Hooray for Us!

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The finalists for the annual awards for the Association of Alternative Newsweeklies were announced last night and, once again, I’m way beyond all modesty in announcing that the Bohemian has two big reasons to be very proud. (None, of course, are quite as big as Sean Connery’s honorary phallus!)

Our Arcadia issue is a finalist in the “Special Issues” category, with outstanding photos taken by the inimitable Sara Sanger. Genius-girl freelance contributor Carey Sweet is listed in the “Food Writing” category for her profile on Taverna Santi and reviews of the Sky Lounge and Carneros Bistro.

This will be the third year in a row that we’ve placed in the Food Writing category and the second time in a row that we’ve won in the Special Issue category. (Many of the bigger papers have editors who only handle the special issues, which would be like being a professional at dandling rubies.)

Awards and placement will be announced at the June 7 convention in Philadelphia. We are guaranteed a win; now, it’s just up to which spot.AAN is our professional association, composed of some 177 papers nationwide and including Canada. Our circulation puts us in the under 55k category which is far more populated than the over 55k; there are a lot more “little” papers like ours than there are mega-papers like the LA Weekly.

Including this year’s goodness, that totals seven national awards claimed by the Boho in the last five years. Being of a small and petty nature, I will probably find the time to research whether there’s another paper in our circulation category that can make that claim; I doubt that there is.

For context, the only other papers of our size in California to get the nods are Santa Barbara (3), San Luis Obispo (2) and Monterey County Weekly (1).

Ahem: We rock.

Xross Purposes

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05.14.08

At a recent lacrosse match between two of the Petaluma Lacrosse Club’s varsity teams, Petaluma and Casa Grande, the sidelines are abuzz with people. One man shakes a cowbell vigorously. Parents from opposing teams heckle each other as the action blurs across the field. Teenagers do tricks with a device that looks like a hockey stick with a net on the end of it. Some kids practice flipping a rubber ball up in the air with their sticks, twirling their sticks a few rotations, then catching the ball in the net. Other kids find interesting ways to flip their sticks from one hand to the other.During a break, three small kids equipped with their own sticks scuttle across the field, flinging three small balls toward the general direction of one of the goals and laughing as they chase the balls across the field. During the next break, there are six kids out on the field. At the next break, there are 12, including one little girl with no stick and a smile who seems content simply following the action.

It’s as if the future lacrosse players of Sonoma County are multiplying before everyone’s eyes, which, fittingly, is what has been happening since Jamie Poore founded Sonoma County’s first organized club in 1994, the Santa Rosa Lacrosse Club (SRLC).

There wasn’t much interest around the county during SRLC’s first year. Recruiting enough players just to field a team was difficult. There were no games, and the club practiced a tentative two days a week.

“I was teaching at Slater Junior High at the time, and I would talk to my classes and bring [lacrosse] sticks out at lunch,” Poore says. “Kids would see [the sticks] and say, ‘What is that?’

“Up until four or five years ago, many people didn’t know what the sport was.” It’s a wonder why the oldest sport in the United States with so many facets and such a rich history took so long to surface in the North Bay. Lacrosse’s beginnings trace back to the Native Americans of northeastern North America who used it to resolve conflict, train warriors and as a religious ritual. The traditional version of lacrosse could include as many as a thousand people playing at one time on plains that would stretch the game for a couple of miles. Back then, the game was played from sunup to sundown.

However, lacrosse has changed dramatically since being introduced to Westerners by St. Jean de Brébeuf, a French Jesuit missionary who saw it being played by the Iroquois in 1636. Canadian dentist Dr. William George Beers, who founded the Montreal Lacrosse Club in 1856, was responsible for drastically shortening the length of each game and reducing the number of players on a team to 10. He also paved the way for lacrosse’s emergence in the United States; in 1877, New York University fielded the first college lacrosse team.

Despite being a popular sport on the East Coast for over 130 years, lacrosse wasn’t an organized sport in California until 1956, when the California Lacrosse Association was formed. Now it’s not only the fastest growing sport in California, but in the nation as well.

This season has been a turning point for Poore and SRLC’s varsity team. After going 1&–14 last year, the team went 11&–1 this season. The sudden turnaround has a lot to do with the experience and number of players on SRLC this year. After having only 20 players last season, interest has nearly tripled this season, as some 60 players have joined. And after having 10 first-year players in 2007, the SRLC varsity team only has two this season, with 17 experienced players.

“This year was definitely a larger peak than I expected,” Poore says. “I knew we’d be good, but this has really surprised me so far.”In 2001, two juniors at Rancho Cotate High School, Chris Oswald and Tyler Evje, started the Rancho Cotati Lacrosse Club (not associated with the high school). Oswald and Evje got together a group of kids and would head out to the field after school. They were in charge of their own equipment and uniforms. The goals were constructed in their parents’ garages and they lined the field with cans of paint. “It was hilarious,” Rancho Cotati Club president Chris Hansen says. “That really shows how important it was to them. You’re talking about kids who talk about cars and chasing girls.”By the time the Petaluma Lacrosse Club was founded in 2004, the Sonoma County lacrosse scene was ready to explode.

In just four years, the Petaluma Lacrosse Club has become Sonoma County’s largest. After starting with four teams and 100 players in 2004, PLC has grown to 16 teams and 320 players. “It just kind of snowballed,” says Ted Spores, who cofounded the club with Jill and Doug Olson. “It really got a quite a bit of momentum. Not only were we surprised with how much interest we had, but the rest of the league was surprised with how quickly our club grew.”There’s a lot to like about lacrosse. It offers the physicality football and hockey players enjoy. Players use agility and speed and move the ball around, much like soccer. They set screens and cut to the goal, much like basketball. And it’s a very fast-paced and high-scoring sport.

Also, almost anybody can make an impact on the field. A lot of the youth who have been responsible for the emergence of lacrosse in the county had never played a sport before lacrosse.”Kids of any athletic ability can play it and be successful,” Hansen says. “It’s a sport where, once you pick up a stick, your skill level and your ability can improve dramatically.”

And Hansen, Spores and Poore all agree that it is a team-oriented game. On offense, ball movement is key, as the defense’s ability to create contact and deflect a player’s shot with their bodies makes it difficult for one player to dominate. On defense, a goalie relies on his teammates more than most sports. Watch a game of lacrosse and you will notice that if a goalie finds himself one-on-one with an incoming offensive player, it’s generally bad news.As more players get involved and clubs grow larger, lacrosse is becoming more recognized and popular around the North Bay. One phrase sums it up lacrosse for Hansen. “Lacrosse for life,” he says. “Once you get involved in the game, it just gets a hold of you. It gets in your blood.”

To learn more about lacrosse in Napa, go to www.napalacrosse.com; in Sonoma, www.sonomalax.com; and in Marin, www.mcalsports.org/lacrosse.htm.


Free Healthcare for All

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05.14.08

For the past seven years, the Jewish Community Free Clinic has provided a range of services to anyone passing through its doors. There’s just one stipulation: the JCFC asks only that its clients not be covered by healthcare insurance. In other words, the JCFC’s clients are the many North Bay residents with absolutely no other healthcare options, except those which plunge them deeply, and often irretrievably, into debt and bankruptcy.

Now to celebrate the opening of its brand-new Rohnert Park facility and to raise operation funds, the Jewish Community Free Clinic hosts a fiesta fundraiser on May 17 at Cotati’s Congregation Ner Shalom.

Consider the numbers. Say you live in one of the following communities: Ross, Belvedere, Tiburon, Fairfax, San Anselmo, St. Helena, Yountville, Calistoga, Sonoma, Sebastopol, Cotati, Cloverdale or Healdsburg. Now imagine waking up this morning to news that you and every single member of these 13 communities no longer carry a shred of health insurance.

Shocking? Yes. Statistically wrong? No.

The combined populations of these communities represent the number of Sonoma and Marin County residents who woke up this morning lacking health coverage. Add Napa County to the mix, adjust for population growth since year 2000, and it’s suddenly necessary to also toss the entire populations of both Mill Valley and Windsor in for a combined population of 144,000 who have no access to healthcare.

Jefferson Award&–winning physician Robin Lowitz founded the free clinic in 2001 after volunteering at other Bay Area faith-based clinics. But it’s more than just a doctor’s office. The JCFC’s clinical director Deborah Roberts says, “We run a holistic clinic. By that I mean we take care of the clients in a physical, psychological, sociological and spiritual way,” which includes acupuncture and Chinese medicine, social services and referral.

The clinic hopes to launch immunization services and fluoride treatments soon along with classes addressing nutritional needs as well as obesity, diabetes and hypertension issues in both its adult and children client populations. Roberts says the aim is to empower “clients with their healthcare and understanding what their needs are so they can better advocate for themselves.”

The Jewish Community Free Clinic, 490 City Center Drive, Rohnert Park. The Fiesta de la Clinica is slated for Saturday, May 17, from 6pm. Carmelita Monejano performs. Congregation Ner Shalom, 85 La Plaza, Cotati. $5&–$18; includes dinner. 707.585.7780.


Wine Tasting Room of the Week

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Every wine has a story, from the farmer who stubbornly planted vines on a rocky hilltop in days past to the flamboyant schemes of a 19th-century Hungarian “count” to the targeted spin of a brand manager’s Power Point presentation. Carol Shelton likes to tell a story with each of her wines, and their unique and lively themes transcend conventions. The first funky and refreshing detail is the tasting room, a comfortable little front office in an industrial park. In north Santa Rosa’s growing “warehouse appellation,” the wine-wise are finding that a book can’t be judged by its cover.

But Shelton’s best-known story is that she studied with a few of the eno-greats of the ’70s before leading Windsor Vineyards’ wine program for 19 years and becoming what her website proclaims is “America’s most awarded winemaker.” The mail-order business successfully combined holiday gift packs and vanity labels with high-quality Sonoma County wines, pioneering a field now choked with Internet competitors. Meanwhile, Shelton continues on with a new volume.

Carol Shelton Wine labels depicts her alter-ego, the vineyard dreamer. Under a sky of puffy clouds, perched on a hill, a flowing-haired blonde in earth-toned yoga pants looks out wistfully over a pretty vineyard landscape. Although the label art is incomparably feminine, there’s a trickster twist as it belies her passion for rustic, masculine Zins that are full of smoke and brambles.

But first there’s the pink wine. The 2007 Rendezvous Rosé ($15) opens with a strawberry explosion according to my tasting cohort, who purchased a bottle to take home for a closer reading. It’s just off-dry, 100 percent Carignane and damn good (and if a rosé can be called “damn good,” that’s all you need to know). From the other side of the glassy-winged curtain, Shelton’s 2005 Monga Zin ($28) is made from miserly old vines that are dry-farmed in a semi-desert off of I-5. Because the grapes are subject to an agricultural quarantine for the disease-carrying sharpshooter, Shelton has to midwife the fermentation in Cucamonga before shipping the new wine north in a truck.

The 2005 Wild Thing Zin ($28) finds Shelton’s dreamer facing the other direction, symbolizing reflection on her years with Windsor where she first made this Mendocino County Zin on wild yeasts. It’s a wild thing indeed, rich with smoked bacon and blackberries rioting in American oak. Shelton’s good deeds are repaid in grapes for the tie-dyed 2005 Karma Zin ($33), while she sources the 2005 Exhale Syrah ($20) from the weekend escape vineyard of a big-city career couple. What’s the story with the 2006 Black Magic Late Harvest Zinfandel ($20)? Tasty, and of course, harvested on Halloween.

Carol Shelton Wines, 3354-B Coffey Lane, Santa Rosa. By appointment only, 10am to 4pm, Monday-Friday. 707.575.3441.



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Big and Sweet

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05.14.08


According to veteran stage director Jim Dunn, there’s a very odd phenomenon involving the casting of live productions of The Wizard of Oz, specifically regarding the role of the Tin Man. Currently putting the finishing touches on the 2008 Mountain Play’s lavish production of this musical fantasy, opening this weekend, Dunn has directed the play twice now (the last time was 17 years ago). Each time, he’s noticed the same thing.

“Most actors, during auditions of The Wizard of Oz, come in wanting to try out for the Scarecrow or the Cowardly Lion,” he says. “No one ever comes in wanting to be the Tin Man. When they are cast as the Tin Man, it always surprises them. I’ve seen that both times I’ve directed this, and I’ve heard it from other people. It’s not that no one wants to be the Tin Man; the Tin Man is a fantastic role. I think it’s that nobody sees themselves that way, because after all, the Tin Man is a very special, very beautiful person. He’s literally the heart of show.”

David Yen, the Rohnert Park actor who will be playing the “heart of the show,” confirms what Dunn has noticed.

“When I went to the auditions,” he laughs, “I was thinking of myself as the Scarecrow. That’s just more how I saw myself. Kind of goofy and floppy. But I’m not really dancer enough for that part, and in the initial audition, it quickly became apparent that I was not a dancer.” When Yen was called back for another round of auditions, being considered for the Tin Man, his reaction was typical. “I thought, ‘Wow, the Tin Man!” he recalls. “The Tin Man. I don’t know if I’m sweet enough for this role.”

Make no mistake. Among the great, imposing icon roles of the stage, from Hamlet to Stanley Kowalski to Ebenezer Scrooge, the Tin Man is every bit as intimidating a part to play. Dorothy and the Witch and the Scarecrow and Lion all have their iconic power, of course—it’s a show packed with indelible characters—but one could argue that the Tin Man is the hardest, most demanding role of the bunch, primarily because the chosen actor must reflect so many subtle shades at once. And in the setting of Mountain Play, a 4,000-seat amphitheater atop Marin’s magical Mt. Tamalpais, he must play all of that subtlety to an enormous audience. For Yen, whose last big part was playing Macbeth in a tiny chamber production at Santa Rosa’s Loading Zone Studio Theater, the switch to the mountain was a bit of a culture shock.

This Wizard will be a huge production, with a cast of 45 actors, spinning houses, major special effects and an airplane flying overhead on cue with a banner reading “Surrender Dorothy.”

“On the mountain, the closest person in the audience is 60 feet away,” Yen says. “I have to emanate kindness and sweetness and love and goodness—and I have to do it for 4,000 people. I have to be sweet—and big! That’s the challenge. There is an amazing amount of acting craft necessary to do this role, I’ve discovered, and I’ve had to develop other skills to perform in this space. It’s a fantastic experience. I’m having a really great time!”

For all this talk of the importance of the Tin Man, The Wizard of Oz of course features other beloved characters, and Dunn feels he’s assembled one of the best Oz casts he’s ever seen. The Cowardly Lion is played by Bruce Viera (last seen as Tevye in the Mountain Play’s production of Fiddler on the Roof a few years ago), and the Scarecrow is played by Eric Batz, who played the part of Woof in last year’s Hair.

“They’re all terrific,” Dunn says. “I always look for a strong ensemble, for actors who can play off of each other well. In The Wizard of Oz, there has to be chemistry between the characters. I was fortunate to have found actors with lots of chemistry—and lots of heart.”

‘The Wizard of Oz’ runs Sundays at 1pm through June 15; singles day preview Saturday, May 17, at 1pm and extra performance Saturday, June 7. Preshow entertainment includes puppet show, music, face painting and costume contests, so dress as favorite character. Free shuttle and bike parking available. $26&–$70; singles day preview, $34 (prepaid only). Mountain Theatre, Mt. Tamalpais State Park, 801 Panoramic Hwy., Mill Valley. 415.383.1100.


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Trawling for Answers

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05.14.08

To many Northern Californian fishermen, things smell a bit fishy in the ongoing proceedings of the Marine Life Protection Act. The Blue Ribbon Task Force, a state-appointed team of five men and women who will eventually decide what collecting and harvesting restrictions to impose on the North Central Coast of California, includes at least one person who is tightly connected to the Packard Foundation, one of the loudest—and wealthiest—supporters of proposed closures that have recreational anglers statewide fearful that the end is coming, slowly yet steadily, for the tradition of fishin’.

As reported earlier in these pages (“Blast,” April 16), the task force took comments for many long hours at the latest pair of public meetings on April 22&–23 at San Rafael’s Embassy Suites Hotel, but many fishermen stewed in the lobby as the task force, so it seemed to them, began leaning toward many of the restrictive proposals brought to the table by fishing opponents.

In fact, many anglers have suspected all along that the public MLPA process has been a done deal from the start. Here’s why: Meg Caldwell, a senior member of the task force, is also the interim director of the Center for Ocean Solutions, an environmental science and conservation center in Monterey. The center was created earlier this year in part from a $25 million grant from the David and Lucille Packard Foundation.

It just so happens that the Packard Foundation provides the Monterey Bay Aquarium with 75 percent of its annual budget. The aquarium, meanwhile, has voiced loud approval of many suggested restrictions that could put recreational “consumptive” users off of their favored waters by December. These are the very same restrictions which Caldwell, who is essentially an employee of the Packard Foundation, is currently reviewing.

This link between the Blue Ribbon Task Force and supporters of the MLPA’s most drastic closure proposals has many suspecting foul play. But the Department of Fish and Game’s MLPA program manager Melissa Miller-Henson asserts that the connection between Caldwell and the Packard Foundation has had no influence on MLPA proceedings. Caldwell did not return several phone calls to her office.

Additionally, the Packard Foundation, along with four other organizations, is helping to fund the MLPA’s budget needs. Several years ago, the Coastside Fishing Club filed a suit against the state, claiming that this private investment in a public process is illegal.

“Coastside lost that suit,” says Samantha Murray of the Ocean Conservancy. “I think it’s time that this issue gets put to bed. The MLPA is being implemented.”

Big Fishing Wins?

Kenny Belov, manager and seafood buyer at Fish restaurant in Sausalito believes that, if implemented in its current form, the MLPA will have the very negative effect of reducing both the availability of local seafood and the opportunity for individuals to catch their own. Belov is quick to note that the MLPA will not affect fishing activities three miles and farther off the coast.

“The big guys will still be out there offshore. The environmental groups behind this think that if you’re protecting coasts, you’re somehow changing something. Unless you ban long-lining in the open ocean and unless you ban bottom-dragging in California waters, I don’t see how you’re affecting the ocean in a positive way. By closing fishing near shore, you’re getting rid of the smaller guys who are doing it right.”

In offshore waters as much as 2,000 feet deep, an interstate fleet of boats drag the bottom with destructive trawl nets for, among other species, hake. Hake is a tremendous seafloor fishery currently impacted by overharvesting and wrought with by-catch (creatures unintentionally caught in the nets). In the industry, hake-fishing by-catch is considered unavoidable, and it heavily affects rockfish, of which some species have suffered a collapse as dramatic, if less glamorous, as that of Chinook salmon.

Hake fishing vessels are allowed catch quotas for several threatened species of deepwater rockfish. The California-Oregon-Washington hake fleet is permitted to land up to 4.7 metric tons of canary rockfish, 25 metric tons of darkblotch rockfish or 275 metric tons of widow rockfish before their season is closed for the year.

Such factory-style boats are required to report their catches on an honors system, but they regularly cheat. During inspections last summer, it was discovered that 40 percent of federally installed cameras meant to monitor onboard activities had been turned off by crews during net hauls. Furthermore, one vessel in Washington was found to have dumped several tons of widow rockfish overboard to avoid hitting its quota and ending the season for the entire fleet. The wasted fish soon washed ashore, and authorities pieced together the crime.

Hunting, Gathering

But by a fascinating irony, the saltwater portion of Carre’s lifestyle will be threatened, as the MLPA task force considers turning the several miles of ocean in front of Carre’s property, among other zones, into a no-take marine reserve.

The North Coast, Carre argues, is not in need of extreme protection. People have rock-picked abalone from the shore here for millennia, she says, and the snails are as abundant and large as they ever were. Other species are equally robust.

“I see no point in this at all except to slowly start putting the squeeze on recreational harvest,” Carre charges. “I think Fish and Game should find a problem first before they run up the coast with their bulldozer and tape.”

For his part, recreational fisherman Rich Navarro of Burlingame believes the MLPA proceedings are based on private interests and little science. “A lot of these people work for nonprofits. They need funding for research, and if there’s no crisis in the ocean, then there’s no grant and no paychecks. They’re assuming there is a problem to substantiate their own jobs.”

Miller-Henson allows that scientific data is scarce on the North Coast. While a sonar seafloor analysis is underway, the bottom habitat profile remains largely unknown. “We’re literally just learning now what the bottom structure out there is.”

Yet the MLPA is designed to provide security for specified, known habitats, she says, preferably pinpointing regions that consist of several types of bottom—sand, rock, both shallow and deep—in order to diversify the range of species that will benefit from harvest closures.

But how can these areas be identified when no one fully knows what the bottom terrain even looks like? Murray of Ocean Conservancy defends the integrity of the process.

“It’s been said from the beginning that the MLPA will be based on the ‘best available science.’ If there’s no better science, then we can only use what we have.”

Who Wants What

By the end of the latest meetings in San Rafael, the task force decided to concoct a blend of the three MLPA proposals at the table. Called their “preferred alternative,” the tentative plan would designate 11 percent of the study region as marine reserves that prohibit all take—no animals, no kelp, no shells, no sand. Under this plan, the northern portion of Salt Point State Park and other popular diving and kayaking sites would be barred from consumptive use.

Carre feels the task force did not fairly consider the opinions of the people who inhabit the North Coast. She and 300 others in coastal Sonoma and Mendocino counties signed and delivered a petition to the Department of Fish and Game earlier this year supporting Proposal 2-XA, the relatively fisherman-friendly plan. But the petition, Carre says, never reached the stakeholders group that was to consider public opinions as it directed the MLPA process.

Miller-Henson explains that thousands of comments, form letters and petitions arrived in the final weeks of the public-comment period, which ended in late March. Miller-Henson sifted through this paperwork before reporting the information to the task force. Among the piles of pro-2-XA letters, she says, were 100 to 150 notes from Monterey Bay Aquarium guests supporting Proposal 4, the one touted by environmentalists. 

Retired commercial fisherman Alan Jacobs of Point Arena says that Mendocino County was overwhelmingly in favor of 2-XA. Point Arena mayor Leslie Dahlhof claims otherwise; public meetings at the city hall were dominated by irate fishermen, but a sizable and unidentified portion of the community who did not attend the meetings lean toward protecting the region, she says.

If the Blue Ribbon Task Force’s preferred alternative passes the ultimate inspection by the Fish and Game Commission, a process that begins in June and may run six months, Point Arena’s fleet of a half-dozen boats will be inconvenienced by two significant closures immediately north and south of the harbor, Jacobs says. Fishermen will have to travel farther, often in rough and dangerous conditions, to reach fertile grounds. Limited fishing days and reduced catches will result, and town supervisor Peter Bogdahn has estimated that Point Arena’s annual income will plummet by 25 percent. 

Carre thinks that with the good they are trying to do, MLPA supporters are inadvertently boosting the state’s carbon footprint.

“These three or four boats supply all the restaurants with fish, and the way I see it, the more fish they’re allowed to catch, the fewer dirty diesel trucks need to come up Highway 1, which is crumbling to pieces. Getting fish yourself and getting it locally—that’s the green way to go, and these environmentalists are ending all that.”

Almost 90 percent of the North Central Coast study region will remain open, but many of the preferred alternative’s recommended closure zones include disproportionately popular access points for abalone divers and kayak fishermen.

“Now, where are all these divers and fishermen going to go?” Carre asks. “Any cattle rancher knows you can’t take away half your land and have the same number of cattle. You will ruin your pastures.”


Diana’s Choice

05.14.08

Some twist endings should be left to twist slowly in the wind. Still, The Life Before Her Eyes‘ punch line—and it was fresh 125 years ago, anyway—isn’t completely unworkable. A poetic director, preferably female, could have made something out of this story. Despite Sofia Coppola’s limitations, this is material that would have suited her perfectly. As it stands, director Vadim Perelman (House of Fog and Sand) is out of his element.

Diana (Uma Thurman) lives the luxury-car commercial life, inhabiting a fine old two-story house surrounded by what appears to be at least a half-acre of perfect flowers. She drives her seemingly perfect little daughter to Catholic school. In the opposite direction, her husband, a perfectly bearded philosophy professor, pedals off to college on his bicycle. But Diana’s perfect day is shadowed by the anniversary of the high school shooting that changed her life. Although she has chosen to lock out the memories, they intrude.

In unusually shapeless flashbacks, Diana’s past life unfolds. When she was 17 (Evan Rachel Wood plays her then), Diana’s best friend forever was a religious girl named Maureen (Eva Amurri of Saved! ). One day, a rejected young man gets an automatic rifle and goes on a rampage. Maureen and Diana are cornered in a flooded school bathroom. The killer draws on the girls, asking them to pick which of them should live.

Cut to the present. The seeming perfection of Diana’s middle-aged life shows its cracks: her daughter keeps running away from her teachers and hiding; her husband appears to be having an affair with a student.

The otherwise very literal director Perelman demonstrates the same vagueness about class conflict and the price of things that he showed in House of Sand and Fog. And once again, he is doing a movie where knowledge of these matters is essential. Diana claims she came from the wrong side of the tracks, a small-town girl with a rep for being a slut. But the small town is a perfect Connecticut village, and Diana’s particular badness is manifested in an abortion. It’s a bloody, botched trauma (2008 movie abortions always are). And as in other current films, her decision is a cause for later grieving, in this case over one of those fields of crosses which the anti-choice crowd put up as memorials to the unborn.

Perelman hasn’t much of a hand for symbolism. Symbols better seen out of the corner of our eye are slammed right in the middle of a frame. The events in both of Diana’s lives seem unmoored in time. It is all explained, if not satisfactorily, and yet it still doesn’t add up. In this film, the flowers are arranged more carefully than the flow of flashbacks and flash-forwards.

Amurri is an underrated actress, even if the film’s bead on her character is wobbly. Wood’s fine-boned, luminous face almost draws us into a story without a center. Michigan poet Laura Kasischke’s novel has an idea that could be transformed into a dreamy, haunting movie.

But even if the theme were handled better, it would still be a movie to be swallowed, not understood. If picked apart, The Life Before Her Eyes is a self-pitying story that tries to match the pain of middle-aged malaise with the pain of a Columbine-style catastrophe. It is one thing when teenage dreams die a natural death by age. It is another when they are ended by murder.

‘The Life Before Her Eyes’ opens Friday, May 16, at Rialto Cinemas Lakeside, 551 Summerfield Road, Santa Rosa. 707.525.4840.


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Maker My Day

05.14.08

Before attending the recent Maker Faire in San Mateo, I met with Dale Dougherty of O’Reilly Media, editor and publisher of both Make and Craft magazines. Make and Craft are celebrations of creativity and the art of reuse, and illustrate exactly how limitless the imagination can be given the proper tools, a glue gun, some copper wire and maybe a piece of felt. Make is a DIY monthly dedicated to technology projects. Where else can you learn how to transform your iPod into a transistor radio or install a working video screen into your platform shoes? Craft is for those more inclined to work with fabric, showing readers how to transform a pair of shoes into roller skates, or make a vibrating pillow using the motor from a pager.

The fact that some 50,000 people were expected to turn out at this year’s Maker Faire is a testament to how hungry people are to see science, art and inspiration in action. The fair was full of folks who submitted their ideas through the Make website. Dougherty says that they had originally planned for more of a screening process, but that the things people submitted were so cool that the process quickly became one of logistics as opposed to picking and choosing. How to handle, for instance, a 50-foot sculpture with flapping wings that sits on top of a Dodge van? Where to put it? How to separate the small and quiet from the large, noisy and/or flaming?

We have so much stuff in our lives, Dougherty says, but how much of this stuff do we actually have a connection with? When you make something yourself, it adds a level of meaning. The Maker Faire is an opportunity to share the things we are making and get motivated to make more, and where people can ask questions, share what they know and inspire each other to think outside of the box. Reuse, recycle, remake.

The Maker Faire is this ethic in action, and the results are so stunning that the only regret I and the four boys I took with me had is that we didn’t get there early enough. I’m still having a hard time letting go of the fact that I was somehow unable to catch even a single robot battle. This is a loss I will be unable to recover from until next year, and right now May 2009 feels very far away.

Even events as amazing as this one, however, have their down moments. Ours came when we realized that following thousands of other people to the same place dramatically changes MapQuest direction times. We didn’t reach the gates until almost 4pm, at which point we realized we then had to stand in line for 45 minutes because we were one ticket short. One could say tempers were running a little thin, so the boys with tickets went in, and I and the forlorn, ticketless child stood in line and thought bad thoughts.

Once in, we found the others sitting rapt at Sebastopol’s own Science Buzz Cafe, where Daniel Osmer, the self-proclaimed “Ambassador of Science,” put together a captivating show for science lovers of all ages. We watched a man lay on a bed of nails, and it was all fun from where we sat. While the boys were obsessed with the robotic-warship combat arena, I was captivated by “Crude Awakening,” three 30-foot tall figures constructed out of rebar. Designed by Dan Das Mann and Karen Cusolito, and literally flaming from within due to the expert skills of the pyrokinetics team, the figures were breathtaking.

But the Maker Faire is not just massive flames, looming sculptural pieces, lightning machines and ball-bearing-shooting battle ships. This is a place where you can find notebooks made from recycled library books, learn how to make a mandolin in two days or watch a guy play his drum set while knitting a sweater with his drumsticks.

For more information on the Maker Faire and exhibitors go to www.makerfaire.com. For more information on ‘Make’ or ‘Craft’ magazines, go to www.makezine.com or [ http://www.craftzine.com/ ]www.craftzine.com.


End of an Instant Era

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05.14.08


Tod Brilliant leads the way down the stairs and across a dark basement to a refrigerator. He opens the fridge door as if opening a treasure vault. “This is what’s left for me,” the 36-year-old photographer says, motioning to the colorful boxes crammed inside. “When it’s gone, it’s gone.”

Brilliant, a Polaroid enthusiast, is showing his hidden stockpile of Polaroid film.

In an announcement last month that has many photographers in a frenzied scramble, the Polaroid Corporation declared that it will discontinue manufacture of its instant film by 2009. What may seem a natural demise to most—digital cameras having long ago surpassed Polaroids in sales and convenience—is an unrecoverable blow to a thriving subculture of photographic artists like Brilliant. His current show, “The End of Polaroid” at Ray Modern’s Micro Gallery in Santa Rosa, is designed as a “wake” for the forgotten yet beloved film.

Sitting in a chair in Brilliant’s dining room, looking up at a 12-by-8-foot wall completely plastered with hundreds of Polaroids he’s taken over the years, one is immersed in the full sensation of a medium that defined America for the better part of a half-century. On the wall are images of old hotel signs, children wading in a pool, vacationers sunbathing on the beach, the Watts Towers, old cars. The shots appear to be from the 1960s or maybe the 1970s, but in a testament to Polaroid’s timelessness, Brilliant assures that they’re all from just the last seven years.

Despite the unique composition and color range Polaroids offer, Brilliant says, “I think serious photographers, by and large, look at Polaroid photography now as the retarded stepdaughter. A lot of people think of it as iconoclastic. But that’s not the reason why I like it; I just like the way it looks. You also don’t get to do it over. There are no second chances. I don’t have any problem with digital cameras at all, but with a Polaroid, you have to frame it and light it, and you have to get it right in the camera.”


Brilliant has a collection of about three dozen Polaroid cameras on display in his entryway, but he prefers the Polaroid 680, a variation of the popular SX-70 which takes film that’s still—for a few more months at least—available. He condemns the novelty cameras Polaroid made in the ’80s and ’90s after founder Edwin Land left the company. “That was kind of the end of Polaroid, just the really low-quality, mass-marketed plastic boxes that, you know, the hipsters still like, but they don’t take good pictures. And if your business is making cameras and your cameras don’t take good pictures, it’s only a matter of time.”

Polaroid introduced its first instant camera, the Land Camera Model 95, in 1948. No one had seen anything like it, and over the years Polaroid watched its stature grow. The company employed 21,000 workers in 1978, and in 1991, the company’s revenue peaked at almost $3 billion. Despite introducing one of the first digital cameras in 1996, the company was slow to embrace the future, and the digital revolution delivered a knockout punch to Polaroid. Last month’s announcement to discontinue instant film will leave the company with just 150 employees.

In essence, Polaroid died when the company filed bankruptcy in 2001. Most of the company’s business, including the Polaroid name, was sold to Bank One, whose OEP Imaging Corporation swiftly took on the recognizable title “Polaroid Corporation.” Then in 2005, that company was swallowed by Petters Group Worldwide, a holding company known for buying up failed brands with recognizable names. (Petters currently owns more than 60 such brands, and rumors persist that Petters decided to kill instant film right then, without telling anyone, while still selling instant cameras.)

The “old” Polaroid company, which actually remains in existence under Chapter 11 protection, has no assets, no commercial business and no employees. On paper, it’s known as Primary PDC Inc. It is, as the saying goes, an administrative shell, empty and lifeless.

Despite its vacation-snapshot association, Polaroid always attracted artists. The company hired Ansel Adams as a consultant in 1948, and a running stream of well-knowns have embraced the medium since, from Andy Warhol and Robert Mapplethorpe to William Wegman.

Chuck Close, the 67-year-old painter and photographer who has had a long, intertwined relationship with Polaroid, was quoted in the May 4 issue of New York magazine about the death of Polaroid film. “It’s not replaceable,” he said, “and they’re leaving it like roadkill. These corporate raiders who buy a company and strip it for everything profitable—they just pick the bones.”

Mike Slack is a 37-year-old Los Angeles&–based photographer whose Polaroid images have graced the New York Times op-ed page, album jackets by the British band New Order, numerous books and magazines, and have been collected in two acclaimed volumes, Scorpio and OK OK OK. For the last 10 years, he has worked exclusively with Polaroid; in his lifetime, he’s only spent about four hours in a darkroom. Slack’s preferred camera is the 680 SLR, a variant of the SX-70 that uses 600 film.

“The Polaroid is one of those inventions that to this day still feels both primitive and futuristic, like a light saber,” Slack says. “The pictures become physical artifacts the moment they’re made, and that moment of mysterious, chemical self-development is, literally, bound up in the very experience of looking through the lens and pushing the button. It’s all very physical and human and personal. There are all kinds of existential and spiritual metaphors one can attach to the Polaroid.”

For Slack, the unpredictability of a Polaroid is almost an artistic tool in itself. One day, while driving on I-10 through the California desert, Slack shot a photo through the window of his car, and his Polaroid 680 auto-focused on the glass instead of the landscape. “I inadvertently ended up with what looked like a tiny impressionist painting, dreamy and bright and strange,” he says. “After that, I found myself looking for ways to make Polaroids that seemed more like paintings than like photographs.”

Slack was not at all surprised when he heard that Polaroid would be discontinuing manufacture of its film, and remains stoic about the blow. Nevertheless, he’s officially going to have to find something else to do after the extended funeral season is over. “Like many other people out there,” he says, “I’ll buy a shitload of film, keep it in the fridge, make the best of it. I’ve had plans for a while now to make a third and final Polaroid book, if for no other reason than to have completed a trilogy, which has a good sense of closure.”

Slack has never had any direct relations with Polaroid as a company, but like others whose hearts are drawn to the medium, he’s frustrated at the way things have worked out. “As a company, Polaroid hasn’t been particularly imaginative, progressive, innovative or visionary in a long time,” he says. “All their best inventions grew out of a culture and economy of an increasingly distant past.”

Mark Aver, a graphic designer who was hired as a design consultant for Polaroid in 2003, knows the stuck-in-the-past atmosphere surrounding the “quiet and sleepy” Polaroid building in Waltham, Mass., firsthand. “They were weird, man,” Aver says. “I have yet to work for a client that is as weird as Polaroid.

“At their headquarters, you felt like you were stepping back in time 50 years,” he explains. “It felt like Houston NASA, 1952. Dudes walking around in stay-press pants and pocket protectors and really thick glasses, and everything’s beige and brown—it was like a dusty laboratory. So it was kind of cool in that regard, but then you’d leave thinking, ‘God, if they could just step into this century and revitalize themselves somehow.'”

At the time, Aver was involved with a top-secret project that the company hoped would resuscitate its standing once unveiled: an instant thermal-paper photo printer using no ink. After pitches for partnerships with Fuji and Samsung failed, the division split off into its own company, called Zink, which subsequently partnered back with Polaroid for name recognition. Currently, the small, handheld Zink printer, which produces 2-by-3-inch photos in 30 seconds from files on computers and cell phones, is Polaroid’s great push toward relevance. It will be unveiled in the fall.

During the interim between bankruptcy and the Petters takeover, Aver says the company was cripplingly divided on the issue of digital photography. He notes the company’s long-standing rainbow logo was changed to intentionally look more like pixels, reflecting a modern vision, but that the dueling sides couldn’t come together on the same wavelength, and employees seemed to be “going through the motions.”

“It just makes me sad even talking about them,” Aver says now. “Even in their halls, they’d have little exhibits of people who only shot Polaroid film, and they still did limited-edition art books. So someone there still cared about things. They just seemed unfocused.”

Polaroid has put out a call to other film companies, hoping that one of them will want to continue manufacturing the film, but everyone close to the cause seems to think that, at this point, it’s a hopeless case. The enormous investment required to recreate Polaroid’s film factories; the limited market it would serve; the cost and toxicity of the chemicals involved; and the fact that Fuji, an early contender for picking up the manufacture, already makes an instant camera which uses different film and would therefore be competing against itself should it take over, all makes the outlook bleak.

On a wooden support beam in Tod Brilliant’s living room, adhesive vinyl letters spell out the phrase “Beauty is found in the unraveling of things.” But in the unraveling of Brilliant’s preferred medium, there’s no beauty, only ache. When his stockpiled refrigerator supply of film is gone, Brilliant, along with all the other photographers, dentists, wardrobe departments, doctors, insurance companies and fashion designers who still use Polaroids, will have to move on.

In the meantime, Brilliant will walk around with his trusty Polaroid 680, taking photos, cherishing each one. One of his favorite pastimes is talking with complete strangers about the old-fashioned-looking thing around his neck. “You see kids in the park,” he says, “and you take a picture of them, and you give it to them, and their parents are always so excited.

“‘You know what this is?’ they say. ‘This is a Polaroid.'”

Tod Brilliant’s ‘The End of Polaroid’ exhibit shows at the Micro Gallery at Ray Modern through June 14. 606 Wilson St., Santa Rosa. 707.570.0128.


Museums and gallery notes.

Reviews of new book releases.

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

Reviews and previews of new dance performances and events.

Are They Dark?

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05.14.08

T hese days, the popular model for an alt-rock lineup is either a stark guy-girl duo, like the White Stripes, or a multi-instrumental collective, like the Arcade Fire. These current models are opposites, but for Sonoma’s new rock duo the Harlequin Party, the two models coexist.

“I think we have both styles in us, and more,” says Sasha Papadin of his first project, which includes wife Lauren Papadin, since his club-touring band the Val Papadins dissolved last year. “The big picture,” Sasha says of Harlequin Party, “is to make an anti-band—the two of us at its core, with guests coming and going.” The newlywed couple, who refer to their rattling carnival sound as “rock noir,” plan to add horns, percussion, backup singers and perhaps even dancers when they start gigging to support their new disc, Fever Dreams.

Lauren enjoys that “the simplicity of this current duo is lovely and virtually carefree,” but favors opening the duo into a loose collective, which Sasha says will “create a medium where we can play acoustic shows or big band shows and not feel like we’re betraying some code.”

That’s the performance plan, but Fever Dreams is virtually a solo recording by Sasha, with slight vocal and production contributions from Lauren and Sasha’s brother William. Still, the need for a larger band is implied by multiple keyboard and guitar parts (which Lauren shares live), by the strange mutating circus feel of the music and by charming touches like group vocals that recall a gaggle of drunks in the distance.

“I focused on making the record right and chose to worry about live arrangements later,” Papadin says of converting solo work into a group dynamic. “I gave myself advance permission, when recording, to not have to play these songs the same way live—that felt like freedom.” In fact, changing the songs live is the whole point, he says, noting how favorites like the Walkmen and Bob Dylan “completely deconstruct their songs at each show. As a fan, that’s the only thing that brings me back.”

The content of Fever Dreams is complex enough to invite such reinvention. A general sonic thread links Harlequin Party to artists like Nick Cave, David Bowie, Leonard Cohen, Tom Waits and Ennio Morricone, where a dreamy European sense of keyboard atmospherics collides with a rougher American sense of driving guitar. In the middle of the track “Los Angeles,” for example, a churning, savage Bo Diddley beat is interrupted by a wandering piano abstraction before the chorus reappears.

Papadin is genuinely incredulous when asked why the songs are so dark. “Are they dark? They sound cheery to me,” he retorts, later admitting that there’s “something sinister bubbling below the surface, like the dark undercurrent of a calm ocean. If you’re honest with the undercurrent, it comes out feeling very human, cleansed and worked-out.”

“Some of the songs are dark,” Lauren adds, “but Sasha is not. That paradox gives the music such a uniquely beautiful sound.”

Indeed, there is more to Papadin than “rock noir” band music. He also composes soundtracks, recently creating scene segues for a staging of Lolita by Intertwined Productions at the Sonoma Community Center. Director Frances Hall had seen his indie film Prelude at the Sonoma Valley Film Festival in 2004, and was “reminded a lot of David Lynch. Sasha is kind of ethereal, but pretty haunting.”

Hall says that “I definitely want to use him again,” and her recommendation shows that Papadin’s music can thrive far beyond a solo or duo format. “He gets over [his own work] soon,” Lauren says of her husband’s restless creativity, adding that she does “everything I can to keep him interested in these songs before moving on to the next project.” But Papadin doesn’t seem to move on from his material so much as move within it.

“These songs are like battered rowboats,” he says, “that are going to behave and feel different based on the weather, and on who or how many people are paddling.”

The Harlequin Party release ‘Fever Dreams’ at the end of May, with live shows to start in early June. For more details, check [ http://www.myspace.com/theharlequinparty ]www.myspace.com/theharlequinparty.


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End of an Instant Era

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Are They Dark?

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