The Yield of Magical Thinking

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03.12.08

T he making of Preparation 503 began just after dawn on a cold October morning at Stephen Decater’s Live Power Community Farm. As the sun rose over Mendocino County’s Round Valley, Decater waited near the barn where an 18-month-old Angus cross named Red was chewing his last breakfast. Although he seemed relaxed, this was a solemn affair for the 59-year-old Decater, who’s spent the last 23 years running his family’s 40-acre farm under the principles of biodynamics, an alternative organic-farming method that attaches near-religious significance to otherwise mundane activities such as planting, harvesting and slaughter.

“Before I prepare to kill an animal from the farm, my attitude is one of gratitude for the animal’s life,” he told me. He said a silent prayer, moved quietly to Red’s stall, pointed a .22 rifle between the bovine’s chocolate-brown eyes, and fired a single shot that dropped nearly 1,000 pounds of animal to the ground.

Red’s sacrifice was part of a ritual repeated every autumn, when Decater harvests the raw materials to make homemade tinctures, or, as they are called in biodynamic-speak, “preparations” or “preps.” After the cow is butchered, Decater and a handful of volunteers pull out its entrails and stuff them, sausagelike, with chamomile and other flowers, creating Preparation 503, which is added to the farm’s compost piles. They also tamp the animal’s manure into cow horns, which are buried. Come spring, the horns are unearthed, their rotted contents transformed into Preparation 500, which is believed to stimulate root formation.

For every acre, five tablespoons are mixed with five gallons of water and then applied to the crops and the soil. Over the course of the growing season, other preps, such as 501 (quartz in a horn), are sprayed on the plants and into the air around the farm; 505 (oak bark) and 506 (dandelion) are put in compost and then worked into the soil. It’s homeopathic medicine for the very dirt; the small, almost imperceptible quantities of substances imbued with special forces are to have a beneficial effect on the vitality of the soil and the crops.

A biodynamic farm isn’t just a place to produce food; it is a convergence zone for cosmic forces that work on the plants, animals, soil, microbes, and, maybe most importantly, the farmer. This is what convinced Decater to convert from organic agriculture to biodynamic in the mid-1980s. “I was out pruning my trees, the fruit trees,” he recalled, “and I realized, ‘I have no idea what I’m doing.'” Not in a literal sense, he meant, but in a spiritual sense.

Now he envisions his farm as a self-sufficient organism: horses till the fields, sheep provide meat, chickens lay eggs, cows give milk, and all of them contribute manure, which feeds the plants, which feed the people, who care for the land. “Everything is serving something else,” he says. “Biodynamics is trying to talk about reverence for everything in the world. We want to bring beauty and light into the world.”

Biodynamic farming has been well known, if not mainstream, in Europe since the late 1920s, but perhaps due to its mystical bent it’s been slow to catch on in the United States. That is changing as more people see it as an alternative to Big Organic. After all, biodynamic adheres to strict rules that large commercial and corporate organic operations can’t hope to follow. As one agricultural theorist writes, biodynamic “makes typical organic farming look like strip mining.”

Currently, there are only 102 biodynamic farms and 40 biodynamic wineries in the United States. But that number is steadily growing. Jim Fullmer, the executive director of Demeter USA, which issues its trademarked biodynamic seal to farmers who follow its guidelines, says he’s struggling to keep up with the demand from farmers to be certified.

I  first heard about biodynamic at one of those North Bay dinner parties where no one had ever been to a Wal-Mart, yet everyone was appalled that it was selling lettuce stamped with the USDA Organic label. The alternative to the new organic-industrial complex, one woman offered, was biodynamic. She said the biodynamic food she’d eaten in France had been the tastiest she’d ever had; the lettuce had a certain “force” to it.

 

As the daughter of organic back-to-the-landers, I’m fascinated by alternative farming methods, though I like to temper my enthusiasm with a side order of skepticism. Which is how I came to spend several weekends working at the Live Power farm last fall, breaking my back harvesting its melons, prodding its revered compost piles, witnessing the cosmos-capturing steer slaughter and quietly wondering if this wasn’t all just a bunch of hocus-pocus.

Before my visit, I did my homework on biodynamic. All roads led to one man: Rudolf Steiner. In America, the Austrian philosopher is most famous as the father of the holistic Waldorf education movement. In Europe, he’s also known as the father of biodynamic agriculture, which he introduced nearly 20 years before the organic movement took off. Steiner had little practical knowledge of farming, but that didn’t stop him from laying out detailed ideas for an agriculture that relied upon cosmic forces instead of chemical fertilizers.

The theory behind biodynamic isn’t exactly easy to grasp; Steiner’s lectures feature such cryptic statements as, “At the moment when the seed is placed in the soil, it is strongly worked upon by the terrestrial forces and it is filled with the longing to deny the cosmic forces, in order that it may spread and grow in all directions.” Steiner once admitted to an audience, “To our modern way of thinking, this all sounds quite insane. I am well aware of that.”

However, Steiner expected that science would eventually support his theories, and he may yet be proved right. When I mentioned biodynamics to Garrison Sposito, one of the world’s most well-regarded soil chemists, I was surprised that he agreed with its basic principles. What about sticking valerian root and dandelions into a compost pile? “Small amounts of certain things can make a difference,” said Sposito, who teaches at UC Berkeley. “There might be microbes that are activated, or they might slow-release certain enzymes.”

In the early 1990s, John Reganold, a soil science professor at Washington State University’s department of crop and soil sciences, started comparing conventional and biodynamic farms. His research, published in the journal Science, found that biodynamic farms had higher soil quality than conventional farms but were just as economically viable. Later studies found no difference between biodynamic and organic crops. Reganold admits that no one really knows how the preps work. “I’m not an organic freak,” he told me, yet he called biodynamic “the most holistic system I’ve seen.”

But being biodynamic isn’t easy. Demeter USA has codified the world’s most stringent organic agricultural guidelines, delineated in a 25-page document that frowns upon artificial fertilizers, petroleum products and other features of “unsustainable agriculture-related industry.” Which partly explains why the Decaters have no tractors, just four enormous Belgian draft horses.

Antique farm implements are strewn about the farm. I thought the tools were touchstones of authenticity à la Martha Stewart until I watched sweat pour off an apprentice’s brow as he tilled a field, the horses straining to pull a steel plow through dark, weedy earth. Demeter also has a strict ban on “parallel production”—a farm must be entirely biodynamic or not at all. Monocrops are forbidden, and 10 percent of a farm’s acreage must be set aside as a natural preserve.

Biodynamic’s small scale and anti-corporate ethos mean that you won’t generally find it at Whole Foods Market or even at your local farmers market. Live Power, for example, only distributes its harvest through a community-supported agriculture program in which customers subscribe to a year’s worth of produce.

Finding biodynamic wine is another story, an easier story to tell. (Vineyards are exempt from the no-monoculture rule.) Winemakers have always prided themselves on their terroir, a very Steinerian idea. And winemakers have never been afraid to embrace whatever it takes to set their products apart. French winemakers started going biodynamic in the 1990s; in 1997, the snooty, 300-year-old Domaine Leflaive vineyard made the switch after blind taste tests almost unanimously favored its wine made from biodynamically grown grapes.

Californian winemakers, still smarting from organic wine’s mediocre reputation, were initially slow to see biodynamic’s cachet. But soil scientists like Reganold are now courted by wineries. When a biodynamic viticulture consultant writes that “the grape is a truly cosmic plant,” wine drinkers don’t smirk; they reach for their checkbooks. The biodynamic Napa Valley Araujo Cabernet Sauvignon 2003 recently earned a 91 from Wine Spectator and sells for $215 a bottle.

A fter Red was killed, a small crowd assembled as a traveling butcher skinned the carcass and winched it into the air. The entrails, the size of a small sofa, slid out in one giant blob and were laid out in the afternoon sunlight. Then the volunteers set out to harvest the rest of the prep-making materials. We walked around the pasture, heads bowed, looking for the holy in cow pies. Harald Hoven, a biodynamic farmer and instructor at the Rudolf Steiner College in Fair Oaks, paused to consider a fresh specimen. “Notice how it is perfectly round,” he said with a slight German accent, remarking on “how much life and vitality it has.”

Flies and yellow jackets buzzed around a couple stuffing chamomile flowers into a soggy section of small intestine. Hoven deposited Red’s head near a hose, where two girls were on brain-removal detail. Normally, these sights would have sent me running, but the group was calm and purposeful. Its faith in the importance of what it was doing had a mesmerizing effect.

“By collecting the manure and further contracting it into a cow’s horn, we’re sort of filing away the energy of the farm for the winter,” explained Marney Blair, who runs a biodynamic farm. She said she’s been called crazy for believing in things like Preparation 503. “Sometimes it feels like we’re floating way out there. But there’s a longing to connect in an extremely deep way. It’s gospel.”

As the day came to a close, the group filed over to a large pit that Decater and his three teenage sons had dug the day before. I gasped. I had already witnessed the death and dismantling of a large mammal and the ensuing magic-potion making. But nothing prepared me for four feet of topsoil the color of a moist fudge brownie. Over the decades, millions of worms and billions of microbes had created this loamy home. Maybe they really do like yarrow, dandelion, chamomile and cow poop.

Hoven reached into the hole and began to stack the manure-laden horns, tips up. The chamomile-and-intestine sausages were to be taken to a place where snow would eventually cover them so, as Steiner had proclaimed, “the cosmic-astral influences will work down into the soil where the sausages are buried.”

The ritual was over, and so was the season. It was up to the subterranean creatures to finish the job. Before I took my leave, I remembered my initial visit to the farm. One morning, I had met Decater in a sweet-smelling herb field, where he patiently demonstrated the proper way to clip basil. As we picked, I noticed that his basil had a durability to it that the plants in my backyard garden lacked. The leaves and stems felt stronger.

When Decater carried away a full lug box, I snuck a leaf into my mouth. It certainly tasted better than my own crop. Somehow it seemed richer, with a complex tingle that stayed on my tongue. Or maybe I was imagining things.

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Mad Money

ISSUEDATE


J ust when there seemed to be no new cinematic stories to tell about the concentration camps, Austrian director Stefan Ruzowitzky has come up with his Oscar-nominated The Counterfeiters . Based on Adolf Burger’s history The Devil’s Workshop , this drama tells of Operation Bernhard, the Nazis’ plan to flood the Allies with counterfeit money, using slave labor in a concentration camp.

It’s a “golden cage,” observes the wiliest man in the forgery operation. He is the master counterfeiter Salomon “Sally” Sorowitsch (Karl Markovics), who is picked up by the SS in 1936, right before he’s about to leave for safer climates. Markovics’ unusual lead acting helps overcome Ruzowitzky’s too-simple template of the rogue redeemed. He is a chilled, withdrawn actor, physically something like a cross between Ben Affleck and Max “Nosferatu” Schreck.

A Jew, Sorowitsch is branded with the green triangle of the habitual criminal. After years of filthy, crowded conditions in the regular ranks of the concentration camp, Sally is brought out to work on the Nazis’ plot. His new supervisor is the same officer who arrested him years previously, Herzog (Devid Striesow), a cop turned commandant.

Sally and his team of printers, respectable bankers and engravers begin the grinding work of trying to emulate a British pound note. They eventually succeed. The bill is perfect, even down to the minute pin holes found in used English pounds. (In the days when the British didn’t have wallets, they used to pin currency to the inside of their pockets.)

As Sally lives for both craftsmanship and survival, he is fairly satisfied with the results. But he is under pressure from Herzog, and the threat of extermination hangs over the team. Burger (August Diehl), an activist printer, urges Sally to sabotage the project even while the team is toiling over their magnum opus: the American dollar bill. As the war reaches its end, the pragmatic head forger is wedged between the ever more desperate Nazis and his rebellious fellow inmates.

I have read that Ruzowitzky was not eager to give the Nazi perspective in the visuals, so he used over-the-shoulder POV shots for the inmates but not for their vicious captors. And yet as Herzog, Striesow’s performance is a debonair, shrewd one, more full of surprises than anything else in the film. (The soundtrack is different from what you would expect, too; it’s a series of Argentine tangos on the harmonica, and it sounds more like Larry Adler’s score for Genevieve than anything else.)

To further motivate Sally, and to prove his broad-mindedness about the company of Jews, Herzog brings the counterfeiter to his home one Sunday to meet his Aryan wife and kids. Herzog startles us by showing up in civilian clothes. The whiteness of the commandant’s polo sweater blazes out of this film’s chronic murk, the brightest thing in the entire movie, even though The Counterfeiters includes scenes in a gambling salon in Monte Carlo.

An engrossing story beats almost any element in a film. Even if everything else is weak, a good true-life story will stand up for itself. That’s ultimately the case with The Counterfeiters . Unfortunately, Ruzowitzky and his director of photography, Benedict Neuenfels, are apparently scared of making this adventure picturesque or pretty. They go for a neo-documentary approach that makes for reliable ugliness.

A decorative rack focus—a zoom and retreat that doesn’t give us more details of a dimly lit face—shouts out a reminder that you’re sitting in a movie theater, even more so than an ordinary, scarcely noticed crane shot or a pan. And despite the wobble and shake of the hand-held camera, we’re still apprised that we’re watching a story of gradual redemption.

One reason for Sally’s trip to the commandant’s house is partially to negotiate some tuberculosis drugs for a dying inmate. Like anyone else in a Hollywood movie, Sally follows his insistence in not sticking his neck out for anybody by a familiar tortoiselike stretch. Somehow, you wish this film was darker in its soul and lighter in the visuals.

‘The Counterfeiters’ plays at the Century CineArts at Sequoia, 25 Throckmorton Ave., Mill Valley. 415.388.4862..


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Language of Love

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03.12.08


T here is no actual sex in David Mamet’s effervescent 1999 play Boston Marriage, but thoughts of sex potently underscore nearly everything that happens in Mamet’s least angry, most uncharacteristically playful and sexy work. Superbly performed by a first-rate trio of actresses, and inventively directed by Sheri Lee Miller doing some of her best work here, this Boston Marriage, currently running at Santa Rosa’s Sixth Street Playhouse, takes what might have been mere sex farce (albeit with a lesbian twist) and gives us much more. This is a pioneering comedy, rather, in which sexual orientation is regarded as neither scandalous nor particularly political, but just another colorful character point in a play bursting with color and craftiness.

In Boston Marriage, Mamet launches some of the lightest, funniest, most quirkily entertaining writing he’s ever crafted—and lots of it. Mamet’s characters speak in flowing torrents of densely cadenced, beautifully constructed language, unleashing so many words and witticisms, punch lines and puns, pouring forth such a pounding surge of intimations, insults and ideas, that some members of the audience will find themselves missing more than they catch, but will still enjoy the experience of being drenched in the flood of Mamet’s genius with words.

Best known for harnessing the combative slurs and aggressive verbal interplay of the modern masculine world, Mamet takes an enormous artistic leap with Boston Marriage, a broadly comical, enticingly wicked slice of life about two middle-aged women in Victorian-era Boston. Their discreet long-term relationship—the so-called Boston marriage of the title, a common euphemism of the time—is threatened by a bizarre coincidence involving a necklace, a wealthy man who’s made one of them his mistress and a ripe young woman who’s become the object of the other’s lustful affection.

With her money starting to dwindle, Anna (Danielle Cain), accustomed to her life of upper-idle-class privilege, has taken a rich male lover who bestows jewelry and monthly stipends upon her. “In like a lion, out like a lamb,” is how she somewhat naughtily describes the relationship. Claire (Bronwen Shears), Anna’s longtime love, has returned from abroad (“One must follow the buffalo herd,” she quips) with unexpected news of her own: she has fallen in love with a very young woman, and has made plans for the girl to visit Anna’s home for a “vile assignation,” as the suddenly jealous Anna describes it. The delight in the play is how Anna and Claire—outrageously self-absorbed and casually cruel in the manner of Oscar Wilde and the like—simultaneously shock and delight each other with cultured verbiage that occasionally deflates into coarse street vernacular.

Both Cain and Shears are wonderful. Cain, who has the lioness’ share of the dialogue, perfects a kind of wounded, bitchy irritation that cuts like a stiletto, then crumbles to reveal the soft heart of a committed lover. Shears, straddling a role that requires her to be both smart and foolish in the same moment, performs miracles in the quietest of ways, giving some of her best bits while merely standing there, reacting with affection or shock at Anna’s machinations. And holding her own against the two powerhouses is young Catherine (Tess Coughlin), Anna’s befuddled Scottish maid who might not have the facility for words that her employers have, but quickly learns how to use the few words she does know.

After a thrilling twist in the last seconds of the first act, the play becomes more outlandish, with the two women concocting a plot to impersonate fortunetellers (it’s complicated), but the story is not the main attraction here. In the end, this is a love story, encompassing both Anna and Claire’s enduring love for each other, and Mamet’s love of the English language.

‘Boston Marriage’ runs Thursday&–Sunday through March 30 at the Sixth Street Playhouse. Thursday&–Saturday at 8pm; Sunday at 2pm; no show March 23. 52 W. Sixth St., Santa Rosa. $14&–$26. 707.523.4185.


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Wine Tasting Room of the Week

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O nce upon a time in California, mavericks were required to take on the big bosses Cabernet and Chardonnay. With henchman Merlot gobbling up more acres, the premium wine boom was looking locked up until the Rhone Rangers rode into Winetown to settle the score. A band of winemakers dedicated to promoting the 22 varietals of France’s Rhone region, they formed in the 1980s, then reformed in the 1990s. That decade saw exponential growth in diverse varietals that produce approachable wines in a wide variety of California climates. This weekend, the group’s 11th annual tasting event takes over San Francisco’s Fort Mason Center.

Syrah is the best-known Rhone because it’s the heart of many red blends, and perhaps also because of the popularity of value-priced Australian Shiraz, a Syrah by any other name that took a long detour down under. Only a few Californians can claim old-vine Syrah; much of it has been planted in the last decade-plus. The total Syrah crush increased more than 200-fold from 1990 to 2005. By contrast, Pinot Noir only increased three-fold during the same time.

Numbers, numbers. What’s so great about Rhones is the sensuality of perfumed whites like Viognier, Marsanne and Roussanne, and reds from robust Grenache and Mourvèdre to the obscure Counoise, Bourboulenc and Picpoul.

These days many wineries make at least one Rhone varietal, often the best of their lineup. For example, Novy Family Winery added some big, toothsome Syrahs to the scene. Novy gives daily tastings by appointment in its no-nonsense warehouse in an industrial park in Santa Rosa, and is better known, of course, as a celebrated member of the “Pinot posse” by its other moniker, Siduri.

The 2005 Page-Nord Vineyards Napa Syrah ($33) is a blackberry monster in the Aussie style, while the 2005 Christensen Vineyard Sonoma Syrah ($29) has more austere fruit and more than a few shakes of black pepper. From the wilds of the Santa Lucia Mountains, the tooth-stainingly purple 2005 Susan’s Hill Vineyard Syrah ($34) has a noseful of ink pot, and is well-nigh chewable (all that meant in the best way). Watch for the 2006 Russian River Valley Syrah ($27); a barrel sample offers a bite of leather saddle, black cherries rolled in dust and beef jerky washed down with a double IPA. It’s a Wild West campfire wine that, like great Rhones, will only become more complex and civilized with time.

Novy Family Winery, 980 Airway Court, Ste. C, Santa Rosa. Tasting by appointment, Monday–Saturday, 10am to 3pm. 707.578.3882. Rhone Rangers Grand Tasting, Sunday, March 16. [ http://www.rhonerangers.org/ ]www.rhonerangers.org.



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Rufus Wainwright at the Napa Valley Opera House

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You’d think, with a healthy affinity for Broadway and a probably unhealthy affinity for pop vocalists from the ’50s and ’60s, that I’d be all over the Rufus Wainwright thing. One problem: I’ve heard his records, and they’re too syrupy and overdramatic, bogged down by pretense and orchestration. When he toured last year for Release the Stars with a large ensemble and wore, like, five different poofy outfits onstage, I didn’t feel like I’d missed much.
But today, friends, I stand before you a changed man. Wainwright played a solo show at the Napa Valley Opera House last night, spotlighting his songs in a stripped-down format, and it was absolutely incredible. I can’t say that I’d follow him around on tour, or hold up star-shaped signs, or jump up applauding after every song like some of the more fervent dyed-in-the-wool fans in the crowd did last night, but if there’s a regular old kind of casual fan club, then sign me up, brother.
The fact that Wainwright was playing such a small venue made the evening feel like a special event indeed. Apparently in the know about his obsessive fans, Napa Valley Opera House Artistic Director Evy Warshawski introduced Wainwright as “you-know-who,” and was forced to deny requests from the audience demanding to know which hotel he was staying at afterwards. Quite a build-up.
Getting off to a shaky start, Wainwright came out, sat at the piano and banged away on the piano for “Grey Gardens,” an otherwise nice song affected by an awkward attack and bad dynamics. Something must have been going on with the monitors, because for the first three songs, it felt like he was overcompensating for imaginary sounds in his head. Eventually, either Wainwright or the soundman figured things out, and throughout the hour and fifteen-minute set, his accompaniment only got better, and was especially sensitive on numbers like “Zebulon” and “Going to a Town.”
Wainwright’s still not the most suitable guitarist—abrasive strumming and fret buzz got in the way—but his piano playing became beautiful and exhilarating, especially during the hands-down best song of the night, “Nobody’s Off the Hook.” Contained in reverence from start to finish, with a pensive instrumental passage, a heartbreaking final verse and an upper-register quote of “Over the Rainbow,” it elicited a communal awed silence before bringing the house down.
From the small stage, Wainwright took advantage of the intimate Napa Valley Opera House, talking with the crowd like old friends. “This is such a cute little Opera House!” he exclaimed midway through the show. “I’m imagining a cute little production of Aida. . . with baby elephants playing big elephants. . . little midget singers. . .” The crowd couldn’t stop laughing, and Wainwright, trying to bring the mood back down for the sad lament “I’m Not Ready to Love,” begged, “Get sad!” When that only dragged out the laughter, he got mock-desperate: “Oh, this is a nightmare!”
“Matinee Idol” sparked an ongoing discussion with the audience about River Phoenix, Heath Ledger, Jon Voight and Cary Elwes, and during “California,” Wainwright changed the lyrics, pointedly singing that “life is the longest death in SOUTHERN California.” When the crowd hooted, he cattily admitted to the pander, saying, “I said ‘Northern’ down there!”
“Cigarettes and Chocolate Milk” and “April Fools” were woven nicely into medleys, and though Wainwright didn’t do any Judy Garland songs (like the night before in Monterrey when the crowd sang “Zing! Went the Strings of My Heart”) he convinced the crowd nonetheless to tackle the vocally gymnastic bridge to “Sansoucci,” his ode to the German palace which he hilariously referred to as “the Madonna Inn of Germany.” He also got off a side-splitting line about meeting up again with an old high school crush, a story which isn’t worth repeating here, unfortunately, because it would lack the necessary wit and zest-laden delivery of coming from Wainwright himself.
Wainwright’s songs are so good, his melodies so well-crafted, his sense of bombast so refined, and yet throughout the set all of these attributes sometimes took a backseat to his personality. Before the elegant final encore of “Dinner at Eight,” for example, Wainwright thanked opener Spencer Day for flying in at the last minute to help offset the Daylight Savings Time change. “And,” he quipped, “for providing me with an extra hour to look at myself back there.”
Some performers are performers and some performers are superstars. Wainwright isn’t a superstar, not yet, at least, but at least he’s adhering to the first rule of art, that of striking a pose. Wainwright’s chosen pose—a tortured diva who could crumble at any moment—would easily be an excruciating cliche, except that it’s backed up by such a richness of talent, and eventually, it will see itself fulfilled by said talent. So preen away, Rufus, and look at yourself for another hour. History will catch up.

Vinyl, Mp3s, Sermons, Reissues

While researching my Bohemian article on the independent music industry phenomenon of including free mp3 download coupons inside of vinyl LPs, I had the pleasure of talking to a number of labels whose records I’ve listened to and loved for half my life. Vinyl comes and goes pretty quickly these days, and there’s a lot of records that everyone owned at one point but somehow sold, lost, or loaned out for good. So it was exciting to find out during my interview that Merge Records will soon be introducing a “Merge Classic Reissues” series, revisiting out-of-print or previously-unavailable-on-vinyl titles and repressing them on LP. Matador did this with the first three Pavement records recently, and it’s fucking awesome that Merge is starting it too.
The first three titles to be reissued: A Series of Sneaks and Girls Can Tell by Spoon, and The Charm of the Highway Strip by Magnetic Fields, all elegantly pressed on 180-gram vinyl. Here’s hoping they press 69 Love Songs and Red Devil Dawn, which have criminally never been on vinyl, and No Pocky For Kitty, which is just a damn great record, in the near future.
Also, Jon Collins over at Dropcards was telling me about all the various projects they’ve worked on, including a Hannah Montana card for Disney and a huge promotion for Vitamin Water. I asked him what the weirdest project they’ve done, and he told me about a Southern baptist preacher who ordered an mp3 of his sermon on a bunch of Dropcards so he could hand them out to his congregation. Crazy.
Collins also used to work at an independent record distributor in Philadelphia, and I think it’s pretty cool that a guy who now does business with Kelly Clarkson,  Red Bull and SnoCap has a record collection that looks like this.

Dear Mark

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Stop worrying about the Vampire Weekend record and just give in. That’s the great thing about records—you can love them hella hard for a week or two and then abandon them entirely with no guilt. I was lucky enough to hear it before the hype kicked in, so my view was pure and untainted, which is an enormous asset. I loved it immediately and unabashedly; it’s so catchy and precocious and instantly attractive. And yet, I’ll freely admit that after just a month I hardly listen to the thing anymore. It lasted for a couple weeks at best, a red hot love affair that died in the best possible way—with no strings attached. Come to think of it, if you’ve been hearing about them in as many places as they’ve been talked about, it might be too late for you at this point. Now it’s like Vampire Weekend is the town floozy that’s seduced and slept with everyone else already. There’s no mystery involved, they’ve got some conspicuous stains on their clothes, and their perky cuteness comes off as a pitiful faux-twee attempt to convert yet another into their bedpost victories.
Sometimes I really hate the new media and its hyper-advanced condition of propping up and knocking down, don’t you?
That said, “A-Punk” and “M79” were the wrong songs to play on Saturday Night Live. For all of their varied influences, “A-Punk” always sounds like Operation Ivy’s “Artificial Life” to me, and as for “M79″—it’s pretty impressive that they found players to manage the hyperfast bridge, but the whole thing just screams out “Look, we’ve got a string quartet playing with us!”
It’s cool on the record, but it’s convoluted and awkward in person:

The Fountaingrove Winery

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A lot of locals tend to visit places like Armstrong Grove or the Sonoma Coast when they want to clear their head and get back to the essence of life. Not me. Give me a severely dilapidated building, some broken bottles and cryptic graffiti, and I’m pretty much mentally and emotionally revitalized. It makes sense, then, that one of my absolute favorite places in Santa Rosa is the Fountaingrove Winery.

I was 13 when my friend Kristina Carlson showed me the old Fountaingrove Winery for the first time. I was amazed. My jaw still drops when I walk in there, the rotting wood and crumbling rocks and all. For years I yearned to know the stories of the place, and one day when I was 17 it eventually struck me to try the library.

I stopped by the Fountaingrove Winery while researching my Bohemian story on Varenna, and was reminded of how infatuated with the place I am. History, stories and photos after the jump.

William Hung: Bad, Not Bad Enough

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 Thanks to Annabelle King, whose Bad 13 Challenge entry spans the overplayed, thehighly obsucre, and the sucky-under-any-circumstance. The Terrible Thirteen by Annabelle King

  1. Jailhouse Rock—Eilert Pilarm
  2. Paralyzed—The Legendary Stardust Cowboy
  3. Lullabye—Shawn Mullins
  4. She Bangs—William Hung
  5. Tiger Roach—Frank Zappa
  6. Now That I’m a Woman—Mia Farrow
  7. Ich Bin’Ne Bitch—Lady Bitch Ray
  8. Rock’N Roll McDonald’s—Wesley Willis
  9. The Sun Always Shines on T.V.—A-Ha
  10. Dead Puppies—Dr. Demento
  11. Mr. Snuggles—The Bram Flakes
  12. Gretchen’s New Dish—Dick Kent
  13. Big Girls Don’t Cry—Edith Massey

Eilert Pilarm is a Swedish Elvis impersonator.  He is not a very good one, either.I don’t watch television, so I hadn’t heard William Hung before. It’s not so bad. But his lack of talent is why he was able to record an album in the first place, and we were looking for songs that were genuinely bad instead of crafted to be bad.Wesley Willis’ music isn’t bad so much as unusual. It’s not good, but a lot of people enjoy listening to it, though the same can be said of the Mulan soundtrack. Anyhow, I was once head-butted by Wesley Willis. Only a few thousand people in the world can make such a claim!“Gretchen’s New Dish” is from the highly recommended The American Song-Poem Story anthology CD. It’s one of my all-time favorite comps, in fact. “Gretchen’s New Dish” is one of the more bizarre songs on a collection of bizarre songs, yes. Read more about song-poems here.“Big Girls Don’t Cry” was, I thought for sure, Phyllis Diller. But it’s Edith Massey, who is best known for her appearances in landmark John Waters films such as Pink Flamingoes and Female Trouble.

Bottoms Up!

03.05.08

T he Sustainability Center of Fairfax is a beautiful example of a bottom-up system that is flourishing. Located in downtown Fairfax, the Sustainability Center is an extension of the nonprofit Sustainable Fairfax, formed by grassroots activists Rebekah Collins and Odessa Wolfe in 1999 with the intentions of promoting the ecology, local economy and community of their town. The Sustainability Center, which opened its doors in October of 2007, is an opportunity for this inspiring organization to offer a tangible example of the best living practices for the community and the environment.

I speak with Pam Herrero, who has been the center’s executive director since 2004, about the center’s many projects and endeavors. What she goes on to describe makes me think a little bit harder about what it means to be part of a bottom-up movement. Running a successful grassroots effort, where the decisions are made by a group of people working together to create change, takes an incredible amount of time and dedication. Once again I find myself awed by the fact that there are so many people willing to sacrifice their free time and their money to make something like this possible. Instead of working on their own personal post-ecological disaster bunkers, should the environmental movement fail in its directive to save us from extinction, they are putting their efforts into making the community of Fairfax a safer place for everyone.

The Sustainability Center has a permaculture demonstration in the backyard that features flood mitigation and water reclamation for the home user. The garden space is open to the public anytime, and is the home for various events throughout the year. Inside the center, a volunteer is available to answer questions, give tours of the facility and act as a resource for people coming in off the streets with burning questions about saving the earth. If they don’t know the answer, Herrero tells me, they will find out. There is a library available with books on a wide variety of sustainability issues, as well as interactive displays that focus on such issues as electricity, water and the three e’s of sustainability—environment, ecology and equity.

The center also serves as an information holding place for other nonprofits, many of which do not have a public facility where they can display their brochures and materials. Herrero says the center considers itself a resource not just for community members, but also for other grassroots organizations. Part of the Sustainable Fairfax mission is to lend its support to other groups engaging in projects and activities that will lead to bigger and better things for the environment.

With the help of a supportive city government, as well as other local activists, Sustainable Fairfax has been successful in installing recycling bins downtown, setting up a battery-recycling program, instituting a pesticide ban and making additional bike racks available at the local farmer’s market. Herrero tells me of one recent effort where Sustainable Fairfax combined its talents with another grassroots organization, the Inconvenient Group.

Together, they purchased bio-bags to hand out at the local farmers market. In just one night, 1,200 bags were used by shoppers, in place of the usual plastic disposables, numbers which prompted the activists involved to contact the much larger Marin Farmer’s Market and encourage it to institute a disposable-bag ban of its own. Currently, Sustainable Fairfax is working on a controversial plastic-bag ban in all of Fairfax, as well as creating an ordinance for zero waste in the downtown area.

In addition to its community endeavors, the center also offers monthly education events as a way of promoting ideas and creating a space for people with similar concerns to come together and pool their enthusiasm and varied talents. Past workshops have included the 100-mile holiday food event, sustainable seafood, what to drive (if you must), local birdsong talk and the highly recommended fungi forage.

Herrero attributes part of the nonprofit’s success to the dedicated board members, each of whom heads a separate committee that focuses on one aspect of the organization. By creating separate committees, they have been able to delegate the work, thereby keeping the program focused and running effectively. The center is always looking for volunteers and offers a two-day training for those wishing to staff the center during open hours. While bottom-up endeavors of this sort are indisputably a hell of a lot of work, the benefits to the community as a whole are clear. Sustainable Fairfax has helped to create a place where we all should be lucky enough to live.

The Fairfax Sustainability Center, 611 Bolinas Road, Fairfax. Open to the public, Friday&–Saturday, 10am to 6pm. 415.455.9114. www.sustainablefairfax.org.


The Yield of Magical Thinking

03.12.08T he making of Preparation 503 began just after dawn on a cold October morning at Stephen Decater's Live Power Community Farm. As the sun rose over Mendocino County's Round Valley, Decater waited near the barn where an 18-month-old Angus cross named Red was chewing his last breakfast. Although he seemed relaxed, this was a solemn affair for the...

Mad Money

ISSUEDATEJ ust when there seemed to be no new cinematic stories to tell about the concentration camps, Austrian director Stefan Ruzowitzky has come up with his Oscar-nominated The Counterfeiters . Based on Adolf Burger's history The Devil's Workshop , this drama tells of Operation Bernhard, the Nazis' plan to flood the Allies with counterfeit money, using slave labor in...

Language of Love

03.12.08T here is no actual sex in David Mamet's effervescent 1999 play Boston Marriage, but thoughts of sex potently underscore nearly everything that happens in Mamet's least angry, most uncharacteristically playful and sexy work. Superbly performed by a first-rate trio of actresses, and inventively directed by Sheri Lee Miller doing some of her best work here, this Boston Marriage,...

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William Hung: Bad, Not Bad Enough

 Thanks to Annabelle King, whose Bad 13 Challenge entry spans the overplayed, thehighly obsucre, and the sucky-under-any-circumstance. The Terrible Thirteen by Annabelle King Jailhouse Rock—Eilert Pilarm Paralyzed—The Legendary Stardust Cowboy Lullabye—Shawn Mullins She Bangs—William Hung Tiger Roach—Frank Zappa Now That I’m a Woman—Mia Farrow Ich Bin’Ne Bitch—Lady Bitch Ray Rock’N Roll McDonald’s—Wesley Willis The Sun Always Shines on T.V.—A-Ha Dead Puppies—Dr. Demento Mr. Snuggles—The Bram Flakes Gretchen’s New Dish—Dick Kent Big Girls Don’t Cry—Edith...

Bottoms Up!

03.05.08 T he Sustainability Center of Fairfax is a beautiful example of a bottom-up system that is flourishing. Located in downtown Fairfax, the Sustainability Center is an extension of the nonprofit Sustainable Fairfax, formed by grassroots activists Rebekah Collins and Odessa Wolfe in 1999 with the intentions of promoting the ecology, local economy and community of their town. The Sustainability...
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