids Singing) Rozema directing Abigail Breslin. ‘Wild Child’ (Aug. 22) has Nancy Drew‘s Emma Roberts as a crazy 16-year-old who gets shipped off to a British boarding school. ‘American Teen’ (Aug. 1) is a much-praised vérité documentary about a year in the life of an Indiana high school.


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Harmony Festival

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05.21.08

It’s hard to believe that our own homegrown Harmony Festival, which could truly claim the phrase “We were a festival before festivals were cool,” is celebrating its 30th anniversary this year. But it’s harder still to fathom that after teaming up last year with mega-promoter Live Nation, a $4.4 billion subsidiary of Clear Channel, and getting the short end of the financial stick, the Harmony Festival was nearly forced to roll back its tie-dyed tents and call it a day.

Instead, festival organizers rolled up their sleeves—and according to reports, mortgaged their homes—to stay above water. The strength of the community surrounding this beloved festival helped Harmony come back bolder than ever this year and nurtured a lineup sure to have dancers twirling so hard they just might lose their solar vegan cookies. Damian Marley, whose Welcome to Jamrock was the biggest reggae album of 2005, competes—wait, this is the Harmony Festival—I mean, cooperates with George Clinton for the big headlining slot, while brilliant lesser-knowns like Lila Downs (above), the Devil Makes Three, Tina Malia, RJD2 and the Goddess Alchemy Project are highlights of two days of global unity and good vibes.

With over 300 vendors and exhibits on spirituality, ecology and sustainability, Harmony was also green before green was cool. This year, the activism is direct: for every ticket sold, a tree will be planted in Africa, and a whopping $20,000 will be donated outright to orphans’ medical care in Ethiopia. Tibetan refugees are among Harmony’s other charitable beneficiaries. Such good causes could have gone ignored considering Harmony’s financial hardship from last year, but that’s just not Harmony’s style, making this year’s festival a resounding triumph of the will and the spirit of giving back. www.harmonyfestival.com

Gabe Meline

When you see dripping-with-diamonds socialites both well- and high-heeled nursing Champagne flutes and cavorting around the dusty infield of a baseball diamond, you know you can only be at one place: the Sonoma Jazz + Festival.

But wait, you ask, how can I perform the addition of the integer of my jazz to the integer of my festival, and what sum might it equal? Fear not, for this is no “new math” equation; the “+” is merely to concede the annual presence of acts in Sonoma outside of the jazz realm. In the past three years, non-jazz acts have included Steve Miller, LeAnn Rimes and Boz Scaggs. This year, May 22&–25, Kool & the Gang and Bonnie Raitt have all true jazz fans riled. Although how fresh would it be if Kool & the Gang brought Howard Wiley to sit in? Or if Raitt actually learned some Wes Montgomery licks and dropped ’em into “I Can’t Make You Love Me”?

On the jazz side, this year’s lineup includes legend Herbie Hancock (above), fresh from winning the world’s most unlikely Album of the Year Grammy award for River: The Joni Letters, and sleepy songstress Diana Krall (see p57). (Tip: come early that night to catch Julian Lage and Taylor Eigsti, who, at the Healdsburg Jazz Festival last year, were the hands-down, most jaw-dropping guitar-piano duo I’ve ever seen).

Another thing—he’s been around here before, but damn if the Rev. Al Green isn’t on a roll. The Reverend doesn’t play long sets, but in addition to hits like “Let’s Stay Together” and “Here I Am,” look out for tracks from his newest album, Lay It Down, which was recorded with ?uestlove from the Roots. Original mixes of the album contain Wu-Tang samples, which would probably be lost on the average Sonoma crowd (last year, to praise Tony Bennett, many concert-goers hoisted their canes in the air—I guess that’s close to puttin’ your hands in the air) but will help give Green yet another comeback in an unbelievable career.

But the true wonder of Sonoma Jazz + is the balance of atmosphere: it’s in an outdoor tent and yet it still feels elegant. Upscale food and drink booths abound, there’s a ritzy-ditzy VIP area, but still, everyone waits their turn in line for the Port-a-Pottys. Crazy! www.sonomajazz.org.

Gabe Meline

The first woman to walk by in one merely looked brave. After all, it was brightly colored, oversized and required a certain confident sway of the hips to carry off. The second woman to walk by in one looked more regular, the eye having adjusted to the bright hue and the large shape. The third woman to walk by in one looked flat-out great. The fourth, spectacular. By the time the 10th woman walked by wearing an oversized straw hat with a massive upturned brim in a fabulous jewel tone, I was sick with desire. Must. Have. Hat! A green one was duly procured and on the first sustained wearing, dyed my forehead a bird-of-paradise yellow that resisted two showers.

Such is the force of the Russian River Blues Festival that a day begun with an all-wheat breakfast (toast followed by beer), and otherwise consumed with floating in the Russian River, reading through the Sunday paper and browsing for oversized hats while great music wails is almost mythic in warm summer memory.

This year, June 14&–15, promises to be just as story-worthy with outstanding headliners that mark the range from way famous (Jonny Lang) to should be famous (Earl Thomas). Shemekia Copeland is above. Now in its second year under Omega Productions since Lupe de Leon sold the event, the Russian River Blues Fest promises to be exactly as it’s always been: hot, hot and hotter. Baby, you’ll need a hat. www.russianriverfestivals.com

Gretchen Giles

We’re always hepped to learn about anything that happens in the Napa Valley that isn’t solely about putting stuff in your mouth. And so it was that when notice of the first annual Napa Valley Art Festival was announced for May 31, we jumped. The brainchild of Connolly Ranch director Bob Pallas, this new festival, a juried exhibition devoted to representational painting, showcases some 300 works by 42 artists to raise funds for the Napa Land Trust, of which Connolly Ranch is a unique part.

“Leadership Napa Valley did a feasibility study and concluded that the valley could support an art festival,” Pallas explains. “The Auction Napa Valley used to include artwork but they decided to focus more on the wine, and that left a hole. The Napa Valley Land Trust always includes art in its auction and they let me curate it last year. We netted $22,000 as opposed to the usual amount, around $9,000.”

Pallas chuckles. “I thought to myself, I’m on to something with this kind of art.”

“This kind of art” is specifically pictures of things. Pallas went to Sonoma’s Keith Wicks, the founder of the weeklong Sonoma Plein Air festival, to get advice and direction. Using Wicks’ list and placing calls for entries in national magazines, Pallas received over 110 submissions for the 42 spots he had available, including interest from artists as far away as Massachusetts and Hawaii. Juried by Jean Stern, executive director of the Irvine Museum, Peter Trippi, editor of Fine Art Connoisseur magazine, and artist Kevin Macpherson, the festival has set standards so high that even Pallas’ wife, painter Kristine Pallas, had to submit through official channels. “She got in,” he says with a relieved laugh. “Imagine if she hadn’t!”

The Napa Valley Art Festival is slated for Saturday, May 31, at COPIA. 500 First St., Napa. 10am to 4pm. Free.

Gretchen Giles

Every year, thousands of fans from the North Bay and beyond flock to the hills, ranches, forests and meadows of California for some of the largest festivals in the state. These ain’t no casual, drop-in-and-see-the-headliner shows; you gotta be dedicated to camp out for days on end at these suckers. The payoff is an experience like no other among the most beautiful surroundings Northern California has to offer.

After an ugly legal battle too long to accurately get into here, the long-running Reggae on the River festival has become Reggae Rising (Aug. 1&–3), a name change that caused rumor and confusion last year for many fans. But everything about the booking seems to be the same. New upstarts like Collie Buddz alongside veterans like Don Carlos and Julian Marley; Sizzla (pictured) continues his festival rounds; UB40’s in the mix for some reason; and be sure to catch Gentleman, the unlikely German reggae singer who sings in patois.

The magic of the Kate Wolf Festival (June 27&–29) is in the deterioration of the wall between performer and audience; one might swap songs with Greg Brown around the fire, one might light one up with Jackson Browne late at night. Because the festival exists to honor Kate Wolf, there’s a shared spirit of camaraderie, but the booking, always inspired, is the real reason to attend. This year boasts newcomers Los Lobos and Ani DiFranco alongside crowd favorites Greg Brown, David Lindley, John Gorka, the Wailin’ Jennys and the Waifs.

The Sierra Nevada World Music Festival (June 20&–22)lays it heavy on the reggae every year at the Mendocino County Fairgrounds in Boonville, prompting the need for a Rastafarian-Boontling anthem called, say, “I Onna Bucky Walter to Jah.” Strangely, no one has stepped up to the plate. Morgan Heritage, Buju Banton, Midnite and the Wailing Souls top the reggae side this year, while California residents the English Beat, Markus James and perennial favorite Michael Franti round out the “world” side. www.snwmf.com.

Though it’s less likely to attract beanies and spliffs, the Mendocino Music Festival (July 12&–26) has been running for over 20 years bringing classical and folk music to the coastal town. Set in a tent overlooking the Pacific Ocean, this year’s festival features the Hot Club of San Francisco, Jesse Winchester, The Marriage of Figaro and much more. Of special note is “Degenerate Music,” a revue of post&–WW I Jewish music filled with doom and banished from Germany by Hitler. www.mendocinomusic.com.

Fun times in the summertime!

Gabe Meline


Grave Dancer Boogie

05.21.08

When a billionaire calling himself “the Grave Dancer” pumps fifty grand into a California state proposition, you’ve gotta ask yourself, just whose grave is he planning to dance on next? Meet Proposition 98’s poster boy, real estate and media magnate Sam Zell. His bottom-feeding Equity LifeStyle Properties, based in Chicago, has grown into one of our nation’s largest rental property owners.

San Rafael’s embattled Contempo Marin Mobile Park is one of Zell’s 28 California holdings. Contempo homeowners already face Zell’s enormous rental hikes and pit bull legal assaults. Should Zell and his Proposition 98 compatriots prevail, all California rent controls and key renter-eviction protections will be gutted via voter-approved state constitutional amendment. Expect Zell and his ilk to then dance uncontested—trebling rents, evicting tenants and condo-converting mobile home parks and apartment buildings throughout California. Look for fixed-income seniors like Rohnert Park’s Len Carlson to suffer what he calls “economic eviction [with] no where else to go.” Residents who can’t afford obscene rent hikes fear they’ll be pitching tents under bridges.

Threats of Midas rents for modest housing are reason enough to vote down Proposition 98, but reasons to outright defeat it abound. Proposition 98’s primary mouthpiece is the Howard Jarvis Taxpayers Association. You may recall Jarvis as the papa of Proposition 13, which slashed property taxes some 30 years ago. According to HJTA, Proposition 98 is designed to protect eminent-domain takings of “our homes, family farms, mom-and-pop small businesses [in order] to build a sports stadium, big-box chain store or hotel.”

Jon Coupal, president of HJTA, says, “The core of our initiative is the eminent domain reform.” If that’s so, then why has three quarters of the $4.5 million raised to promote Proposition 98 come from apartment-complex and mobile-home-park owners whose number one aim is to permanently eliminate all rent-control legislation, state, county and municipal?

The Howard Jarvis people employ creatively faulty logic hoping to convince voters that Proposition 98 is all about plugging the funnel of wealth flowing from the pockets of small landowners into those of fat cat developers abetted by corrupt officials using eminent domain. And yet Proposition 98 is backed by big money all the way. Supporters include the California Association of Realtors, the Apartment Owner Association of California and both the California Republican Party and the California Republican Taxpayers Association. Local backers include the Sonoma County Land Rights Coalition and Sonoma County Taxpayers’ Association.

Proposition 98 will hinder the development and expansion of essential state and community resources, services and infrastructure works.

Consider scenarios in which a landowner holds every legal advantage. Water works projects, schools, roads and other pieces of essential public infrastructure may be prevented from being built or improved. Picture landowners trumping environmental regulations, thus affecting the lives of everyone in their community. Proposition 98 supporters say government agencies will still claim properties through eminent domain, though no doubt at considerably enhanced prices. Opponents insist property owners will demand unreasonable recompense, thus holding communities in dire need as economic hostages.

Proposition 99, 98’s head-on competition, is less toxic and boasts a broad coalition of more than 200 organizations ranging across the political divide. It’s somehow made bedfellows with both labor and business, environmentalists and government agencies, as well as uncountable Democrats and one square-jawed Republican governor.

While Proposition 98 dramatically shifts power to private land and building owners, Proposition 99 provides reasonable accommodation and a fair return for properties taken through eminent domain. Proposition 99 fills the vacuum left by our present dearth of protections afforded California’s private property owners. Proposition 99 isn’t perfect, but it doesn’t place an economic gun to our head like 98 most assuredly will.

In fact, Proposition 99 was conceived to run right at Proposition 98. If both propositions receive more than 50 percent voter approval, the one garnering the most votes will prevail. If only one receives the requisite 50 percent, that proposition becomes state law. Of course, it’s possible neither will achieve a majority threshold, in which case nothing changes.

With such consequential issues as eminent domain and rent control bundled together, it’s a shame these propositions aren’t on the General Election ballot in November. Being in a primary means receiving notice from far fewer voters. It also means every vote counts for more.

Here’s a whiff of what Proposition 98 proponent Sam Zell served up at the Milken Institute Global Conference in L.A. a few weeks ago. “This country,” the multibillionaire charged, “needs a cleansing. We need to clean out all those people who never should have bought in the first place, and not give them sympathy.”

How’d you like a newly unregulated and decidedly unsympathetic Sam Zell doing the Chi-town Hustle atop your home sweet home?

Vote NO on Proposition 98 and YES on Proposition 99.


Rockin’ This Vote

05.21.08On June 3, the people of Sonoma, Marin and San Francisco counties will select the Democratic Party nominee for State Senate, which is the same thing as electing a senator, since Bay Area Republicans are as rare as rattlesnakes. Many years ago, the Burton Brothers machine carved out our weirdly shaped senatorial district to protect the Burton brand of...

Taking It Slow

05.21.08Just as European nations are protecting their Champagne and Parmesan and Port from generic designations unrelated to geography, so too are American providers beginning to understand that what is produced exactly and only here is unique and worthy. That's where the Slow Food Nation steps in. Working outside of, say, such besmirchments as the 2008 Farm Bill, SFN works...

Three for the Treble

05.21.08Hip-hop is full of shoulda-beens. Currently filed in Los Angeles' urban dead letter office is an expertly crafted recording representing the multiracial makeup of that city. Made by a black and Asian rapper with a white DJ, it's hard to say why the 2005 album Fly School Reunion, by Giant Panda (above), never took off. Throughout, MCs Maanumental and...

Who’s Minding the Kitchen?

05.21.08Use your fingers. I don't care if you burn them, you weren't given fingers not to burn them.—Chef Marco Pierre White, White Heat Anyone who watches the Food Network knows that professional chefs work their magic with bare hands, citing the increased dexterity, tactile finesse, speed and even safety that skin provides over rubber or metal. And with the...

Vital Vacation Vittles

05.21.08Apples, milk and chicken. Yucky-fun insect stuff. Soccer. Puppies and their trainers. Stuffed birds, Hula-Hoops, gooey arts, awesome crafts, freebie books. Kids can enjoy all this and oodles more by simply showing up for lunch at one of 33 Sonoma County sites hosting Redwood Empire Food Bank's Summer Lunch Initiative.As our national economy continues its depthless dive, doubtless determined...

Muchos Gracias

05.21.08I congratulate Bruce Robinson and you for the column summarizing Judge Tansil's recent ruling and the events of the past few years with regard to KBBF-FM radio station in Santa Rosa ("Clearing the Air," Blast, May 7). This bilingual public radio station, the first in the nation, is a treasure that needs attention and nurturing from our many citizens,...

Jazz Journey

The book of photographs opens to a shot of a young girl without shoes, lounging in the grass at the 1969 Monterey Jazz Festival. Looking closely, it's clear that the girl in the photo is a young Jessica Felix, listening to Miles Davis on a summer's day. Almost three decades later, not much has changed. On a recent hot...

Sixty-Eight Up

05.21.08This summer, America's film directors say in chorus: We wish it was 1968. We miss the space program: There are three feature-length animated films, 'WALL-E' (June 27), 'Space Chimps' (July 18) and 'Fly Me to the Moon' (Aug. 22).We miss Indian swamis: Mike Myers is the outrageously accented 'Love Guru' (June 20). We miss Playboy magazine: Anna Faris as...

Harmony Festival

05.21.08It's hard to believe that our own homegrown Harmony Festival, which could truly claim the phrase "We were a festival before festivals were cool," is celebrating its 30th anniversary this year. But it's harder still to fathom that after teaming up last year with mega-promoter Live Nation, a $4.4 billion subsidiary of Clear Channel, and getting the short end...

Grave Dancer Boogie

05.21.08When a billionaire calling himself "the Grave Dancer" pumps fifty grand into a California state proposition, you've gotta ask yourself, just whose grave is he planning to dance on next? Meet Proposition 98's poster boy, real estate and media magnate Sam Zell. His bottom-feeding Equity LifeStyle Properties, based in Chicago, has grown into one of our nation's largest rental...
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