Upcoming MIPA Meeting

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04.16.08

In a world that made sense, recreational fishermen and environmentalists would stand on the same side—but not as we enter the final weeks of public involvement in the implementation of the North Central Coast phase of the Marine Life Protection Act (MLPA). Public meetings in San Rafael, April 22&–23, will allow fishermen and other stakeholders to voice their opinions on the current state bid to indefinitely close parts of the North Coast to fishing, which will be decided on before the year’s end. 

Of five initial draft proposals for the North Central Coast, three remain: 1-3, 2-XA and 4. Many recreational fishermen adamantly oppose proposal 4, which, among other things, would close almost all recreational bottom fishing at Duxbury Reef, a popular destination for Bay Area boat fishermen. Other important fishing and diving sites along the coast of San Mateo, Marin, Sonoma and Mendocino counties would be closed as well, while leaving the virtually inaccessible waters off Sea Ranch open, a relatively empty gesture. Many opponents of proposal 4, however, support 2-XA, which would allow continued fishing at Duxbury and other popular sites. 

Coastside Fishing Club, a web-based community of 14,000 California fishermen, has largely fueled the opposition to the MLPA, and has strongly influenced the drafting of proposal 2-XA, what many fishermen feel is the least of three evils. Club secretary Mike Giraudo sees the MLPA as just one part of a long-term attack on recreational fishing; he believes that there will be no turning back, ever, once the proposed closures are implemented. “Once they get their teeth into this and get us used to the restrictions, I don’t think they’ll ever go away.”

Various environmental organizations have supported and funded the MLPA process with the hope of ending commercial and recreational fishing in many locations, but many fishermen have voiced the opinion that “enviros” are barking up the wrong tree and that the fishermen themselves are, in fact, enviros. (The full word is disdained by many fishermen.)

“The truth is, most fishermen aren’t bad guys out to catch the last fish,” Giraudo says.

Passed in 1999, the MLPA has since made sweeping changes in regulations and restrictions on marine life harvest along portions of the California coast. The ultimate goal of the MLPA is to promote recovery of depleted fisheries, but some fishermen only foresee the end of their favored pastime. Those who wish to speak out for or against MLPA draft proposals are encouraged to attend the meetings. This could be the final call.

Meetings are scheduled Tuesday&–Wednesday, April 22&–23, at the Embassy Suites Hotel, 101 McInnis Parkway, San Rafael. 9:30am.

More info is available at [ http://www.dfg.ca.gov/mlpa/meetings.asp#brtf ]http://www.dfg.ca.gov/mlpa/meetings.asp#brtf.


Hair Goo

04.16.08

In his letters to me, my father wrote extensively on the superiority of Italian sensibilities in particular and the Italian race in general. If one wanted proof of his theory, one needed look no further than the average American’s complete ignorance in the matter of good food. To my father, bad food was more than just an insult to the body and palate; it was a crime against humanity.

For this reason, when I arrive at Fiorini Italian bakery and cafe in order to learn about a hair-recycling program in Sonoma, I am preoccupied with the pastries, the ambiance and my own nostalgia. Rather than interviewing attendees and asking pointed and important questions, I soon find myself buying sweets and doctoring up an espresso, despite the fact that it’s almost 5pm and now I will be up all night.

The event, organized by stylist Ally Ox of Bianchi Salon, located just behind Fiorini, is replete with Champagne, delicate pastries and a small panel of speakers. Ox brings stylists together to learn about Matter of Trust’s hair-recycling program, and how, with a little organization, North Bay hair salons can do their part to soak up oil spills across the nation.

Matter of Trust has collaborated with thousands of salons throughout the United States and abroad to gather donations of hair clippings, which are then made into mats that soak up oil spills. Salons pay for postage to send their swept-up hair to a recycling depot in California. Bianchi Salon acts as a catalyst, organizing and providing information to other salons in hopes that Sonoma will soon have a drop-off center, so that local stylists can bring in their hair clippings and work together to make the process efficient and sustainable.

While waiting for the discussion to begin, I chat with attendee Leslie Sheridan. Sheridan runs a consulting and marketing company, and is attending this event not because she has hair to spare, but because she knows Ox from Green Drinks, a social-networking group for business people who believe in people, plus profit, plus planet.

After discovering that many of our local Chambers of Commerce refuse to take stands on causes Sheridan holds dear—such as a living wage, the GE-Free Sonoma County effort and affordable housing—she began to look elsewhere for like-minded business associates. She found them at GreenDrinks.org, and she’s here to learn something new and support her fellow Green Drinks member.

Once the talk begins, I learn all sorts of things. The Sonoma County Business Environmental Alliance is on-hand to discuss resources for greening your business. What appears to be a cut-off dreadlock that got run over repeatedly by a semi-truck is actually a hair mat made from salon clippings. This hair mat can help deal with the millions of gallons of oil that somehow end up in our oceans. Each hair mat can be used, wrung out and then used again and again. Founder Lisa Craig Gautier tells us that oil spills are not the only use for these mats. Now that California is banning the weed killer Roundup for municipal use, counties are desperate for an alternative, and these hair mats could be just the solution for natural way to reduce weeds.

Next up is Greg Starkman, founder of Innersense Organic Beauty, who discusses the need for hairstylists to move away from chemical-laden professional products to those more organic and sustainable. Keeping dyes and chemicals out of the waterways is one key issue, as well as increasing our understanding of what we are putting on our skin and hair, and how the chemicals included in most products can affect our health.

Back home, I’m too wired from my double espresso to sleep, and so I check out a website recommended at the event by Ox, www.cosmeticdatabase.com. This is a free site that allows you to type in the name of your favorite beauty products and discover where they fall on the “safety” barometer. My face lotion rates six out of 10, with 10 being the most toxic. If my father were still alive, I imagine that he would tell me that the problem is that my face lotion is not Italian. Italian face lotions could never cause cancer.

For more information on Sonoma’s hair recycling program, contact Bianchi Salon at www.bianchi-salon.com. For more information on the Sonoma County Business Environmental Alliance, go to [ http://www.sonoma-county.org/bea/ ]www.sonoma-county.org/bea/.


From the Bitch and Moan Dept.: Santa Rosa

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(Gabe took this picture, found on an area lamp post when the diagonal downtown crossing was first instituted.)Just returned from a sun-drenched stroll in downtown Santa Rosa. Had a hot dog at Ralph’s rolling stand and sat in the Square on an ArtStart-decorated bench, licking mustard from my fingers. The Square was temporarily empty of meth freaks, homeless folks and that lady I’ve seen deal drugs from her baby’s carriage. (Turns out the bike cops were gathered just a half a block away in front of the newly closed bagel store that never got around to taking the Wolf’s Coffee awning down. They were talking pastries.) Had a can of soda. Had nowhere to put the damned can when it was empty, so stuffed it in my purse to bring back to work in order to recycle. This brings up one Santa Rosa-borne irritation and it immediately harkens others.

Love Immortal

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04.16.08

Get ready to rumble. Buy lots of extra Kleenex. Romeo and Juliet, those star-crossed lovers from Verona, Italy, are getting ready to kill themselves again, and this time, they’re making it a double date with two crazy kids from New York City. As the grand finale of the 2007&–2008 Sonoma State University theater arts program, two of the greatest and saddest love stories ever put onstage—Shakespeare’s Romeo and Juliet and Laurents, Bernstein and Sondheim’s West Side Story—will play back to back in rotating repertory, a veritable dead-teenager marathon. Romeo and Juliet, directed by Paul Draper, opened last week, and West Side Story, under the direction of Amanda McTigue with musical direction by Lynne Morrow, starts this week, after which both plays will alternate back and forth, sometimes on the same day, through May 11.

“These are students who are coming to this material fresh,” says Draper, standing in the lobby of the Evert B. Person Theatre, where he is joined by his Romeo and Juliet (Rob Ratchford and Greta Marh) along with McTigue and West Side Story’s Tony and Maria (Arturo Spell and Christa Durand). “They have their own things to say about the world they live in. This experience gives them the opportunity to relate this great material to what they are experiencing, to allow them to think, ‘What do I feel now?’ rather than ‘What would they think then?’ In so doing, they are reclaiming this material and making it powerfully strong, fresh and significant. They are making these plays their own.”

“It’s true,” says Marh. “I mean, who doesn’t know Romeo and Juliet? We do make it fresh by making it our own. What I’ve been focusing on is making it my Juliet. It won’t be like anyone else’s Juliet, which takes a lot of pressure off me, while also putting a lot of pressure on.”

According to McTigue, that same principle is at work on West Side Story. This version, for example, features a racially mixed cast that circumvents the all-white Jets and all&–Puerto Rican Sharks casting that most audiences expect. In these gangs, racial identity is not so black and white—or brown and white.

“This production,” McTigue says, “highlights the play’s underlying issues of identity and race, examines issues of who’s who, asks the questions about what a gang means and demands to know what all this hatred is based on. The makeup of our cast alone breaks that open in a new way and forces us to examine those questions.”

“In West Side,” says Christa Durand, “we’ve been working a lot at stripping away the dated stuff, particularly the way the language is performed. If we keep the original language, it sounds kind of 1950s-ish, so we’ve been working on contemporizing our body language, throwing in a few ad libs here and there. But really feeling the language as if it were today, not falling back on characterizations from the 1950s.”

The action in West Side Story is updated as well, says Durand, with the fight scenes reconceived to look less like Jerome Robbins’ modern dances, as in most versions, and more like actual fighting. “Whenever I watch the opening scene, the opening fight between the gangs,” she says, “I always tear up because it’s so real, so filled with hatred and ridiculousness between these two gangs. I think we’ve been focusing on digging down to the real drama, to the real emotions, and not just putting on some cute high school show.”

“In Romeo and Juliet,” says Ratchford, “the fighting is also pretty real, with bats and sticks and swords and all kinds of weapons. When the fights come, it looks pretty scary, because violence is scary.”

“Yeah, this play is about conflict and hate, but it’s also about love,” says Spell. “I’d never seen West Side Story until I was cast as Tony, and then when I found out that I die, I was like, ‘Man, that sucks.’ But when I put myself into this character, I think about what would happen between me and Maria if I didn’t die, even with all of this anger and hatred and stuff going on. Maybe if Chino didn’t get me at the end, maybe if Maria and I somehow survived and ran off to the desert, just me and her, we would have made it.

“I wonder if, in the real world, that would have been possible, a multiracial couple, just running away and leaving all this stuff behind. To me, I have to say, ‘Yes. Yes, they would make it.’ Because even in a world where interracial relationships are not approved of everywhere, especially back in the 1950s when this was written, even with all of that, I believe love conquers all, and hope springs eternal.”

“There is one scene in Romeo and Juliet that is so pure,” Draper says, “so absent of any kind of cynicism or negativity, and that’s the famous balcony scene. Every time I watch it I think, ‘How is it possible to be any place except wanting love?’ And when that love gets pulled apart, what Shakespeare is doing—and what hopefully we will be doing—is pulling the audience apart a little too.”

“There’s one part in the show,” Marh says, “where Romeo has to go off to Mantua, and I always think, ‘Why am I not going to Mantua?’ I always want to climb down the balcony and go after him. Why can’t we just run away together?”

“It’s a fantastic moment as an actor,” Ratchford says, “because everyone knows we’ll never see each other alive again, but we don’t know that. I don’t know that. At that moment, I, as Romeo, as we’re parting, I have to believe that I am going to see this person again, that this is my wife and I’m coming back to get her. Rob says that if Tony didn’t die, he and Maria would find a way to stay together, no matter how hard it would have been, and I feel the same way about Romeo and Juliet. Juliet is his equal.

“He tells Friar Lawrence, ‘The one I love now doth grace for grace and love for love allow.’ In other words, he’s saying, ‘I’ve found the one I’ve been looking for. Juliet is the one.’ If they hadn’t ended up killing themselves, you know they’d have found a way to make it all work.”

‘Romeo and Juliet’ plays April 18, 26 and May 2 and 10 at 8pm; April 19 and May 3 at 2pm; April 27 at 5pm; April 29 and May 7&–8 at 7:30pm. ‘West Side Story’ plays April 16&–17 and 30, May 1 and 6 at 7:30pm; April 19 and 25, May 3 and 9 at 8pm; April 20 and May 4 at 5pm; April 26 and May 10 at 2pm; The two plays are a double feature April 19 and 26 and May 3. $8&–$15. Evert B. Person Theatre, SSU, 1801 E. Cotati Ave., Rohnert Park. 707.664.2353.


Museums and gallery notes.

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Glass in Your Glass?

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04.16.08

Boston Beer Company, owner of the illustrious Samuel Adams, recalled a whopping 25 percent of its bottled beers last week after small shards of glass were found in several bottles during a routine inspection at a Cincinnati bottling facility. A subsequent inspection of several Sam Adams breweries revealed more bottles containing pieces of loose glass, and the recall order was promptly deployed.

The problem seems to pertain only to easily identifiable bottles embossed with “N35” a quarter-inch above the bottom of the glass followed by the letters “OI.” The “N35” is the plant identification code, and “OI” stands for Owens-Illinois, the offending company, based in Auburn, N.Y. The suspect bottles, all 12-ouncers, are custom-made by Owens-Illinois for Boston Beer Company, and no other breweries are likely to come forward expressing similar concerns. The suspect bottles contain various favorite Sam Adams brews, and the only distinguishing mark is the embossed code. Date of bottling or purchase is not relevant, and if you have a three-year-old N35 bottle of Sam Adams Light in your cellar, it may contain glass shards. It will be spoiled, too. Send it back. (Reimbursement info below.)

The recall is a great financial blow and marks a sad day in Boston Beer’s long history. This is the first time that the biggest little brewery in America, and arguably the best big brewery, has recalled a product, and the action generated a 6 percent drop in market shares last week. Boston Beer officials believe that less than 1 percent of the recalled bottles are affected, but the company wants to take no chances. All the bottles will be destroyed, and hopefully recycled, and the beer will be dumped.

Boston Beer officials report that no one has yet been injured. In fact, if you have experience pouring old wines or panning for gold, you presumably will face no trouble from affected N35 bottles. If the beer is poured slowly enough, the heavy glass shards should remain in the bottom of the bottle, but such reckless action is not recommended.

Consumers who wish to return N35 bottles will receive reimbursement for their purchases. Information can be found at www.samueladams.com/cidefault.htm or by dialing toll free 888.674.5159.

Quick dining snapshots by Bohemian staffers.

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First Bite

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E ditor’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 .

When celebrity chef Bobby Flay visited Nick’s Cove last November for his television show, he compared the oysters served there to Viagra-on-the-half-shell. He also had this to say about the views of Tomales Bay, upon which waters the little restaurant literally sits: They “aren’t bad.”

Even if his words were hardly eloquent, it’s a conclusion that diners at Nick’s may find themselves repeating. Because as sumptuous as the setting is—smack on the shoulder of the skinny, winding Highway 1, framed by towering eucalyptus/redwood/rolling hills and with the lovingly and expensively renovated historic building sprawling out to pylons above the Pacific—the food can quickly overpower with its significant charms.

Indeed, a friend and I set the specific time of sunset to meet for dinner one recent evening, to take in the breathtaking light that drops from the western sky into a brilliant, pink-red-blue-gray curtsy behind the floor-to-ceiling windows spanning the back of the restaurant. We admired, awestruck, yet when our food came, we barely looked up from our plates again.

Fresh oysters ($2 each) are a specialty. Drawing from nearby Hog Island Oyster Farm and its neighbors, oft-changing selections might include Sweetwaters, Kumamotos or the Marin Miyagis and Preston Points we chose. Creamy, briny, demanding to be bit and savored instead of swallowed, the buttery meat didn’t need (but was wonderful with) accompanying classic Champagne mignonette and a highly appealing “hog wash” of vinegar and jalapeño. The ritual is elegant, plucking a shell from its perch atop a sparkly tray of ice, loosening the muscle with a tiny silver fork, then slurping the salty goodness.

Fish also shines. Local salmon being as precarious as it is right now, Nick’s has brought in Scottish ($24), which has the advantage of being some of the finest farmed variety in the world. It was advertised as coming bagna cauda (Italian for “bath,” essentially an anchovy sauce), though on my visit it was barely a splash over a bed of Peruvian purple potatoes and roast cauliflower. Nothing was missing, however, from Bodega Bay Dungeness crab cakes ($16) served as a trio of luxuriously meaty, golden-edged disks tinged with fennel and resting on a puddle of bright Meyer lemon aioli.

While Nick’s has a fine repertoire of non-seafood entrées—almond grilled Creekstone rib eye ($31) or apple sage stuffed pork loin ($19), for example—one of the most hugely satisfying plates is the cheeseburger and fries. It’s pricey at $16, but first-rate, the beef fresh-ground and hand-formed into a thick patty, layered with Spring Hill cheddar or Point Reyes blue and a scattering of housemade pickles.

This is also an important tidbit for a would-be diner at Nick’s to know: reservations are strongly recommended. Walk-ins are welcomed at the crowded bar or at the raw bar (full menu served), but landing a seat can be an awkward game of musical chairs. The fastest feet—or most virile appetite for oysters, perhaps—win.

Nick’s Cove. Open for lunch and dinner daily; dinner only, Tuesday. 23240 State Route 1, Marshall. 415.663.1033.



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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.

¿Qué Syrah?

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04.16.08

The subjects of wine, terroir and all the subtleties in between can make for a hopelessly esoteric discussion, fit for a wine-judging panel but beyond the comprehension (and interest) of the common person. But the variety of smells and flavors that may come from different bottles of one intriguing varietal—Syrah, also known as Shiraz—are stark enough for almost any Joe or Jody to discern, and can provide a fascinating lesson in the geography of terroir. A good place to start is California. Mendocino Syrah may be spicy, rustic and woodsy; Sonoma Syrah, light and mildly fruity, with high tannins and acids. The Central Coast can produce a feral-boar wine of dripping blood and cold-aged meat and in Santa Barbara County, the heavy sun exposure can lead to a more massive, fruit-forward style.

The problem, say many winemakers, is marketing the varietal in a defined, recognizable form, for 20 degrees of latitude, a globe of personalities and two names have made it one of the most misunderstood—if agreeable—wines there is. Syrah is a fluent ambassador for the earth’s vast spread of terroir, and from Mexico to Canada, France to India and Texas to Australia, where they call it Shiraz, this grape goes to the bottle in a thousand shades of purple.  

“Syrah suffers an identity crisis,” says Steve Beckmen, biodynamic winemaker at Beckmen Vineyards in San Luis Obispo County. He feels the grape’s nebulous characteristics and hazy distinguishing traits have left Americans unclear on just what it is that a Syrah is supposed to taste like. “In California, it’s not stylistically distinct. There’s so much diversity in the plantings around the state, geographically and climatically. That’s one of its blessings, but that can hinder it at a marketing level when it comes time to tell consumers what the product is that we’ve made.”

Just explaining to quizzical tasting-room visitors that Syrah is the same as Shiraz, sort of, is a headache for marketers, and the varietal’s indecisiveness of character may baffle consumers. Taste Chardonnay, and get butter and oak. Taste Zinfandel, and find pepper and tart berries. Pinot Noir, crisp mineral limestone. But Syrah wanders all over the map. In Australia, winemakers have successfully popularized the jammy, appealing, high-alcohol Shiraz style that is often meant to be drunk young and which has gained tremendous popularity in the United States. In France, especially the Rhone Valley, Syrah is traditionally subtle, tannic, lower in alcohol, blended with other varietals and fit to age for decades in the cellar.

“But in California, we’ve cut a swath right in the middle,” Beckmen says.

Enologists believe that Syrah is among the oldest varietals of Vitis vinifera. First cultivated perhaps 8,000 years ago, it may have taken its name after the ancient village in Iran, today a city, called Shiraz. The French incorporated the grape into their own wine culture, often as the primary varietal in enthusiastic blends. The Australians imported Syrah in 1832 and resurrected its ancient name, and Shiraz has since become the most popular red grape in that country. In California, it arrived only in the 1970s. Promoted by the coalition of winemakers known as the Rhone Rangers, Syrah’s presence grew. In 1996, the state crushed 5,099 tons. For the next four years, production doubled annually, and today California grows nearly 20,000 acres of Syrah and crushes almost 200,000 tons per year—still but a drop in the state’s grape-juice bucket.

The flood of Australian Shiraz into the American market has ruffled the feathers of many local winemakers. The Aussie prices frequently undercut those of North American Syrahs, which are mostly made in micro-batch quantities, and the name confusion is endless; many consumers don’t know that Syrah and Shiraz are the same grape. Then there are those who do know but who mistakenly believe that the difference in the wines is in the name only. It’s not, and by buying Australian Shiraz, wine drinkers may be nuking their taste buds with an easy, appealing fruit bomb while never enjoying the earthy, savory experience offered by many local Syrahs. 

According to Bob Masyczek, Beaulieu Vineryards winemaker and director of innovation at Diageo Chateau and Estate in Napa, the influence of climate and soil most strongly dictates Syrah’s fate. Masyczek has sourced Syrah grapes from the south Central Coast up to Lake County and even Australia, and he cannot produce the same wine in any two environments.

“Subtle varietal characteristics are there,” Masyczek says, “but I just don’t know if consumers know how to identify them. A grape like Pinot Noir knows exactly what it wants to be. It grows best in a narrow range of climate variables, and it makes a very distinct wine. But Syrah can be planted anywhere. It does so well in so many different regions that it makes a different wine depending on that, and it’s very difficult for consumers to understand it. It’s really a schizophrenic varietal.”

Unlike historic Petite Sirah and Zinfandel, Syrah is relatively new to California, and winemakers are not yet in consensus of what consumers want or expect in the wine. With no agenda to follow, winemakers often allow the varietal to go its own route from vine to vat, barrel to bottle. Many agree that, of all grape varietals, Syrah most clearly expresses the terroir of California and that for novice consumers to pin down just what makes a Syrah a Syrah can be almost impossible. A person can open several unfamiliar bottles and in one find wild blood, bacon fat and hot asphalt; in another, assorted traces of spicy mushroom, soil and forest; and in another, a robust sunburn of boysenberry jam, plums and alcohol.

That latter would be Shiraz, which the powerful Australian wine lobby has popularized big-time in America. Australian Shiraz has both confused consumers and diverted much attention from California Syrah. To get their feet in the door, however, a growing number of U.S. winemakers are pursuing the bigger, fruitier style as well. The 2004 Shiraz from Clos du Bois releases an aroma of lavender, leather and plums and the taste hits like a truck loaded with blueberries.

The same trend toward the bigger Shiraz style has swept the dusty Chihuahuan Desert plateau in western Texas, where the largest winery in the state, Llano Estacado, grows several varieties of grapes at an elevation of 3,800 feet. Young samples of its Syrah are jarringly yet enjoyably tangy, with strong cranberry and raspberry flavors. Winemaker Greg Bruni incorporates most of the wine into his Signature Rhone blend—a savory low-alcohol wine tasting of leather, iron and berries—but Llano Estacado’s biggest hit is the Shiraz, sourced from Washington, California and Texas and first released at the turn of the millennium.

“We really looked at the name dilemma and what style to go for in our wine: Shiraz or Syrah,” says company president Mark Hyman. “The market at that time was leaning heavily toward the big, fruity Australian style, and so the wine we made was fruity, fresh and a little bit sweet.”

In Washington, the cool climate invites a more subtle, French-styled Syrah. Amavi Cellars’ 2005 single-vineyard wine from Les Collines Vineyard in the Walla Walla Valley bears smoky meat flavors, mushrooms, fruit and Swiss cheese. Fifteen degrees latitude to the south, San Luis Obispo County’s Edna Valley Vineyard’s Syrah carries some of the same properties, but it comes sandwiched between a musky cheese-and-bologna character, what winemaker Masyczek calls a “deli-shop flavor.”

His Jade Mountain Syrah from Lake County, baked by the sun, is drastically different: 15 percent alcohol by volume, blasting with chile pepper, black fruit and chocolate and followed by a screaming hot, portlike finish. The 2005 Syrah from Buena Vista Winery in Carneros smells like berries and porcini mushrooms and tastes of gamey blood and fresh wood polish. Buena Vista winemaker Jeff Stewart believes such a balance between fruit and savory game is the classic textbook Syrah, yet he concedes the varietal itself can be “a bit of a chameleon” for its transparency and willingness to show terroir.

For the adventurous drinker, it’s a no-brainer. Berries, cherries and alcohol are nice, but these common flavors swim throughout the wine aisle in Cabernet, Pinot, Merlot and the rest, including Shiraz. But when faced with the chance to enjoy gourmet mushrooms and wild venison in, of all things, a bottle of wine, there’s only one choice. Take it.

Quick dining snapshots by Bohemian staffers.

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Above the Fold

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the arts | visual arts |

‘Dancing crane, Opus 460’: Made from just a single piece of paper, this bird is a minor triumph in Robert Lang’s extraordinary repertoire.

By David Templeton

When people are first exposed to truly complex origami, they often have very strong, very unpredictable reactions,” says Dr. Robert Lang, a former physicist and engineer, now hailed globally as one of America’s best, most original origami artists. Lang is the kind of a guy whose idea of relaxing at the end of the day involves folding a piece of hand-made paper into a sculpture of a bug, a brontosaurus or a Black Forest cuckoo clock. With several origami books to his name, more than 400 designs catalogued and diagrammed (many on display in museums in Paris, New York, Boston, Tokyo) and over 40 patents related to his former field of lasers and semiconductors, Lang is now a full-time origami practitioner.

And he has become a rock star in the origami world. In 1992, Lang delivered a speech at the annual convention of the Nippon Origami Association in Japan, making him the first Westerner to be so honored. Without question, he is one of those who had a strong, life-changing response to his first encounter with professional-grade origami.

“Certainly, some people don’t have that strong a reaction,” he says. “Some people might look at an origami sculpture and think, ‘That’s lovely, that’s cool, that’s beautiful,’ and that’s where it ends. But other people, they see their first complex origami sculpture, and they are instantly hooked; they become passionate about it, as if they uncovered some part of their brain that was made for origami, as if the concept of origami plugged their brain like a key into a lock.”

Lang hopes to be unlocking some of those unsuspecting brains when he appears April 23 at Sonoma State University to give a lecture titled “From Flapping Birds to Space Telescopes: The Art, Math and Science of Origami.” The afternoon lecture, part of the SSU math department’s weekly math colloquium, will be fully illustrated with photos of Lang’s own extraordinary origami creations, along with examples of origami-inspired technologies and scientific applications of origami concepts.

“Origami,” he explains, “has been undergoing a revolution over the last several years, both on the art side—all the amazing things people are able to do these days with origami—and also on the scientific side. Surprisingly, origami has turned out to have many practical applications in the areas of space, medicine and industrial design.”

As examples, Lang rattles off a string of inventions and procedures inspired by origami. There’s the high-tech heart stint, developed by Dr. Zhong You, which opens and closes using basic origami principles. Automotive airbag designers use origami algorithms to determine where the fold lines should go in flattening and condensing an unexpanded airbag. And then there are what Lang calls “Brobdingnagian space telescopes,” currently staring down at us from space, thanks to the miracle of origami.

“There are several large human-made objects currently floating in space,” Lang says. “Solar sails employ origami principles to collapse them down small enough to fit in the spacecraft that originally deposited them in the cosmos. Origami inspired those solutions to the problem of taking a large thing into space in a small ship.”

In the art of origami, as in the science of physics, it pays to be a bit of a perfectionist. Asked if there are any specific origami designs he has attempted but not been successful at, Lang responds, “Oh, always. All of them. Nothing I’ve ever tried has been fully successful—not enough to satisfy me. But fortunately, I’ve come close enough with some things to put them on my website or display them or sell them or whatever. Insects, for example, are very intriguing, because each time I do one, I think it’s pretty good, then after a while I realize I haven’t succeeded as well as I could have, so I come back and I try it again a different way.”

He cites the legendary “bug wars” of the late 1990s (chronicled by Susan Orlean in The New Yorker), when origami artists around the world began producing better, more detailed, more complex origami representations of insects and bugs in an escalating, international game of one-upmanship. His works are so mind-bogglingly complex and impossibly detailed that it seems amazing that he could feel they were less than perfect.

For Lang, it’s a philosophical issue.

“In some ways, everything I’ve ever folded is only an approximation of an ideal imagining of what it could have been,” he says. “There have been close approximations of that ideal. There have been distant approximations, things where I feel like I didn’t come very close, but nothing has hit the mark perfectly. But that’s good. That’s why I still have something ahead of me to strive for—forever. In the art of origami, artists always strive to get closer and closer to perfection, even though they know they’ll never reach it.”

Recently, Lang has challenged himself by folding a series of sculptures inspired by Indian clay and ceramic pottery, tackling the problems of how to create patterns, lines, spots and other designs in the body of the elegantly flowing sculpture. Asked to explain his artistic goals in regards to this pottery series, Lang keeps the conversation in the realm of philosophy.

“The goal,” he says, “quite simply, is to make something three-dimensional that is more evocative of a ceramic piece of pottery than it is of a sheet of paper, though on one level it never stops being a sheet of paper.” Some “sheets of paper,” of course, become less paperlike than others, and some origami sculptures are so difficult to create that Lang is happy to have only attempted them once. “There’s a rattlesnake I did,” he laughs. “It has about a thousand scales and required a huge amount of folding to create that scale pattern. I probably won’t ever try that again.”

Not surprisingly, Lang is committed not to just creating more and better origami sculptures, but to spreading his origami fever to more and more people, all around the country.

“In my own work, I’m interested in using origami ideas and techniques to push the boundaries of what’s possible,” he says. “But beyond that, I definitely want to reach people, people like myself who are hard-wired for origami, because they may not know their life passion is out there. But if origami turns out to be their life’s passion—as it has for so many people, as it’s been for me—I would like them to have a chance to discover it.”

 Robert J. Lang speaks on Wednesday, April 23, at Darwin Hall, SSU, 1801 E. Cotati Ave., Rohnert Park. 4pm. Free. 707.664.2368.



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So Ya Wanna Be a Derby Girl?

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colinmichaelphoto.comBefore investing in that first pair of fishnets or even learning how to skate, the first thing to do, of course, is to get a kick-ass roller derby name. Bohemian contributor Maully the Jackel (known more familiarly as Molly T. Jackel) researched the derby names in current use and got hooked on the puns and fun involved in renaming yourself as a tuff chick. For her April 16 cover story on the Sonoma County Roller Derby league, she amassed a long list of her faves. Alas, print restrictions. Hallelujah, the endless ream of the Web. Out of the 11,946 registered derby girls, here are some of her faves.

Bartók, Brahms, Janácek at the Santa Rosa Symphony

During my interview with Christopher O’Riley about his performance with the Santa Rosa Symphony of Bartók’s Piano Concerto no. 3, he warned of the difficulties involved in the concerto’s second movement: “It’s really important to get the mix right with the orchestra, and to have them participatory instead of deferentially,” he said. “It’s a real concerto for piano with orchestra, not piano and orchestra. And so hopefully we’ll get that right.”
O’Riley, who strode to the stage last night in a dramatic, long black button-up coat, handled Bartok’s swiftly shifting themes in the first movement with keen versatility. The second movement, as predicted, tested the delicate balance between O’Riley and the orchestra—truthfully, a strenuous challenge of musical ESP—but the seesaw only faltered a couple times during passages of whimsy, somber tones and mid-century blues lines. And the triumphant finale after the third movement brought the crowd to their feet as O’Riley determinedly yanked conductor Bruno Ferrandis off the podium to clasp hands, orchestra and pianist together sharing in the praise.
One of the nice things that Ferrandis has brought to the Santa Rosa Symphony is variety, and tonight’s set included Janácek’s suspense-ridden From the House of the Dead overture, played beautifully. (Incidentally, I watched Brian De Palma’s Sisters last week, mostly to hear Bernard Herrmann’s score, and the overture reminded me of Herrmann, famous for his work with Alfred Hitchcock.) Brooding pulses, high-pitched discord and yes—I’m not kidding—clanging steel chains, rattled in time to the music.
After the intermission, the orchestra was completely in its element for Brahms’ Symphony no. 1, full of sweeping passages, nice solos (particularly the flute) and a crescendo-busting, whiz-bang ending. Just when the night couldn’t have ended any better, it was announced that this very month marks the 80th anniversary of the Santa Rosa Symphony (which presented its first performance in April of 1928) and to mark the occasion there was free cake and champagne for everyone afterwards in the lobby. Right on!
– – – – – – – – – – – – – – –
P.S. Christopher O’Riley, well-known as an interpreter of Radiohead, Nick Drake, and Elliott Smith, felt pretty weird about being billed as a “hipster” pianist. But I can understand why. After all, how many classical soloists know how to play Guided by Voices’ “Surgical Focus”? And how many classical soloists have this as their ringback music?:

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So Ya Wanna Be a Derby Girl?

colinmichaelphoto.comBefore investing in that first pair of fishnets or even learning how to skate, the first thing to do, of course, is to get a kick-ass roller derby name. Bohemian contributor Maully the Jackel (known more familiarly as Molly T. Jackel) researched the derby names in current use and got hooked on the puns and fun involved in renaming...

Bartók, Brahms, Janácek at the Santa Rosa Symphony

During my interview with Christopher O'Riley about his performance with the Santa Rosa Symphony of Bartók's Piano Concerto no. 3, he warned of the difficulties involved in the concerto's second movement: "It's really important to get the mix right with the orchestra, and to have them participatory instead of deferentially," he said. "It's a real concerto for piano with...
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