Beard bash

04.30.08

May 5 marks American culinary legend James Beard’s 105th birthday anniversary. Each year, the James Beard Foundation, located in Beard’s own Greenwich Village Brownstone, hosts a Beard birthday-bash-cum-culinary-awards-ceremony featuring dishes culled from Beard’s own recipe book. If you’re gambling on your plane flying to N.Y.C. Monday to catch this annual event, get your gastronomic juices going early and pick up some gossipy schmooze-room tidbits by attending “The Enduring Impact and Influence James Beard on American Food” this Saturday at COPIA.

Eminent food consultant, NYU department of nutrition, food studies and public advisory board chair and Bohemian contributor Clark Wolf moderates a panel of three eminent others, including San Francisco Chronicle food and wine critic Michael Bauer; author, nutritionist and food scholar Marion Nestle; and Jim Dodge, Bon Appétit Management’s director of specialty culinary programs, noted author and renowned pastry chef.

In 1981 Beard cofounded NYC Citymeals&–on-Wheels, a nonprofit that to this day provides meals to elderly New York shut-ins—which conveniently segues into announcement of the ninth annual Council on Aging Meals on Wheels Derby Day fundraiser, to be held Saturday at the Sonoma-Cutrer Vineyards. This blowout features two Iron Chef &–style competitions, tunes by the Fourth Street New Orleans Jazz Band, Sonoma-Southernish dishes prepared by local celebrity chefs, a silent auction and a chance to live-bid on a gourmet dinner for 12. The event finishes you off with the grand running of the Kentucky Derby projected on two monster screens.

Meals on Wheels Derby Day Chef Competition starts at 11am Saturday, May 3, at Sonoma-Cutrer Vineyards, 4401 Slusser Road, Windsor Tickets are $135. Call 707.535.0143 or go to www.councilonaging.com.

NYU Critical Topics Series at COPIA runs 2pm to 3:30pm, Saturday, May 3. Tickets are $10. Wine and cheese reception and book signing afterwards. COPIA is at 500 First St., Napa. Tickets can be purchased by phone at 707.259.1600 or 800.51COPIA.

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.

We Are Family?

04.30.08

Picture two part-time workers. Let’s call them Dick and Jane. Each works 25 hours a week at Costco. Dick stands just inside the front door making sure customers flash membership cards as they enter. Jane stands at her demo station cooking, promoting and serving samples to hungry customers. Dick and Jane work inside the very same Costco, have each managed to clock in 1,300 hours and were each hired exactly one year ago today.

So do Dick and Jane both enjoy Costco’s legendary high pay and perks? Most folks would assume yes, but guess again. This year, Dick has earned $2,600 more than Jane. Upon eligibility, Costco will foot the bill for most of Dick’s health insurance, including dental, vision and prescriptions. Dick receives paid holidays, vacations and sick days, a 401k retirement plan, a free life insurance policy, weekend differential pay, stock options, profit sharing and eligibility for yearly bonuses—a veritable cornucopia of goodies. Within four or five years, Dick can expect to earn Costco’s average hourly wage of more than $17 a hour.

Then there’s Jane. After her 1,300 hours spent shoveling out chicken nuggets and jellybeans, Jane takes home 20 percent less than Dick, a 401k option and a Costco holiday pie. With her one mandated 25 cent an hour raise each year (and never a penny more), Jane can expect to attain Costco’s average hourly wage by the year 2040.

In-House Poor House

We’ve always been in favor of improved wages for workers. When you have a strong middle class, they want to buy more stuff at Costco.

—Jim Sinegal, Costco cofounder and CEO

While widely touted as America’s most generous and progressive corporate retail employer, Costco nonetheless ensures that about 10 percent of its in-house workforce receives virtually none of its much-trumpeted compensation bounty. No one outside the industry seems to know it. Product demonstrators are poor cousins once removed from the rest of the Costco family. In fact, even when compared head-to-head with Costco’s notoriously low-paying arch-rival, Wal-Mart’s Sam’s Club, Jane would do significantly better sampling for Sam’s. Every family has skeletons in the closet, and this one has lurked in the shadows behind Costco’s glowing press coverage for 20 years.

What accounts for the enormous disparity between Dick and Jane’s remuneration package? Dick works for Costco, while Jane, who works at Costco, doesn’t actually work for it. Instead, Jane works for either Warehouse Demo Services, based in Kirkland, Wash., or for its mirror-image counterpart, Club Demonstration Services, headquartered in San Diego. For the last two decades, Costco has contracted with these two independent companies to provide them with in-store product demonstrations. Each company was created to service Costco, and Costco alone. But to untangle why Costco pays its “Demo Dollies” even less than the bad boys from Bentonville requires a short rewind.

Caste System Biz Model

Virtually none of the sins of modern capitalism are at Costco.

—Costco board member and Warren Buffet business partner Charles Munger

Costco CEO Jim Sinegal cofounded the warehouse operation together with current chairman of the board Jeffrey Brotman in 1983. They entered an emerging market that would soon be dominated by another newcomer, the Wal-Mart-owned Sam’s Club. But the first kid on the warehouse retail block was actually Sol Price and his Price Club, which started selling wholesale/retail seven years earlier.

Six years before this partial merger, Club Demonstration Services (CDS), a subsidiary of Daymon Worldwide Demos Company, was formed to provide sampling services for Price Club stores. Two years later, Costco struck a similar deal with Ken Chamberlin, one of its in-house brokers. Chamberlin’s company would become Warehouse Demonstration Services (WDS). Following its partial merger with Price Club in 1993, Costco and its founders ultimately emerged to run the combined operation under the Costco moniker in 1997, retaining both CDS and WDS as its exclusive in-house vendor-demonstration services.

Warehouse Demonstration Services now employs 6,000 people in 160 Costco locations throughout the Northwest, the Bay Area, Los Angeles, Alaska and Hawaii; CDS staffs demonstrators in 225 Costco stores stretching across 32 states and Puerto Rico. Both provide their services exclusively to Costco, are permanently housed in and affixed to every single Costco nationwide—and offer equally anemic pay and benefit packages to their product demonstrators.

And just how close are these companies to Costco? Repeated calls over the course of two weeks were made to WDS corporate offices in Kirkland. I was told that in order to speak to company president Ted Coehn, the interview would first have to be cleared by Costco corporate management. When asked if WDS was not an independent company free to speak to whomever, the reply was, “Yes, but we work very, very closely with Costco.”

The contractual arrangements each of the two demo companies signed with Costco are remarkably similar, if not identical. When asked about this, Andrea Morgan, CDS director of human resources, confirmed that “a lot of those things that are structured for WDS are structured the same for our company. With our contract with Costco, we’re working with their corporate headquarters up at Issaquah [Wash]. So generally any contract conditions are going to be the same between WDS and CDS.” All this makes perfect sense, but I had a nagging feeling there was more to it than that.

Demo Dudes & Dollies

We treat [in-store demonstrators] like family, of course. They’re in all our buildings.

—Rohnert Park Costco general manager Dave Renz

With Costco corporate’s eventual blessing granted, the opportunity to speak with WDS president and CEO Ted Coehn was at hand. I was curious about his perceptions concerning the general financial well-being of his demo operatives. Coehn responded, “Our experience is that the majority of our employees are people who are not supporting themselves or have to support a family on this income.”

Specifically, Coehn said, “We have lots of retirees who have pensions and have Social Security, and this is a great way for them to get out of the house and get a little pocket money and buy their kids some Christmas presents. The majority of the people working for us are not people who are living in trailers or are one paycheck away from living on the streets.”

But Coehn’s slant doesn’t match what I heard from a host of WDS product demonstrators, most of whom declined to be named for fear of recrimination. Take, for example, what David Gentner wrote in an email. Gentner’s been a WDS “Demo Dude” at the Rohnert Park Costco for six years. According to Gentner, “Most [demonstrators] work less than 30 hours [a week] and clear eight-something dollars [an hour]. Most clear less than $1,000 a month.” Gentner added, “With other costs, it is clear that most [demonstrators] are below poverty level and qualify for food stamps. I personally qualified for earned income credit for the first time, and it was not for a child or military service or illness, but because my income was just too low.”

Another respondent described demo-folk economics this way: “We are poverty-level paid employees. Some of us have other jobs, but for others, this is it. I do childcare on the side, but it’s not something I can count on.”

Another worker said she’d been working inside Costco for the better part of 20 years. “I didn’t intend to work that long,” she admitted. “We got nothing. No overtime for working Sundays. No Christmas bonus. Nothing, nothing, nothing, nothing, nothing. A paycheck. That’s it. That’s all we get.”

But the most damning comment came from a former WDS sampler in Novato, who said, “WDS often hires people who are already disadvantaged, and then exploits them—aging folks, recent immigrants and disabled. Why can’t all workers share in the embrace of Costco’s prosperity? People who have any choices won’t put up with WDS.”

Bullet-Proof in Bulk

We pay much better than Wal-Mart. That’s not altruism. It’s good business.

—Jim Sinegal

Costco is going gangbusters. While most other retailers sputter and slump, Costco’s earnings jumped 12 percent from last year. Costco’s earnings soared to double-digit gains in nine of the last 10 quarters. One reason for this is that Costco’s customers tend to be more affluent than its rivals. The average Costco-member family income clocks in at $22,000 a year more than the nation’s average. This means that Costco has been bulletproof in an economy that lost 80,000 jobs in March alone.

In fact, as economic conditions worsen, Costco, with its low-priced, high-quality merchandise, arguably becomes a more desirable place to shop in tough times than in flush times, when convenience shopping can trump price. The result is a constant boom. “They end up taking share in good times and in a weaker economy,” says analyst David Schick of Stifel Nicolaus Financial Corp.

Costco could offer the financial muscle to ensure an arrangement with WDS and CDS that provides better wage/benefit packages for its daily in-house demonstrators. Sam’s Club did it. But this is not to say there aren’t those, especially on Wall Street, who would oppose such a move. One widely circulated quote has Bill Dreher, a retailing analyst for Deutsche Bank, complaining, “From the perspective of investors, Costco’s benefits are overly generous. It’s better to be an employee or a customer than a shareholder.” Unless, that is, you happen to be Costco-based Demo Dolly.

Costco sets the high-water mark for employee considerations in our domestic retail universe. Progressives find it hard not to cheer on Costco CEO Jim Sinegal as he takes George Bush to task, lends his support to raising the minimum wage, champions universal healthcare or makes a journalist’s day by providing spicy liberal business-mogul quotes. Sinegal insists on being paid no more than 10 times what his average in-house worker makes. Of course, Sinegal is a centimillionaire from Costco stock, but even us hairsplitters would expect that.

It’s almost inconceivable that, with Costco’s stated policy to nurture the middle class by example coupled with its financially sound and profitable business model, it is incapable of bettering the financial well-being of the thousands of Demo Dollies working beside well-paid employees each and every day. Who, if not Costco, exemplifies proof that a satisfied, well-paid workforce out-performs exploited drudges every time? Costco could insist that WDS and CDS conform to its employee-treatment standards. Or it could do what Sam’s Club does and hire product demonstrators as employees. Costco simply chooses not to do so. How does it justify this inequity? Repeated interview requests to high-level Costco management over a course of several weeks recieved no response.

Extra Upside-Down Logic

We are a company that promotes 100 percent within the company.

—Jim Sinegal

Were they to hire on at Sam’s Club, our Jane and Dick, performing the very same tasks they had at Costco, would get equal pay and benefits. Dick would take a massive financial hit, though, while Jane would have an array of previously unreachable benefits floated her way. Whereas Costco designed a two-tiered in-house worker caste system, divided and decidedly unequal, at least you can applaud Sam’s Club for parity. Fact is, Costco’s indie demo-firm contract strategy wouldn’t surprise a soul had it been the big bad Bentonville banditos shaking down the workforce.

Costco is well known for and justifiably proud of its policy of advancing workers from within. But a Costco corporate manager who declined to be named told me that Costco has no policy favoring WDS employees who would like to improve their lot by working for the parent company. In fact, some have argued there is a contra effect, as the tendency would incline Costco not to “fish off the WDS dock.”

Compared to Costco, everyone at Sam’s, including part-time food demonstrators, is a legitimate employee, eligible for health insurance, stock options, store bonuses, paid vacation, sick and holiday time, a 10 percent discount on merchandise—and even a free Sam’s Club membership card. This, however, is not the case at Costco.

“Costco has thousands of contractors and vendors,” WDS’ Coehn said. “They can’t subsidize all the people that they work with. Their first priority has to be to take care of their own employees and take care of their members by providing a great shopping experience and great prices and great products.”

But thousands of different venders don’t work inside Costco stores each and every day; WDS and CDS do. It seems that Costco’s choice was to deal away 10 percent of those working under its roof each day in order to save the additional expense, instead of making them bona fide employees like Sam’s Club does. Instead, Costco chose to encourage “independent” companies to, in effect, subsidize Costco—on the backs of low-paid demonstrators.

So it appears that Coehn has it upside down. It’s the Demo Dollies who are subsidizing Costco, providing their time and energy at less than the head-on competition pays for the same workforce Evidence would sugges a classic case of corporate hypocrisy and worker exploitation. Maybe Costco and, by extension, its two demo-firm partners have their heads in the clouds when it comes to this imbalance. But the fact remains: Costco purposely set up this inequitable, parallel hiring structure. Sam’s did not.

Costco retains its lauded profile, while low-paying independent demo companies do the dirty work. That’s a pretty sweet financial deal for Costco, but not for the Demo Dollies.

And besides, is this any way to treat family?


God’s Commune

04.30.08


I urge anyone who owns land and wishes never again to experience one instant of boredom, who wishes to live in a continuing state of elation, to deny no one access to that land, and watch what happens.

—Morning Star owner Lou Gottlieb

Let there be no more Morning Stars.

—California governor Ronald Reagan

Back in the olden days, like before PCs, iPhones or MySpace, a tall, frizzy-bearded bohemian dreamer “with a nose like a Babylonian patriarch” chanced upon the North Bay. Liking what he saw, he immediately popped for 30 magical hillside acres near Graton in western Sonoma County. The man was a scholar, a teacher, a renowned musician and arranger, a comic, journalist and spiritual quester. He was the freethinking “bigmouth incarnated as Lou Gottlieb, alias Lucky Louie Love Divine, a born entertainer with a heart as soft as mashed potatoes.”

That’s how former Limeliter Lou Gottleib was described by Ramon Senders, Gottlieb’s close friend, fellow musician and communal collaborator. Gottlieb felt his little patch of redwood-dotted paradise was meant—by God—to be shared with every human wishing to share it with him, or at least as many as could fit upon his land. Note I said fit on, not fit in, for as long as Morning Star Ranch had space, all were welcome. Morning Star never did run out of space. But it did run out of time.

Now, four decades since Sonoma County’s legal iron curtain fell down on Morning Star Ranch, MorningStar: The Play, written by Cotati resident Nick Alva, opens May 3 for a short run at Spreckels. The play time-warps its audience back to when members of the unintentional commune played catch with psychedelic-induced fireballs, and Sonoma County Health officials perpetually scoured the property for turds and waste while sheriff deputies hunted up proscribed mood-enhancing substances. But Morning Star Ranch wasn’t simply a Sonoma County phenomenon. Morning Star garnered both praise and damnation across the nation’s media spectrum. providing grist for heated discussions in American living rooms, churches and schools. It even provided one snarky politician a tiny step up his trickle-down ladder to the White House.

Alva bears an uncanny resemblance to his famed protagonist, sharing Gottlieb’s dexterity with the bass guitar to boot. The idea to write the play came to Alva after a co-worker told him that he reminded her of Gottleib, who passed away in 1996. She handed Alva a scrapbook containing newspaper clippings, photos and text compiled by former Morning Star residents over time, and the idea for a play just clicked.

I spoke with Alva over hot chocolate and iced tea at the Redwood Cafe in downtown Cotati. Writing the play was put on the back burner while he and his wife were having children, but the idea was resurrected a couple years later when Alva contacted Ramon Sender in San Francisco.

“When I contacted Ramon,” Alva said, “the T. C. Boyle novel Drop City was out. And Ramon and a lot of the hippies were upset about it because [part of it was] based on the Morning Star story. He felt that [Drop City] was a negative portrayal of what was going on. So they were very leery. Very cautious. But he finally got the sense that what I was trying to do was something positive.”

Alva describes MorningStar as “a large-scale play, elaborate, involved and dynamic. It is a symphony of many voices, an easily accessible story involving humor and beauty.” Add to that dozens of live-performance tunes, a large ensemble cast, eminent veteran stage director Michael Fontaine and actor Steve Fowler, who’s a true-to-life Morning Star friend and neighbor still living just up the road from the property. Actor and musician Dave Struffles as Lou Gottleib teams with Sonoma native Jonathan Van Nuys in the role of cofounder, experimental music composer and writer Ramon Sender, to lead the ensemble.

The story begins in 1966. While the hippie movement rocked on in the city, folk-music legend and Ph.D. musicologist Lou Gottlieb settled into a modest cabin on his Morning Star Ranch, diligently practicing Chopin nocturnes on his grand piano. Gottlieb also inadvertently advanced the next hip-olutionary step toward unrestricted human freedom. By opening Morning Star to all comers, it in theory replaced urban strife and squalor with an entirely free and gentle “back-to-the-land” lifestyle. Edgy city vibes were to vanish amidst peaceful love-centered spiritual questing, be it via art, sex, macrobiotics, yoga, nudity or free-to-all mind-expanding substances.

Morning Star might have espoused Utopia, but it fell gloriously short of the mark. As the Haight devolved into ripoffs, false prophets, bad drugs and violence, so too did ever-tolerant Morning Star open its arms to hardcore bikers, underage runaways, violent ex-cons, the mentally unstable and skid-row alcoholics. Morning Star embraced them as it had embraced artists, musicians, writers and myriad other gentlefolk before them. What was conceived with the heart’s best intentions was dragged to its grave amidst onslaughts of divisive and punitive legal sanctions, and by neighbors from the flip side of the cultural divide who simply wanted Morning Star gone.

“I was sitting in the lunchroom reading this,” Alva said, “when I got to the place in their history when Lou Gottlieb deeded the land over to God. It just hit me—oh my God, this is theater! It was right before we were going into Iraq, so there was this notion in my mind, ‘How can we face these people down?’ Protests didn’t seem to work, nor did letters to the editor. Congress wasn’t working. Then I realized that back in the ’60s, almost 40 years ago, the hippies and the Civil Rights people stood up to the powers that be.”

Alva paused, pulling his focus to the present. “I got the feeling that there is a metaphysical cycle going on, and that’s what this play is about. It’s riding that cycle back up, and it’s almost cresting on a wave, and that the energy of the story of Morning Star wants to be out there into the community in order to initiate change.”

The Morning Star commune, though short-lived, was a booster rocket in humankind’s continuing race for spaces in which to experiment with and evolve community. Its buildings condemned and bulldozed, Morning Star saw its residents cast into the hippie diaspora, though some found permanent refuge on nearby Wheeler Ranch.

Lou Gottlieb deeded Morning Star to God. The courts took this, too, away. Why? Perhaps God’s a hippie. One who never pays his taxes.

‘MorningStar: The Play’ runs Friday&–Sunday, May 3-18, at Spreckels. Friday&–Saturday at 8pm.; Sunday at 2:30pm. Spreckels Performing Arts Center, 5409 Snyder Lane, Rohnert Park. $16. 707.588.3400.

It’s High Time

04.30.08

The issues around medical marijuana are not funny,” says Jewel Mathieson, a Sonoma-based poet and patients-rights activist. “This is not some Cheech and Chong movie; this is real life, and medical marijuana is about finding a way to live life at a time when that’s the hardest thing to do.”

With her husband, former Sonoma city mayor Ken Brown, Mathieson is the driving force behind the May 3 Medical Marijuana Educational Forum and Festival. The event is timed to coincide with the 10th annual World Wide Marijuana March (www.worldwidemarijuanamarch.org), taking place in cities all over the planet the same weekend. The international event, which seeks to erode opposition to the legalization of cannabis, is only partially focused on the medical uses of the famous weed, applications that are at the heart of Mathieson’s current passions.

“Our emphasis is entirely on medical marijuana,” she says. “We see the Santa Rosa event, which we hope to be the first annual event of its kind, as an educational festival, though we also hope it will be a lot of fun, and think it may draw people who are curious as well as those who already have an opinion.”

A breast-cancer survivor, Mathieson was forced to drive from her residence in Sonoma to Santa Rosa, the location of the nearest medical marijuana dispensary, to get medicine during her treatment. She often made the drive while suffering the debilitating effects of chemotherapy. Cannabis, she had discovered, was the only drug that effectively minimized the depression, nausea and appetite loss she suffered. There are currently five operating medical marijuana dispensaries in Sonoma County—three in Santa Rosa, one in Sebastopol and one in Guerneville. With the help of Brown, Mathieson attempted to open a medical marijuana dispensary in Sonoma last year, and after meeting with unexpected opposition from the community, decided that the way to change the climate is through educating the public.

“As a family member of someone suffering from chemotherapy treatments and the effects of radiation,” Brown says, “I’ve seen firsthand how much help marijuana can bring. When you think you’ve lost your loved one and then you get them back—they’re eating again, they can be active again, be themselves again—that’s a major thing.”

“People just don’t get it,” Mathieson says. “So this is an opportunity to hook in with an international event that already has momentum, and to use that momentum, hopefully, to establish a dispensary in Sonoma.”

The day will feature screenings of the film Waiting to Inhale, by award-winning documentarian Jed Riffe; educational booths and crafts; panel discussions; appearances by numerous medical marijuana experts (including David R. Ford, author of Good Medicine, Great Sex! ); and just for fun, performances by the bands Gator Beat and Stone Fish. Mathieson will make a special presentation to State Sen. Carol Migden, who will take a break from her re-election campaign and other concerns to speak on the subject of medical marijuana, an issue she’s supported through various pieces of legislation she is working to get passed by the California senate.

“We’re honoring Sen. Migden that day,” says Mathieson, “because she’s done some very important legislation supporting medical marijuana advocates, protecting both the dispensaries and patients.”

In January, Migden proposed SJR 20, which encourages the federal government to respect a state’s compassionate-use laws. Migden’s other medical marijuana bill is SB 1098, which would grant cannabis dispensaries amnesty from having to pay back taxes or fines on what they’ve sold up until now. This, many believe, will encourage underground dispensaries to come above-board and start operating like any other business, with the controls and oversight—and taxes paid—that would be imposed on any other similar business.

“The good people of California approved medical marijuana for medicinal purposes when they passed Proposition 215 in 1996,” says Migden, who was recently in Santa Rosa to address a meeting of the Sonoma County Teachers Association. “At that time, the people of California made a distinction between drug users and hardened criminals. Anecdotal or otherwise, it’s commonly held that marijuana is useful for people when they are ill. We also hear great outcry about the inadequacies of the healthcare system, and there are folks who would rather self-medicate at home to stave off their aches and pains or to increase their appetite. Under strict and supervisory conditions, it is the people’s policy to allow all of that.”

This of course contravenes federal policy, and Migden believes that George Bush’s swan song will be an attempt to eradicate marijuana dispensaries and clubs from this and all other states where similar programs exist.

“We’re trying to make a case,” she says, “and I believe this senate resolution will be passed, calling upon the federal government to back off, to quit persisting with raids, to not endeavor to pulverize these dispensaries and penalize their landlords. But I do feel we are fighting the clock, as this particular president, whose job expires at the beginning of ’09, tries to do as much as he can before he leaves to eradicate these kinds of facilities.

“We know that the federal government is now threatening to seize property from landlords who may indeed rent to these kinds of marijuana dispensaries,” Migden continues. “The federal government, heretofore, has kind of had a hands-off policy in regards to Sonoma County, along with Santa Cruz, San Francisco and other places where the population has firmly demonstrated its commitment to allowing medical marijuana to be used medicinally. I’ve proposed these two bills, in part, to stop the total elimination [of these facilities], because then it becomes a moot point about how we think these clubs should operate.”

According to Migden, a large number of marijuana dispensaries are eager to apply for business licenses, operate like other businesses and pay taxes like other businesses, but are concerned that when that day arrives and the Feds treat them like any other business, they will be charged with back taxes for every year they’ve operated since the medical marijuana law was passed 12 years ago.

“This federal prohibition is a great disincentive, because anyone seeking to pay taxes knows that there could be reprisals of one kind or another,” she says. “Medical marijuana has become an acceptable part of most Californians’ vocabulary, and it’s time to find a way to stabilize these medical marijuana services and outlets if it is the will of the people—and it seems to be—to pursue allowing cannabis to be used as medical relief.”

The first annual Medical Marijuana Educational Forum and Festival takes place Saturday, May 3, from noon to 5pm, with awards and presentations slated for roughly 2pm. Grace Pavilion, Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa. Free. Food will be available for sale. 707.256.9706.


Senior Classics

04.30.08

When I grow old, I shall not wear purple. I shall instead live someplace dark and dreadful, surrounded by forbidden books, masking the smell of my decay with clouds of some as yet uninvented incense that doesn’t make my nose run. I shall look exactly like Ian McKellen, full of decades’ worth of vices no clean person wants to even think about.

I will be the master of the macabre, the epitome of evil, the most sinister man to crawl the face of the earth. I’ll be devoting myself utterly to music, trying to master the well-known Bach Toccata on the organ at 3am, my way of letting the neighbors know I’m thinking about them, even while they sleep. I’m going to open doors no man should enter. I’ll prop them open with eldritch rubber doorstops from some Lovecraftean hardware store. If I should break wind, as old men must, I’ll tell visitors that it’s just a gust of brimstone left over by a recent visit from my friend for eternity, Beelzebub. In comparison, Aleister Crowley will look like the asthmatic punk he was.

So it is with mixed emotions that I watched the documentary Young@Heart, “starring the Young@Heart chorus.” The ordinary person would see this documentary as what it seems to be: a ringing endorsement of elders who cannot be defeated by the rigors of age.

In Northampton, Mass., Bob Cilman has kept a choral group of senior citizens going for some 25 years; some come and, naturally, some go. The lineup as of 2006 is observed on its way to a big public show at the local art center, along with stops to entertain prisoners at a local jail with Dylan’s “Forever Young.” My favorite part: the total mawkishness of the song is overcome by the serious surroundings. Here, the chorus offers a musical benediction to a group who probably never thought very much about what their own old ages would be like.

The peppy British director Stephen Walker is one of those overtalkers, with the upbeat, impossible-to-tune-out persistence of a tour guide. Repeatedly, he exclaims over the efforts of this hardworking group, and he is repeatedly flabbergasted by the urge of these old people to perform. Over the months of observation, the group is driven through some more modern compositions, such as the Ramones’ “I Wanna Be Sedated,” “Stayin’ Alive” and “Schizophrenia” by Northampton’s own Sonic Youth.

On the whole, these are all relatively simple songs, if often beyond the ken or outside the taste of some of the singers here. (One interviewee, Eileen Hall, misses the old days when they used to sing “Yes, We Have No Bananas.”) There’s something touching about hearing a singer testing his limits. The rhythms of James Brown’s “I Got You (I Feel Good),” for instance, are a real stumbling block. On a more obvious level of pathos, these are men and women singing with some of their last breaths. Especially sad is one Fred Knittle, a hearty joker with a big voice, who is losing control of that voice due to the ravages of a bad heart. The notes comment that Knittle had to be wheeled to the camera because of his health.

Even as one mentally plans one’s own retirement during the slow parts of the show (can vultures be domesticated? do you suppose they would gnaw on the electrical wiring?), one admires the bravery here. In particular, Hall, an aged former stripper from England, keeps her flirtatious streak; in her own way, she insists she’s the same person she always was.

I’m a longtime fan of Clyde Forsman, the octogenarian musician who was at the core of Those Darned Accordions; Forsman’s version of the Rod Stewart sleazefest “Do Ya Think I’m Sexy” is never without sex appeal. I wanted to encourage this film when I first heard about it, even if it meant overcoming my lifelong prejudice against the life-affirming.

Others might have less reservation and just wonder at the spryness, bravery and humor of the cast. Young@Heart demonstrates the toughness of old people close to the end, even when they’re weakened with hospital stays and surgery and loss. It’s a great subject, but not a great film, because of the glancing (might one say youthful?) impatience of the camera and the director, urging us all to move along.

‘Young@Heart’ opens on Friday, May 2, at the Smith Rafael Film Center (1118 Fourth St., San Rafael; 415.454.1222) and the Rialto Lakeside Cinemas (551 Summerfield Road, Santa Rosa; 707.525.4840).


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Corporate Commitment

04.30.08

The third annual Sustainable Enterprise Conference, slated for May 2, features expert keynote speakers, exhibitors and four tracks of workshops. Organized by the Sustainable Enterprise Coalition—a group of Northern California business leaders, university faculty members, nonprofit leaders and entrepreneurs—the goal of the conference is to promote sustainable business practices and to provide tools and resources that “balance economic viability, environmental responsibility and social equity.”

I speak over the phone with one of the keynoters, Pic Walker, of Blu Skye Consulting. Originally of Healdsburg, now located in San Francisco, Blu Skye is known in part for its work on behalf of what many in the environmental movement view as an evil corporate behemoth: Wal-Mart. Walker’s presentation for the conference is “Creating Business Value Through Sustainability: The Wal-Mart Journey.” Walker says that at Blu Skye, the focus is on practical tools to make businesses more sustainable and to help shift the mindset within a company so that people are thinking through this lens. (I have a vision of the corporate share-holders of Wal-Mart looking through these Coke-bottle-size lenses, trying to visualize sustainability without losing any of their profits.) But the idea, Walker says, is not to eliminate profits; the idea is that a business can save money if it begins to adopt sustainability measures. If saving money also means saving the environment, then perhaps there is nothing here to quibble about. 

Walker says that the three goals for Wal-Mart are to eventually reach a point of zero waste, 100 percent renewable energy use and to have more sustainable products on its shelves. Just by changing light bulbs, the company can save $1 million a year. By reducing packaging, more products can fit on a shelf. By working with the fleet trucks, massive amounts of fuel can be saved. By encouraging employees to adopt a “personal sustainability promise,” or PSP, Wal-Mart can reduce healthcare costs and increase employee productivity. (Many of the PSP goals seem to revolve around weight loss, a need possibly fueled by the fact that Wal-Mart provides its employees with only one common food option, a McDonald’s inside each store.)

After speaking with Walker, I decide to further investigate the decision of Wal-Mart’s CEO Lee Scott to transform Wal-Mart’s image from one of the greatest corporate offenders to a model of sustainable business practices, and to find out more about this PSP. The man responsible for this gem is one Adam Werbach, founder of Act Now, an environmental consulting firm that helps companies “capture the emerging green customer base.” Werbach was fired from his position as president of the Sierra Club after his decision in 2005 to take on Wal-Mart as a client.

This small bump in his career obviously did nothing to squelch his creative genius, as he and his consulting team soon came up with the PSP, the goal of which is to get all Wal-Mart employees to commit to a behavior change that will benefit their own health and that of the planet. This voluntary plan, while not nearly as good as, say, a pay raise, seems to be helping hundreds of thousands of Wal-Mart employees learn how to make a difference. The plan reeks of condescending rhetoric, but if Werbach is correct and even a small step toward sustainable living is a step in the right direction, then getting underpaid and overworked Wal-Mart employees to use “positive psychology” so that they can be more productive out on the floor is a good thing. I guess.

Wal-Mart aside, the conference promises a host of interesting things to do and hear. Other speakers are John Harrington, president of Harrington Investments, a socially responsible investment-advising firm, and Jared Huffman, the Sixth District assembly member who is a supporter of AB 32, legislation to cut back on California’s CO2 emissions. Exhibitors such as Benziger Winery, Summerfield Waldorf School, KRCB television and radio, and the Sonoma Valley Vintners and Growers Alliance will be available to showcase the sustainable aspects of their businesses and organizations.

The event is arranged in “tracks,” so that every attendee can find workshops tailored to their needs. Track A is for large and medium enterprises, track B for small enterprise, and entrepreneurs, track C for strategic thinking and visionary leadership and track D for those just getting started on the path to sustainable business practices. For anyone interested in sustainable enterprise, as well as those (such as myself) who love “meals included” happenings, this is an event well worth a Friday.

For more information on the Sustainable Enterprise Conference, go to www.sustainableenterpriseconference.com.


Found in Translation

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04.30.08

David Templeton

My deaf lesbian sister just seduced my boyfriend!”

That proclamation sounds like a headline for the National Enquirer, but in playwright Aditi Brennan Kapil’s Love Person, the engaging and challenging new play from Marin Theatre Company and the National New Play Network, those words are definitely no joke. Love Person (the literal American Sign Language translation of the word “lover”) is a play about love, language and the tricky art of translating one set of words into another. It employs ASL, Sanskrit poetry and text messaging, as Kapil explores the strengths and weaknesses of conversation in a multilingual, multi-technological world.

Love Person is meticulously designed so that, through projections, supertitles and onstage interpretation, we always know more or less exactly what the characters are trying to say. As result, the play ends up making supporting characters out of the languages each character uses to communicate. I’ve honestly never seen anything like it.

Victoria (Emily Morrison) has a demonstrated habit of falling for unavailable men, and may have done it again when she meets Ram (Janak Ramachandran), a visiting poet and Sanskrit expert who immediately regrets his one-night stand with the sexy but needy—and apparently fairly shallow—young woman. Vic’s slightly hostile deaf sister, Free (Mary C. Vreeland, above left), is the lover of Maggie (Cathleen Riddley, above right), a professor of poetry who is devoted to Free but has a habit of romanticizing her lover’s deafness, seeing ASL as a kind of dancing-poetry that transcends English. Free resents English, and has begun to resent Maggie’s love of the written word. .

Through an accident of timing, Free sends Ram a text message poking fun at this belief that translation can ever get at the soul of a different language. Believing the message to be from Vic, Ram is surprised to see a depth and wit he hadn’t noticed before. Just as Cyrano de Bergerac charmed Roxanne with his beautiful words, Ram, of course, ends up falling in love—with Vic, whom he believes he’s been chatting with all these weeks. Such circumstances cannot continue, of course.

Simply and effectively adapted, the production is designed by Eric E. Sinkkonen, with subtle but significant lighting design by Stephanie Buchner and a nice, nonintrusive musical score by Chris Houston, which brings a great deal of mood and tension to the show. The actors are all excellent, displaying shades of evolving character as they reveal the aching, loving, silly, inventive, forgiving and resilient souls that live and breathe beneath all those words.

Love Person runs Tuesday&–Sunday through May 18 at the Marin Theatre Company. Wednesday at 7:30pm; Thursday&–Saturday at 8pm; Sunday at 5pm. 397 Miller Ave., Mill Valley. $30&–$35. 415.388.5208.


Museums and gallery notes.

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Reviews and previews of new plays, operas and symphony performances.

Reviews and previews of new dance performances and events.

First Bite

Editor’s note: First Bite is a new concept in restaurant writing. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience. We invite you to come along with our writers as they—informed, intelligent eaters like yourselves—have a simple meal at an area restaurant, just like you do.

Saddles, the spiffy restaurant at the glamorous MacArthur Place resort, has long been a destination for beef lovers. Now with prices for top-quality beef rising and the public appetite for beef diminishing, Dana Jaffe, the executive chef, says a makeover is likely, though the look of the new menu isn’t clear. For now, beef reigns supreme. When I arrived for dinner midweek, I wondered whether I’d opt for a steak or be cautious and order the seared salmon or the squash ravioli. Once I sat down in the casual dining room with its trompe d’oeil paintings and glanced at the menu, I knew instantly I wanted steak.

My friend wanted steak, too. But first things first. We started with the baked oysters Sonoma ($10) with pancetta and béarnaise with cognac. Next, we shared a creamy shrimp bisque, sweetened with coconut ($7). There were seven different steaks to chose from, including filet mignon, porterhouse and a dry-aged New York. We ordered the 23-ounce bone-in ribeye ($45).

The huge steak, which arrived on a big, white platter, looked succulent and gave off a rich, beefy aroma. It was cooked medium rare with just a punch of salt and pepper and a smidgen of butter, so the meat spoke for itself. It had been turned several times over a hot grill, and seared on the outside to keep the juices inside. I cut the tender ribeye in half with a hefty steak knife, and shared it with my fellow carnivore, savoring every bite.

The Rued 2003 Zinfandel brought out the flavors of the meat. Garlic mashed potatoes ($4.50) and steak fries ($4.24) are available for potato lovers. We chose the wild chanterelles ($8), which were flavorful, and the garden-fresh creamed spinach ($4.75). Next, we had Saddles’ salad of mixed greens, goat cheese, walnuts and a cider-thyme vinaigrette dressing. ($8) For dessert, we had the crème brûlée with blueberries ($7).

Jaffe expects greatness from her kitchen staff, and everyone contributes to the Saddles dining experience, including the vegetarian Hindu sous chef. Jaffe buys top-quality grass-fed beef from sustainable ranches in Northern California and Oregon. The steak tastes clean, and it feels good to eat beef that’s been treated kindly. Jaffe makes her own pies with fruit from the trees right outside the kitchen, and, using a recipe handed down from her mother, also makes a delicious, cold fruit soup with rhubarb, raspberries, black cherries, prunes, sultanas and cinnamon topped with vanilla bean ice cream. It’s worth a special trip to Sonoma.

“Americans thrived on steaks and pies,” Jaffe smiles, as though her memories of yesteryear were fresh. “Not so much anymore. If you want to eat the way Americans once ate, come to Saddles.” Indeed, it’s a carnivore’s paradise, and an American steakhouse in the best American tradition. The live Friday night showboat jazz adds a touch of elegance.

Saddles, open for dinner nightly. 29 E. MacArthur St., Sonoma. 707.933.3191.



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Quick-and-dirty dashes through North Bay restaurants. These aren’t your standard “bring five friends and order everything on the menu” dining reviews.

Feat of Clay

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the arts | visual arts |

On a Platter: Picasso with Madoura pottery workshop mistress Suzanne Ramié.

By Gretchen Giles

It’s a hot afternoon in Sonoma, and the Picassos are everywhere. They’re lying on the floor set atop moving blankets. They’re dotted with Post-It notes. They’re sitting unguarded by the usual clear plastic vitrines that museums use to protect them, just sitting, on white movable dais stands. More Picassos are as yet uncrated, piled in packing material in massive wooden crates marked “Fragile,” which still need to be pried open with a crowbar to reveal the treasures inside.

With Donna Summer and other sprightly dance music of the era playing over the system, Sonoma Valley Museum of Art executive director Lia Transue stands calmly amid the Picasso-driven chaos. Dressed down in jeans with her hair tied back, Transue gestures with a hand that is encased in a purple latex glove—a purple latex glove that casually holds yet another Picasso. “Let’s try that one there,” she suggests to her installation team, actually shaking the Picasso in emphasis.

No cause for alarm. All of this is fairly sturdy stuff. Rather than the paintings or drawings that the famed Spanish artist Pablo Picasso was best known for, the SVMA is on this day installing a show of some 65 ceramic pieces adorned and manipulated by the master of 20th-century art. Titled “25 Years of Edition Ceramics: Picasso,” this exhibition has been traveling to museums all across the United States for the last eight years straight. The SVMA exhibit marks the collection’s last stop. After this public viewing, the collection will be deaccessioned by the Edward Weston Collection, which owns it, and sold piecemeal into private hands.

Created like prints in limited editions, Picasso ceramics are not widely known in great part, Transue says, because he kept so many for himself. “He had about 3,000 pieces in his own home,” she says, “and he used them for everything.”

Judging by the pieces on exhibit, “everything” is a large word indeed. There are vases that could never hold a flower, olive oil jugs that could certainly emit but whose apertures are so slim as to never admit and water jugs suitable for only the most hydrated sipper. Function, however, is really beside the point. After all, this is Picasso. The decorations, the markings in the clay, the paintings over the surfaces and the mythologies evoked—childlike, primitive and, above all, rapid in execution—are what hold the eye and squeeze the stomach with pleasure.

Among his many talents, Picasso was known for being as adept at stage design as he was at inventing a whole new artistic genre. As skillful with paint as he was with chalk or metal. He was first introduced to clay as a medium in 1946 and quickly became interested in the painterly possibilities of adorning that which came from the very earth. While vacationing at a friend’s home in the south of France, the painter, then 65, decided to take in the local sights, which on that day included a potters exhibition in the sleepy town of Vallauris.

Vallauris had been known for the quality of its ceramics studios, but interest had died down over the last century. Upon encountering Suzanne and Georges Ramié, owners of the Madoura Pottery Workshop, Picasso became intrigued. He asked to see the workshop and immediately set to work, producing three pieces on the spot. He then asked for a permanent area of the workshop that he might use. He was Picasso. He got his permanent spot.

In 1947 alone, the master produced 2,000 pieces at Madoura. While there in 1953, he met Jacqueline Roque, who would become his last wife, and he continued to work in ceramics until his death in 1971.

Picasso never learned to successfully throw a pot on the wheel. Nor, according to exhibition curator Gerald Nordland, did he ever solve “the technical problems of glazes and multiple firings.” Instead, when given such standard outlay from the Madoura as long, oblong white serving pieces known as “Spanish platters,” Nordland says, “he treated them like canvases.”

Standing near a gloved assistant who is busy assessing the ceramics as they come out of the large wooden crates for scratches or marks, Transue admires a plate. “I wish that I had seen Picasso’s ceramics before I took pottery in art school,” she sighs, tracing a design with a gloved finger. “I’m a painter. I don’t really care how to throw a pot. I just want to paint on things, and that, of course, is exactly what he’s done. Look at the matte, the shine, the etched points, the relief—there’s a lot going on.”

With a busy pottery factory humming around him at Madoura, Picasso worked with master craftswoman Suzanne Ramié to better understand the medium. Soon, he was taking unfired ready-mades and manipulating them to reflect the vibrant Mediterranean mythology of lusty maids and horned beasts that often danced through his imagination. Take a vase, make a pinch, have a woman. Take a plate, turn it over, have a backside canvas. Take a water jug, seal it up, have a sculpture. The works collected in the traveling exhibition also reveal how Picasso gouged the giving clay with tools and fingers, marking it inextricably with his own personal stamp, and took strips and segments from other pieces and adhered them to unusual effect.

Having a stratospheric art star hunkered down in this sleepy south of France village once known for its ceramics revitalized Vallauris. Ever canny—apocryphal stories about the artist tell of him signing children’s skin rather than giving their parents a traditional autograph—Picasso worked with Ramié to create a series system in which his original creations could be exactly reproduced in limited editions no greater than 500. And so, Picasso not only revitalized the town, he’s kept it in business almost 40 years after his passing.

“Yes,” Transue affirms with a smile. “His ceramics are still being made.”

  ’25 Years of Edition Ceramics: Picasso’ shows May 1–June 29. A members-only opening on Thursday, May 1, also celebrates the museum’s 10th anniversary from 6:30pm to 8pm. A free community open house is slated for Sunday, May 4, from 11am to 5pm. Sonoma Valley Museum of Art, 551 Broadway, Sonoma. Admission, $5–$8. 707.939.7862.



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Museums and gallery notes.


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Reviews and previews of new dance performances and events.

Collapsing Under the Weight of Loma Prieta

1

I heard some of the final mixes of Loma Prieta’s new full-length last week. I can’t even describe it. It’s insane.
I’m not the first one to note the disconnect between the band members’ calm, collected personalities and Loma Prieta‘s unhinged, ballistic hardcore, I know, but it’s still shocking to hear them play like electrocuted behemoths on PCP. The album, from the songs I heard, is a sprawling, crazed fury of invention, and holy crapballs, the band is actually touring Europe next month. Europe!
The record, called Last City, comes out May 9. A record release show happens that night at the Bike Kitchen in SF.

Beard bash

04.30.08May 5 marks American culinary legend James Beard's 105th birthday anniversary. Each year, the James Beard Foundation, located in Beard's own Greenwich Village Brownstone, hosts a Beard birthday-bash-cum-culinary-awards-ceremony featuring dishes culled from Beard's own recipe book. If you're gambling on your plane flying to N.Y.C. Monday to catch this annual event, get your gastronomic juices going early and pick...

We Are Family?

04.30.08Picture two part-time workers. Let's call them Dick and Jane. Each works 25 hours a week at Costco. Dick stands just inside the front door making sure customers flash membership cards as they enter. Jane stands at her demo station cooking, promoting and serving samples to hungry customers. Dick and Jane work inside the very same Costco, have each...

God’s Commune

04.30.08I urge anyone who owns land and wishes never again to experience one instant of boredom, who wishes to live in a continuing state of elation, to deny no one access to that land, and watch what happens. —Morning Star owner Lou GottliebLet there be no more Morning Stars. —California governor Ronald ReaganBack in the olden days, like before...

It’s High Time

04.30.08The issues around medical marijuana are not funny," says Jewel Mathieson, a Sonoma-based poet and patients-rights activist. "This is not some Cheech and Chong movie; this is real life, and medical marijuana is about finding a way to live life at a time when that's the hardest thing to do."With her husband, former Sonoma city mayor Ken Brown, Mathieson...

Senior Classics

04.30.08When I grow old, I shall not wear purple. I shall instead live someplace dark and dreadful, surrounded by forbidden books, masking the smell of my decay with clouds of some as yet uninvented incense that doesn't make my nose run. I shall look exactly like Ian McKellen, full of decades' worth of vices no clean person wants to...

Corporate Commitment

04.30.08The third annual Sustainable Enterprise Conference, slated for May 2, features expert keynote speakers, exhibitors and four tracks of workshops. Organized by the Sustainable Enterprise Coalition—a group of Northern California business leaders, university faculty members, nonprofit leaders and entrepreneurs—the goal of the conference is to promote sustainable business practices and to provide tools and resources that "balance economic viability,...

Found in Translation

04.30.08David Templeton"My deaf lesbian sister just seduced my boyfriend!"That proclamation sounds like a headline for the National Enquirer, but in playwright Aditi Brennan Kapil's Love Person, the engaging and challenging new play from Marin Theatre Company and the National New Play Network, those words are definitely no joke. Love Person (the literal American Sign Language translation of the word...

First Bite

Feat of Clay

the arts | visual arts | On a Platter:...

Collapsing Under the Weight of Loma Prieta

I heard some of the final mixes of Loma Prieta's new full-length last week. I can't even describe it. It's insane. I'm not the first one to note the disconnect between the band members' calm, collected personalities and Loma Prieta's unhinged, ballistic hardcore, I know, but it's still shocking to hear them play like electrocuted behemoths on PCP. The album,...
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