Shiny and New

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12.22.07

Futurama: Bender’s Big Score’ (20th Century Fox Home Entertainment; $29.99) The secret of Star Trek was a combination of sci-fi parables and a lot of dialect humor. This timely revival of the Matt Groening/David Cohen TV show doesn’t tamper with a formula that has lasted several eons across millions of light years. In this feature-length adventure, the gang is faced with an unstoppable force: the power of spam. A trio of sniggering hackers from a nudist planet foreclose on Earth, using stealth programs and pfishing. The elderly Professor Farnsworth is fooled, too, deluded by an e-mail telling him he’s the heir to the throne of Nigeria, now that the old king is dead: “I’ll inherit his kingdom, his canoe and his plump young wife.”

Meanwhile, the aliens dose the swaggering robot Bender with a virus and turn him into a “Dispatcherator” to raid humanity’s past with a ray gun. The sometimes moan-worthy jokes are bolstered with gratuitous nudity, a trip to Neptune, an appearance by Robot Santa, a nigh suicide mission by Al Gore’s head and a plausible explanation of how Bush won the ’04 election. The extras include a commentary track and a long—weeks long? I lost all track of time—appearance by the ever-compelling Hypnotoad.— RvB

‘The Two Jakes’ (1990) and ‘Chinatown’ (1974), Special Collector’s Editions (Paramount Home Video; $14.99 each) Godfather III was a bad idea. The same holds true for The Two Jakes , the 1990 sequel to Chinatown . But it’s still an entertaining movie, even if it exists only as a gloss on Roman Polanski’s 1974 masterpiece. The film picks up divorced dick J. J. Gittes (Nicholson, who also directed) in 1948, 11 years after the tragic events of Chinatown . Fatter and more respectable (“In this town, I’m the leper with the most fingers”), Gittes remains haunted by Evelyn Mulwray, the woman he couldn’t save (“You can’t forget the past any more than you can change it”).

Sure enough, the past comes back in the form of Evelyn’s daughter, Katherine (Meg Tilly), now the wife of housing developer Jake Berman (Harvey Keitel)—hence the title—and Gittes finds himself mired in a murky mystery about “old secrets, family and property and a guy doing his partner dirt.” Since the story is so steeped in memories, part of the pleasure is seeing the original characters reappear, Perry Lopez as Lou Escobar most effectively. Unfortunately, some of the new characters grate, particularly an atrocious Madeleine Stowe as an oversexed widow.

Robert Towne’s script is full of loose ends; buy this with the new reissue of Chinatown just to see the difference. Between the two discs, there are several illuminating “making of” documentaries, with long and candid interviews. Towne and Nicholson explain that Chinatown was originally designed to be a trilogy about the growth of L.A., and Polanski exposes the trick that made the famous nostril-slitting scene possible.— MSG

‘Drunken Angel’ (Criterion Collection; $39.95) Akira Kurosawa’s seventh film, Drunken Angel , was his first with Toshiro Mifune. As Matsunaga, a hot-headed yazuka in postwar Tokyo, Mifune makes a riveting antihero with his slicked-back hair and American-style zoot suit. Mifune is so vivid a bad guy that the film’s dialectic structure is thrown out of whack; in the wildest scene, Matsunaga tears up the dance floor while a Japanese Josephine Baker bellows a Cab Calloway-style “Jungle Boogie” (with lyrics by Kurosawa).

Kurosawa contrasts Matsunaga’s destructive gangster code (echoing Japanese militarism in the war) with the selflessness of Dr. Sanada (Takashi Shimura), a hard-drinking but softhearted doctor who treats the poor. When Sanada discovers that Matsunaga has TB, he makes it his duty to try to cure him, just as Matsunaga swears to save a young woman from another gangster. Unfortunately, Sanada spends too much of the film yelling impotently at Mifune’s unstoppable id.

Although subject to censorship by the Americans (as explained in a documentary on the disc), the film addresses Japanese soul-searching during the Occupation. The action takes place around a polluted open sewer that symbolizes the toxic aftermath of the war. Kurosawa returns again and again to this fetid bog bubbling with methane gas. This Criterion restoration also includes a Japanese documentary about Kurosawa and the making of the film (those bubbles were created by off-screen crew members blowing on very long straws).— MSG


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Breaking the Mold

12.22.07

P icture Frank Lloyd Wright, arguably America’s most famous and influential architect, a man known for his exacting nature and highly individual styles. His devotion to organic architecture, a style that concerns itself deeply with context, could be seen down to the finest design detail, including furniture, light fixtures and decorative elements. He designed his own clothing (all capes and flowing ties) and drove custom-made cars. So when he specified tableware for his projects, where did he get it? Heath, a small ceramic and tile factory in Sausalito. It’s still operating today, producing exceptional handcrafted ceramics and architectural tile.

Edith Heath appears on the shortlist of mid-century modern movers and shakers. She and her husband, Brian, purchased the Sausalito factory in 1947 after a successful ceramics show at San Francisco’s Legion of Honor prompted large orders of Edith’s wares from Gump’s and Neiman Marcus. Later, Wright discovered her dinnerware, and architects like Eero Saarinen began ordering her tiles in the 1960s for interior and exterior projects.

Many of Edith Heath’s pieces are in museum collections, including the permanent collection of New York’s MOMA, and she became the first nonarchitect to win the American Institute of Architects’ Gold Medal for the exterior tile on Pasadena’s Norton Simon Museum. Today, Heath tableware is in use at Chez Panisse (which has its own line) and the Slanted Door, among other stellar establishments.

Raised on an Iowa farm during the Depression, Heath’s intellectual curiosity and disciplined nature fueled her deep exploration into the chemistry of ceramics. She tested the science of glazes and their interaction with clay in entirely new and groundbreaking ways; this, combined with her attention to form and craftsmanship, created a legacy, one that might have ended when she died in 2005 at age 94, after running her company for 60 years.

But just a few years before her death, husband-and-wife team Robin Petravic and Catherine Bailey, two industrial designers looking to get out of the city, stumbled upon the factory. “The building was clearly mid-century modern architecture, which we both love,” Bailey says, describing the moment. “It was also in an interesting context, an old ship-building industrial area right near the water. There were lots of pallets of tile sitting outside in the Heath yard.

What I think made us curious was the mix of an architectural intention that pointed to an interesting design period in history combined with the evidence that it was a working design studio and factory. A factory that cared about design, and that had a historical context, all in a quick glance at the exterior of this place.”

The young couple made inquiries and learned that Edith Heath was not well and Heath Ceramics was for sale. They purchased the business in 2003 and have revitalized it, while enthusiastically and tenderly maintaining its vision and core values. The forms are simple and clean, the production is small-scale and each piece is nuanced by the hand of the artisan.

When asked what she thought was the most important way that she and Petravic have carried on the Heath tradition, Bailey says, “Keeping all of our manufacturing here in the original building; we do not outsource anything. This alone is quite ambitious. We have looked at our production process very carefully and made sure that when we do make changes in our process, the product’s look and feel remain uniquely Heath.”

The harborside factory—one of the few remaining American potteries—is a humming, multi-ethnic, multi-age, hands-on operation. About 40 artisans work at the factory; many of them have been there for over 20 years, and at least 10 of them are from the same family. Lawrence Wing, a glazer, has been punching in at Heath for 37 years and Miguel Iniguez has been a kiln fireman for 40.

“People who work at Heath are people who like to make things,” Bailey says. “It’s satisfying work when you can see the things you are making at the end of the day. We have a wonderful building where most of the people are working next to windows—great natural light; it’s the scale of a company where you can get to know everyone.”

A walk through the factory reveals an energetic atmosphere—lots of banter, deep concentration and apparent pride. A woman making platters on a hydraulic ram press holds up her piece after a burst of steam peels the brown Sacramento clay off the mold, and presents it to us beaming, yelling over the ambient machinery noise, “Beautiful!” And it is—even before glazing—with its clean, simple lines.

Many of the machines are originals that have been in place since the factory was built; some were designed and constructed by Brian Heath. Though the pieces are made using light-industrial techniques like jiggering and slipcasting, the machines are hand-operated and all the pieces are hand-finished and hand-glazed.

Heath Ceramics is known for its signature wiped edge, a style that illuminates the interplay between clay and glaze. The glazes were formulated and the California clay chosen by Edith Heath to most effectively show off the material of both elements; it all becomes clear when you hold a piece in your hands.

“You can take a photo of a Heath plate on a table, and it might not look so special; it’s a pretty classic or iconic form of a plate,” Bailey explains. “But once you see it in real life and touch it, it’s quite a bit more. The thing that makes its character is its interesting textural quality, in the glazes and in the rougher exposed clay edge. It has a weight that gives you confidence in handling it. Finally, it’s beautiful and intentional. The combination of these characteristics gives it its special feel.”

Heath Ceramics makes only a few lines of tableware, pared down to its essentials by the new owners, with the Coupe line in continuous production since 1948 and the Rim line since 1960. Glazes are all Heath originals, though new colors have been formulated since Edith’s time and old glazes and shapes replicated and re-instated. For instance, co-owner Petravic found an ashtray at a thrift shop in a forgotten turquoise color and had the color reformulated. They found old molds in the factory and recast them, and discovered prototypes that had never been made and put those into production as well.

Today’s owners had the opportunity to meet Edith Heath before she passed away. “Though she was quite old when we met, you could feel Edith’s passion for this place that she spent her life building,” Bailey says. “She didn’t have good short-term memory, but she could still recite complex glaze formulas and would walk into the pottery, examining the ware she had designed so many years ago. She was quite pleased and content to see that we were continuing to make her original designs. I think she always wondered if this would be the case when the business changed hands.”

Edith & Aletha

Like the great Bauhaus-trained ceramicist Marguerite Wildenhain, who established a legendary guild in what is now Armstrong Redwoods State Park in Guerneville, Edith Heath was formidable in her vision. Today, the Sebastopol-based artist Aletha Soule appears to be carrying on the tradition of a strong woman making disctinctive homewares with care. Here is how to learn more about both.

Heath Ceramics Free factory tours, which show some of the original methods and equipment developed by Edith Heath, are led Saturday and Sunday mornings at 11am. The factory store sells tableware, including plates, bowls, vases, platters (at up to 30 percent off) and tile (up to 80 percent off!) in seconds and overstock of current lines and discontinued items, samples and prototypes. The Heath Ceramics factory store is open Sunday&–Wednesday, 10am to 5pm, and Thursday&–Saturday, 10am to 6pm. 400 Gate Five Road, Sausalito. 415.332.3732. www.heathceramics.com.To purchase without visiting the factory or going online, go to these North Bay retailers:

Collure 1106 Magnolia Ave., Larkspur. 415.461.6155.

Corrick’s 637 Fourth St., Santa Rosa. 707.546.2423;

Ray Design Studio 602 &–606 Wilson St., Santa Rosa. 707.570.0128.

Soule Studios Artist Aletha Soule makes everyday dishware and vases in irresistibly organic forms that beg stroking and careful handwashing, though they’re tougher than they look. Focused on glazes that closely mimic colors found in nature and in shapes also drawn from the outdoors, Soule’s work is in high demand. She hosts a highly anticipated yearly studio sale that offers her work at greatly reduced prices (slated next for May 24, 2008) and sells her two lines, Mélange and Citrange, from her website and at select North Bay outlets. The Mélange line is being discontinued, so now is the time to buy if you’re already a collector. www.soulestudio.com.

St. Dizier Design 259 Center St., Healdsburg. 707.473.0980.

Summerhouse 21 Throckmorton Ave., Mill Valley. 415.383.6695.

Vanderbilt & Co 1429 Main St., St. Helena. 707.963.1010.


Artful Glass

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12.22.07


A ll four men wear wraparound sunglasses, even though they’re working indoors. Their no-nonsense look is strictly practical—the bad-ass shades protect their eyes against the intense glare. Their movements are sure and deliberate—not quick, not slow, but well-practiced. And the workshop where they labor provides plenty of room to move. That’s important when shaping a piece of glass that will be 2,190 degrees Fahrenheit when it’s pulled out of the specially designed furnace called the glory hole.

This is Bacchus Glass, which is tucked away in a warehouse-behind-a-warehouse on the east side of Sonoma. On a recent December morning, master glassblower Frank Cavaz and three assistants are handcrafting glass light fixtures. At 22 inches across, the golden glowing piece that’s gradually taking shape is an original design known as a “monarch ruffle.” It averages about two hours to make just one, and Cavaz and his team will be forming several monarchs today. Once they set up for a particular design, they usually do more than one.

“Glass definitely has its limitations,” notes Cavaz’s wife, Julie, as she watches from the sidelines. “Glass doesn’t want to be oval; it wants to be round because you’re spinning it.”

All four men gaze intently at the large, pliant shape that’s perched at the end of a long rod. One assistant carefully lays the rod across a low workbench, then twirls it, keeping the glass spinning at just the right pace so it doesn’t droop or drop. Frank sits on the bench next to the rod, inspecting the glass and preparing for the next step. Frank’s wearing a sleeveless top with protected forearms; no one wears loose clothing that could catch on fire.

The second assistant holds up wooden paddles, positioning them to protect Frank from the incredible heat of the glass. The third member of the team holds out a wooden template so Cavaz can check the size and shape of the object they are collectively nurturing.

They’re handcrafting an original Bacchus Glass design, but this piece still needs to look exactly like the monarch light shades in the company’s catalogue, and exactly like all the monarch shades they’ve already made or will craft in the future. It’s an extremely artistic production process, done one at a time and with an emphasis on reproducing quality.

“Frank’s very meticulous,” Julie says. “He has the ability to make things the same every time while still keeping that handmade quality, so it doesn’t look like it came out of a factory.”

The high-ceilinged space where the men work includes all the equipment and materials needed for all stages of crafting light fixtures, including a metal shop for creating custom chandeliers. “We want complete control of the project from start to finish,” Julie explains.

She adds, “Nothing’s very high-tech here. We love to go to Italy and look around the studios, because it’s all the same thing. It’s all about what you can make with your hands.”

After more than 20 years spent blowing glass, that’s what Frank loves about the process—the doing, the making, the problem-solving, the dynamics of it all. “When it goes really well and smoothly, it’s wonderful,” he says. “It kind of brings together all my experience and background.”

He trained as a sculptor at the Ontario College of Art and Design in Toronto, Canada, then went on to study glass at the Rhode Island School of Design. That’s where he met Julie. They started Bacchus Glass in 1995, making tableware and sculptural vessels, and evolved into lighting in 1997. All of their designs are created in-house.

“For me,” Frank says, “the best time I have in the shop is designing and figuring out new commissions and prototypes.”

Bacchus recently dropped its tableware line and is concentrating on the light fixtures, which start around $500 but can cost as much as $15,000 for a complex custom design. The company also handcrafts small Christmas ornaments ($18&–$50) for the annual holiday open-house events. It still takes teamwork to produce the small holiday globes, but they’re nowhere near as time-consuming as the light fixtures.

It’s a small family operation, and Frank loves what he does, Julie says.

“He gets up everyday and wants to blow glass. That’s what he loves to do. You have to have that passion, because it’s physically demanding.”

Frank adds with a quick laugh, “There are a lot easier ways to make a living.”

Bacchus hosts its holiday open house with glassblowing demonstrations on Saturday, Dec. 15, 10am to 4pm. The gallery is open 10:30am to 4:30pm, Tuesday&–Saturday or by appointment. Glassblowing is generally done on premises 7:30am to 2:30pm, Monday-Friday. Visitors are welcome. Bacchus Glass, 21707 Eighth St. E, Units 6 and 11, Sonoma. 707.939.9416.

Liquid Sand

Aurora Colors Fine Art Gallery & Glass Art Center in Petaluma blends a glass-art store and studio with work by local fine artists. The current exhibit of work by 30 California artists includes five glass artists. The center offers a range of glass-art classes for adults and children, as well as rental time in its studio and kiln. It also offers repairs, restoration, custom art glass, stained glass and more. 145 Kentucky St., Petaluma, 707.762.0131.

Lost Art Glassworks in Sonoma offers oversized world globes, fanciful lamps, sculptures, single and triptych windows and more, all in stained glass by Larry Brookins. 17501 Sonoma Hwy., Sonoma, 707.935-5938.

Laurence Glass Works Gallery in Occidental presents compelling sculptural fused-art glass by local artist Laurence. A French ex-pat, Laurence keeps a showroom in Occidental open on the weekends and can be found in her studio inside the A Street Gallery (312 S. A St., Santa Rosa) during the week. 74 Main St., Occidental, 707.874.3465.

M. Mitcavish Glass Artistry in Napa specializes in glass artwork, handcrafted dishware and lighting design. Its gallery also showcases jewelry, wall sculptures, home decor and more. Classes are available in a variety of glass-art techniques, including stained glass and independent study. 68 Coombs St., Building O, #1, Napa, 707.226.3613.

For other glass artisans, contact ARTrails (www.artrails.org) in Sonoma County, the Marin Arts Council (www.marinarts.org) in Marin County and the Arts Council of Napa Valley (www.artscouncilnapavalley.org) in Napa.


Letters to the Editor

12.05.07

The time is Now

Climate change is not linear; there are tipping points, such as the melting of the Greenland or Antarctic ice sheets, or the collapse of the Amazon rainforest. Once we pass those tipping points, climate becomes a runaway train, and nothing we do can prevent catastrophic impacts—massive flooding of coastal areas, widespread drought and crop failures, famine, epidemics, and the breakdown of ecosystems on a scale most of us cannot imagine.

To stop short of the point-of-no-return, we must reduce greenhouse gas emissions by 80 percent worldwide, and by 94 percent in the U.S. by 2030 at the latest; much of the reductions must come in the next five to 10 years. This cannot be achieved merely by changing light bulbs and driving hybrid cars; it requires a restructuring of our entire way of life, from agriculture and manufacturing to energy and housing. Think of the rapid U.S. shift to wartime production in 1941, and then multiply that 10-fold.

Is this even possible? Barely—but not if we wait for governments to act. This shift is far beyond the modest efforts currently debated in policy circles. We can only accomplish this with a global grassroots movement to directly change public policies and our way of life. It must include a shift in cultural values, from consumption to restoration, from endless growth to living within ecological limits, and from economic inequity to social justice.

This climate crisis coincides with the end of cheap, abundant energy from fossil fuels. Global oil production has peaked and will soon decline, with natural gas following. As demand outstrips supply, shortages will produce price spikes, supply chain disruptions, economic instability, and sooner or later, the collapse of nearly every aspect of the current oil-driven globalized economy. Peak oil may also lead to more resource wars over access to the remaining Middle East oil supplies.

Oil wealth made the United States a superpower, allowed us to build endless expanses of freeways, suburbs and malls, consume at historic rates and create a booming economy based on the illusion of endless growth. Now the boom is over, U.S. debt is at crisis levels, and our economy is largely propped up by Asian investment and the fear of a currency collapse.

The reason this matters is that the world will need all our remaining wealth and natural resources to pay for the conversion to a sustainable way of life. We have to build millions of wind turbines and solar panels, retrofit buildings and create mass transit systems before we lose the capacity to do so. And the United States, which is responsible for 25 percent of global greenhouse emissions, must take the lead.

In short, we need the biggest and most ambitious public works project in history, and the money to pay for it. Nothing short of this will prevent a climate meltdown. Yet we are wasting the needed capital on a destructive and immoral war which cannot succeed in maintaining long-term U.S. control of Middle East oil, but which will almost certainly consume enough public money and resources to bankrupt our government and preempt the possibility of shifting to a solar economy.

We have little time left to choose: either we devote all our economic resources to limiting climate change and preserving a livable planet, or we continue with business as usual. We cannot afford to do both. Military spending is not just bad foreign policy, it is economic and ecological suicide.

Daniel Solnit, director, Institute for Local Economic Democracy Sebastopol

One week too late

Re “The Liquidator” (Nov. 14): Your article about ticket terminology (scalpers vs. retailers vs. corporate scum) came one issue too late. I wanted to purchase tickets for Jersey Boys and found the Curran and Ticketmaster websites out, so I googled and did 10 minutes of looking. Many sites appeared to have two to eight tickets for that day, ranging in price from $150 to $226 a ticket. I used ClickitTicket and opted for the $150 seats. I was at the very end of the transaction when they said they needed a 15 percent service fee and a FedEx fee, which added $60 to my total. I grumbled and paid more for these than I have for a Broadway show, figuring they were the best seats at $150. When the tickets arrived five days later, they were $96 tickets, which meant ClickitTicket “retailed” me $108 plus the extra $45. Ticketmaster has long done an upcharge on their events, but nothing like this. I will never again use online retailers, even when I’m traveling to New York.

Mark Messersmith Mountain View


News Briefs

12.05.07

it’s a gas gas gas

Milk cows outside Petaluma are generating enough energy to run their farm’s creamery. The power comes from a methane digester. Cow poop is collected in a tarpaulin-covered “lagoon.” In this sealed, oxygen-free environment, the manure breaks down and is converted into methane gas, which is then collected, cleaned and stored. The poop from the farm’s 250 cows generates 40 kilowatts of electricity, enough to power the onsite creamery. All this occurs at St. Anthony Farm, part of a free drug and alcohol rehab program. “The idea of sustainability is very much part of what we do as an organization,” says St. Anthony spokeswoman Francis Aviani. “We approach people holistically and we look at the universe holistically. The biodigester fits nicely into that.” The poop-into-power program was created with the help of PG&E, which recently honored 19 of its employees for their efforts to make the biodigester a reality. On their behalf, PG&E donated $5,000 to Sustainable Conservation. The company also recognized the individual efforts of Marin County employee Rex Bell, who played a key role in creating free, local and convenient ways for California residents to recycle everyday household items. For Bell’s award, PG&E donated $5,000 to the Marine Science Institute.

‘shock’ at sundance

A movie filmed in Napa and Sonoma counties on a 30-day shooting schedule last August will be filling screens at the prestigious Sundance Film Festival in January. Under a cast headlined by English actor Alan Rickman (the Harry Potter films, Die Hard), Bottle Shock takes a light-hearted, fictionalized look at the 1976 blind taste testing that energized California’s emerging wine industry. The movie’s creation was profiled in these pages (“Quiet on the Set,” Aug. 15, 2007). Local producers Marc and Brenda Lhormer, who run the Sonoma Valley Film Festival, say they were notified Thanksgiving morning that Bottle Shock will be shown at Sundance. It was a welcome surprise. “We knew we had a shot, we made a good movie—but you never expect these things,” Marc Lhormer explains. After finishing filming at the end of August, it was a tight turn-around to have a rough cut ready by the Sundance Film Festival’s October deadline. “Director Randy Miller worked with an assistant editor and they did an amazing job putting together something that could be sent to Sundance,” Llhormer explains. “We heard Randy didn’t sleep for weeks.” The screening schedule hasn’t been announced yet, but Lhormer says he expects Bottle Shock will be shown three to five times during the festival, which runs Jan. 17&–27 in Park City, Utah.


Nothing Compares 2 Sue

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12.05.07

Cracking Prince jokes is like shooting fish in a barrel—even his most ardent admirers have to admit that the artist takes pains to maintain what is already an enigmatic aura. But Prince is in your corner, folks. Early last month, His Purpleness took steps to make it that much easier to make a funny at his expense when his legal team presented unofficial Prince websites with cease-and-desist letters demanding that they remove all photos, album covers, lyrics and Prince-related images.

It’s hard to run a Prince fan site without access to anything Prince-related. And because we Americans are mightily fond of our First Amendment rights, three of the sites—Housequake.com, Prince.org and PrinceFams.com—have come together to form PrinceFansUnited.com. They hope to talk sense into Paisley Park or, if necessary, to “defend their position in the proper court of law, as well as fully prosecute any claims to which they are justly entitled.”

This puts PrinceFansUnited.com in the curious position of attacking Prince in order to continue supporting him. If the devotion of Prince’s fans means so little to him, why adore Prince in the first place? It’s potentially crushing, a cruel slap of reality in a world constructed purely for escape. Will this bitter aftertaste irrevocably destroy fans’ ability to get hot and funky with the music of their faraway Purple Highness? And why would Prince do such a thing in the first place?

Such a move may seem ridiculous, but—for better and for worse—”Prince” and “ridiculous” go hand-in-hand. He established his eccentricity decades ago: the aborted symbol name-change, the abrupt conversion to Jehovah’s Witnesses, the ill-conceived and iller-executed vanity movie projects. (Purple Rain may have an immortal soundtrack, but the film itself is only watchable if you are drunk and on the precipice of passing out.) From the perspective our seats afford, the dude’s crazy, and quite possibly totally sincere about it.

Let’s try to think of this from Prince’s angle. First of all, there’s a chance that his grasp on reality is tenuous, a risk all those who dwell in glass bubbles run. It’s hard to keep it real when you are constantly surrounded by (or surround yourself with) a gaggle of sycophantic hangers-on, or when your name rarely appears in print unaccompanied by the word “genius.” Prince Fans United claims that the cease-and-desist orders may have been an attempt to stifle critical commentary. If that was a motivation, it backfired. Badly. What’s more fun to write and read about than a pint-sized megalomaniac’s unwarranted attacks on his devoted fans?

Comments on RollingStone.com have both defended and attacked Prince. “Instead of creating an innovative Internet model for his music, he is taking his frustration over his failed business model out on the very people who put him in business in the first place. . . . Prince gets no more $$$ from me and that will be what hurts him the most in all this,” wrote one disgruntled Prince follower.

But not everyone feels this way: “Prince doesn’t want us worshiping him like an idol, he wants us to respect him as a man and artist and let him do his thing,” another Prince fan countered. “There’s more to the world than just Prince and this is his point!”

If that is indeed Prince’s point, he made it in a very bratty way. An artist does have a right to control how and where his output is represented—but at the same time, once art is out there, it’s out. People grab on to it, and their passions can take a number of paths, from misinterpreting a song’s intended meaning to sharing a bootlegged concert recording.

It’s hard to empathize with the very rich and naturally cocky, which Metallica showed us in 2000 when they sued Napster after an unauthorized demo of their song “I Disappear” showed up on the file-sharing site. “We take our craft—whether it be the music, the lyrics, or the photos and artwork—very seriously, as do most artists,” Metallica drummer Lars Ulrich stated in a press release at the time. “It is therefore sickening to know that our art is being traded like a commodity rather than the art that it is.”

So even if Metallica vs. Napster did have less to do with money than asking fans to respect the band’s boundaries for control of their craft, fans didn’t sense artistic integrity rolling off Metallica in waves. In the media circus that sprang up around the trial, the band came across as a bunch of reactionary billionaire crybabies with no capacity to adapt to major shifts in the way consumers gather and listen to recorded music. Is it better to shut up and take it, or speak out and risk isolating a gigantic chunk of your fan base, the very people whose hard-earned cash bankrolls your Basquiat paintings and designer spike-heeled boots?

It must be utterly exhausting to mean so much to so many people, but there are those who manage to be gracious to their fan base. Radiohead recently released their pay-what-you-wish Internet-only album, squeezing more publicity from that action alone than anything surrounding their previous album, Hail to the Thief. What makes Prince exactly so hard to pin down are such dichotomies as his string of 21 London shows last summer with tickets uniformly priced at a mere £31.21 and his renegade giveaway of his lastest disc, Planet Earth, in the Sunday edition of London’s Mail newspaper before it was formally released to fans.

Without fans, Prince is nothing. This is indisputable; it means the fans have the upper hand, but only to the degree that their appreciation gives Prince’s oeuvre meaning outside of his own kingdom. A Nov. 17 statement on PrinceFansUnited.com speaks of negotiations with the Prince’s lawyers, reading, “Everyone involved now wishes to move on towards a more harmonious future, where the protection of artists’ rights and the freedoms of fan forums can happily co-exist.”

But despite any possible outcome, the situation has no true resolution; Prince will never have full control of his image, and fans will never have unfettered access to Prince the Artist. The tension of this balancing act is called celebrity, and it is the motor of our entertainment industry—perhaps more than it should be.


Bubble & Squeak

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12.05

S trange Cabbage are in their own little world—the Sonoma County eclectic rock band’s fans are known as “Cabbageheads,” and each member of the band has a name involving the vegetable: the bassist is Cabbage Loco, singer-guitarist is Professor Cabbage (a respected local philosophy teacher), Fuzzy Cabbage is on drums, Uncle Cabbage on guitar and Country Cabbage on vocals. They describe their music as the “Cabbage sound,” and, of course, their north Santa Rosa rehearsal studio is the “Cabbage Patch.” They appear Dec. 8 at the Black Cat.

In the grand tradition of the joke band that simultaneously mocks and pays homage to the absurdities of rock music, the Cabbage don’t take things too seriously, while also penning evocative songs that don’t hide behind the safety of fashionable PC culture. Song titles like “Love Stain,” “Rasta Bartender,” “Old Hairy” and “Please Don’t Be Offended” are indicative of a band doing things their own way; their website carries a Parental Advisory and a button to push agreeing you are 18 or over to hear song clips.

“We’re a pretty ragtag bunch,” Professor Cabbage says, “an unlikely crew composed of teachers, safety consultants, claims adjusters and a former speed-metal thrash drummer, led by a Huck Finn rocker from Iowa.” There’s a cryptic element to the band, but also accessibility; they do some fairly faithful cover songs by the likes of Gutterball, Free, Butthole Surfers, Judas Priest and the Stones. One minute the Cabbage sound like musical hobbyists, and the next they’re busting out an original like “Porn Shop,” a lament on how Internet porn is driving the good ol’ Ma and Pa corner porn shop out of business.

Along the lines of Ween and Tenacious D (who the band agree are influences), there is a pleasant unpredictability to Strange Cabbage—one song’s goofy and sardonic, the next is serious. “We’re not out to blow anyone away, but most people seem intrigued by our satirical edge,” Professor Cabbage explains. The Cabbage sound is upbeat, funny, groovy, stylistically diverse and down-to-earth. Everyday objects are puzzling, enigmatic, bizarre—if looked at in the right light. Which is all Strange Cabbage are asking you to do.

Strange Cabbage and the Music Lovers share the bill at the Black Cat on Saturday, Dec. 8. 10056 Main St., Penngrove. 8pm. Free. 707.793.9480.


Detox Deluxe

0

12.05.07


One week it was Sausalito’s venerable Alta Mira Hotel, repository of 50 years’ worth of holiday memories. The next week it was the Alta Mira Treatment Program, offering in-house treatment for wealthy people wrestling with alcohol, drugs or other addictions.

At least that’s how fast this fall’s conversion of the Alta Mira felt to Sausalito city leaders, who say that they had almost no advance notice that one of the town’s most renowned landmarks was being changed into an upscale rehab facility.

Sausalito officials allege that the Alta Mira’s owners are using a state licensing loophole to sidestep the city’s planning procedures, including requirements for a use permit and business license, and to avoid paying local business and transient occupancy taxes. The city’s lawsuit claims that the separate state license applications depicting the 48-bed Alta Mira Treatment Program as eight independent facilities each serving six or fewer people is a facade designed to evade the city’s jurisdiction.

Using the six-or-fewer-beds provision to set up larger rehab centers in residentially zoned areas is known as “clustering,” and Sausalito is just the latest town to balk at this enterprising approach to creating highly profitable treatment facilities in desirable locations. Similar situations have surfaced statewide in the last decade, particularly in the Southern California coastal towns of Malibu and Newport Beach.

Proponents say residential treatment centers are desperately needed and shouldn’t be stopped by local “not in my backyard” attitudes. Opponents argue that well-heeled property owners are using the six-bed rule to create for-profit rehabs without any local guidance or control, causing traffic congestion and other infrastructure problems while changing the nature of the residential neighborhoods where the centers are located.

The question being argued in Sausalito and elsewhere is whether for-profit residential rehab centers should be allowed to bypass the local planning and tax rules because of the important benefits they theoretically provide to the community.

Into the Light of Freedom

Meditation. Heart circle. Nutritional therapy. Sweat lodge. Adventure therapy. Labyrinth walk. Toltec wisdom group. Rebirthing. Blindfolded trance dance. Revolution coaching. These are some of the services the Alta Mira Treatment Center’s website lists for “Reflections,” its 14-day intensive program. The description for the 35-day “Life Recovery” session notes that art and movement therapy, yoga, massage and acupuncture are “provided throughout your stay to promote mind-body awareness and relieve distracting symptoms.”

In addition to treatment for drug and alcohol abuse, the Alta Mira advertises residential help for those struggling with eating disorders, a situational life crisis (defined as passing from school-age to adolescence, from adolescence to adulthood, leaving home, getting married, divorced, having a baby, losing a job, beginning a career, etc.), post-traumatic stress, sexual addiction, compulsive gambling or Internet addiction.

Regardless of the addict’s chosen treatment path, the center’s promotional materials assure that “in the midst of the challenges that our personal journeys can bring, we . . . offer healing from highly trained professionals who guide you with wisdom, compassion and respect from the shadows of false beliefs and judgments into the light of freedom.”

A 30-day stay costs $42,000 or more. Operating at just half its 48-bed capacity would mean grossing more than $1 million each month; full capacity would pull in more than $2 million every 30 days. Granted, overhead for staff and other amenities is undoubtedly substantial, but that’s still a lot of monthly moolah. The city of Sausalito would like its fair share through taxes—to support infrastructure such as roads and emergency services—as well as a chance to lessen any impacts on the surrounding neighborhood.

Intent & Operation

A private residence was built on the Alta Mira site in the 1880s and later converted into a hotel. It burned down in 1926 and was rebuilt, then remodeled and enlarged starting in the 1950s. Its sweeping views of San Francisco Bay made the Alta Mira a favorite spot for wedding receptions, golden anniversary celebrations and other galas. The chocolate-brown and adobe-cream buildings are tucked into a hillside neighborhood where stately Victorians and 1950s beach houses stand side by side. Narrow, winding streets meander along the steep incline and intersect at odd angles. The views of San Francisco Bay are always gorgeous.

Michael Blatt bought the Alta Mira property in December 2003 and renovated it, reopening it in March 2004 as a 23-room bed and breakfast with a private dining facility. Blatt and his son, Raymond Blatt, apparently filed for multiple alcohol and drug treatment facility licenses from the state in September 2006, but didn’t notify the city of Sausalito of the planned change until this August, just before the switch was made.

The Blatts could not be reached for comment. Candace Bruce, marketing director for the Alta Mira Treatment Program, declined to discuss the lawsuit for this article and turned down a request for a tour of the facility, saying it would be disruptive and raise confidentiality issues for clients already living there.

The treatment center’s “campus” includes the hotel and its nearby cottages, plus several adjacent houses owned by the Blatts. In seeking to get the center to apply for permits that would force it to follow local zoning rules and pay local taxes, the city’s lawsuit alleges that although the Alta Mira Treatment Center’s eight license applications were filed using three different limited liability companies, all are ultimately controlled by the Blatts.

According to the lawsuit, each application shows Raymond Blatt as the contact person and each lists the same facility phone number. The paperwork attached to each application—a statement of goals, lists of activities and services, names and titles of key personnel—is identical, the city claims. Seven of the license applications say the facility being licensed will be called the Alta Mira Treatment Program; the eighth application simply calls it the Alta Mira. The city also alleges that the center’s website originally advertised it as a 48-bed facility.

“In both intent and operation, the [Alta Mira Treatment Program] is a unified business operation providing services for up to 48 residents,” charges the lawsuit. “It is the antithesis of the small &–six residents or fewer’ residential treatment program that state law mandates be treated like any other residence for purposes of local law.”

The Alta Mira’s license applications were properly processed under existing state rules says Lisa Fisher, public information officer for the California Department of Alcohol and Drug Programs.

“We are governed by a set of regulations and laws. The law requires us to license a facility if it meets state requirements. We have no authority to deny a license because of proximity, because it’s close to another facility.”

SoCal Woes

Clustered rehabs are unfairly sneaking around the rules, says Newport Beach city manager Homer Bludau. “They are taking advantage of a legitimate state law that says six and under should be treated like any family use.”

Small facilities can choose to operate with or without a state license. With a population around 83,000, Newport Beach has about 26 licensed residential treatment facilities and as many as 80 to 120 unlicensed ones, Bludau says. He adds that they run the gamut from high-end, spa-like facilities to cheap “sober living” homes that aren’t much better than flophouses. However, he estimates that the average cost is $2,000-$5,000 for a month of rehab services. Many are in side-by-side or upstairs-downstairs units that have separate addresses and therefore separate six-beds-or-less licenses, but are operated as one center.

Last April, Newport Beach approved a law saying any treatment facilities that are “operated integrally”—with separate addresses but shared services—must apply for a state license for seven or more beds. Any new facilities have to comply with this new requirement.

None has applied.

“People don’t see a strong business model in a standalone six-and-under,” Bludau asserts. “They see a strong business model in networked six-and-unders integrally operated. When Newport Beach put a cap on those, they stopped coming.”

Bludau adds that one facility operator admitted that his center applied for an alcohol and drug license because it’s the easiest one to get, with the least restrictions. A facility set up primarily to treat eating disorders, Bludau says, needs a congregate-living, health-facility license, which is more closely evaluated and monitored. Plus, congregate-living facilities have to be at least 300 feet apart. So a rehab center might start with an alcohol and drug license, then branch out to include other services, such as eating disorders, without bothering to apply for a separate license.

Bludau agrees it’s important for a community to have sufficient drug and alcohol treatment facilities, but enough is enough.

“We need to accommodate the treatment needs of our residents and folks nearby, but we’re at the point where we’re accommodating folks from Ohio and Iowa. One of our major operators markets Newport Beach to Europe: &–Come to sunny California and recover by the beach.’ I don’t think any community wants to be known as the recovery hub of the state or the nation or the world.”

The clustering process worked a bit differently in Malibu, where multimillion dollar estates are scattered in isolated canyon neighborhoods of 20 to 30 houses. The rehabs moved in one at a time, buying first one million-dollar home, then the next and the next.

“The first one in the chain—if it’s successful—tends to buy the house next door, and you end up turning a family residential neighborhood into a hospital zone. It fundamentally changes the nature of the neighborhood,” says Mayor Jeff Jennings.

He adds that many of these neighborhoods are located on roads that don’t meet today’s safety requirements. “They’re narrow and winding. In addition to the six beds in a home, you have counselors and staff and whatever, and that creates more traffic.”

There’s also the fact that many areas use onsite wastewater-treatment systems designed to handle the discharge from single family homes, not a cluster of rehabs each with up to six residents and all the associated staff and support services. The local infrastructure wasn’t designed for the heavier load.

With a total population of some 13,000, Malibu now has 26 licensed alcohol and drug rehab facilities, but it’s estimated that there are actually only about eight or nine centers, each with multiple licenses. Typically, a 30-day stay at one of these rehabs costs about $50,000, more than double the cost of a month’s stay at the famed Betty Ford Clinic. The Grecian-styled Renaissance Malibu, a rehab by the sea started by a retired Pennsylvania dentist, bills $110,000 for 30 days in its master suite.

Jennings notes that Malibu officials have been watching developments in Newport Beach, which has been coping with “clustered” rehabs for a longer time. Now folks in both Newport Beach and Malibu are interested in what’s happening in Sausalito, and whether it might spark new attention to what for them is an ongoing problem.

“There are a lot of reasons to take a fresh look at this issue,” Jennings says.

“That’s all we’re asking, is that the state take another look at the situation.”

Bed Count

There are 910 licensed residential treatment programs statewide, with a total of 21,000 beds or about 23 per facility. In Marin County, there are now 19 facilities (including the Alta Mira’s eight separate licenses) with 316 beds or about 17 per site; in Napa, there are 172 beds at six licensed sites, or around 29 per; and in Sonoma County, it’s 400 beds in 15 centers, or an average of 27 at each location.

When evaluating a license application, the state wants to ensure that the facility meets basic health and safety standards.

“What we’re looking for is approved fire clearance, an alcohol- and drug-free environment, a facility that’s adequate and clean,” explains Fisher by phone from her Sacramento office in the Department of Alcohol and Drug Programs. “We’re looking for measures that protect personal rights and that there are adequate opportunities for [physical and social] activities for the clients.”

Fisher adds that while she can appreciate neighbors’ concerns about treatment centers, the laws are clear. “If a facility meets the state requirements, we must license it, and we can’t deny a license simply because facilities are in close proximity with each other.”

But Sausalito mayor Mike Kelly argues that the eight Alta Mira Treatment Program applications bend the six-beds-and-under law just a bit too far. “We filed the lawsuit for the specific and sole reason that we believe they have violated our planning process by creating 48 units of drug and alcohol services.”

The city, Kelly adds, doesn’t oppose the creation of residential treatment facilities.

“It’s not our intent to stop it. It’s our intent to massage that law to make it what we think it was originally meant to be. Drug and alcohol rehab centers are important, but we don’t want this abused.”

More than 200 Sausalito residents turned out for an Alta Mira meeting state Sen. Carole Migden held in September.

It’s one thing if you have one center in one neighborhood. It’s a whole different issue when you begin clustering,” says Tracy Fairchild, the press liaison for Migden’s office.

The senator is working with state Assemblymember Jared Huffman to introduce legislation in January with a goal to stop the practice of clustering rehabs.

“Unfortunately, as far as we know right now there’s nothing we can do to stop clustering that’s already happened because it’s allowable under state law,” Fairchild explains.

“But we want to make sure that this doesn’t happen in more neighborhoods.”


Aquaculture Upset

12.05.07

It’s a familiar scenario: an environmental group and a business fighting over the same piece of land. One wants to preserve the land, the other wants to use it for its resources. This time though, instead of a nameless corporation, the business is Drake’s Bay Family Farms, a local sustainable oyster producer that owns acreage that has been operating in the Point Reyes National Seashore, formerly as Johnson’s Oysters, for decades. Furthermore, Drake’s Bay claims that it wants to preserve the land while using it for resources.

Supporters of Drake’s say that if the oyster farm is closed down and the 1,050-acre ranch converted to wilderness, as mandated by a 40-year lease with the National Park Service (NPS) that comes due in 2012, Marin will not only lose one of its most ecological food producers, it will lose a piece of its history as well.

In 1976, the Point Reyes Wilderness Act created 25,000 acres of wilderness and an additional 8,000 acres of “potential” wilderness in the national seashore, land that is treated as part of the park even though something else—a road or a farm, say—is located in it. Part of that potential wilderness includes Drake’s Estero, the estuary where the oyster farm operates. If the Drake’s Bay Family Farm’s lease is not renewed by the NPS in five years, the business will shut down and the land will officially be converted to wilderness forever.

“It has become an environmental crossroads,” says Drake’s Bay Family Farms co-owner Kevin Lunny, who bought the ranch in 2005 with his two brothers. The family are third-generation West Marin ranchers who also raise cattle on the Historic G Ranch near Inverness. “Most of us in the environmental community spend a lot of time fighting for wilderness. It’s an important and valuable thing. But here the community is saying, ‘Wait a minute, we love wilderness, but slow food production is not harmful to the environment.'”

Drake’s Bay Family Farm annually produces some 300,000 pounds of oysters and a million clams, accounting for 85 percent of Marin’s shellfish industry and 50 percent of California’s mariculture. It is also home to California’s last oyster cannery. The operation’s cessation could have a significant impact on shellfish availability in Northern California.

This past year, the fight to keep that from happening turned ugly, with accusations flying in all directions, city council meetings, coalitions forming to support both sides, and even the involvement of Sen. Dianne Feinstein, who gathered park and government officials together to discuss the situation.

In the end, the law is clear about one thing: Whether or not oyster production will be allowed to continue after 2012 is up to the NPS.

“The National Park Service has told us that they don’t plan to renew the lease,” says Lunny. “There’s the issue. The law apparently tells us that this is a choice the National Park Service has. It is their choice, so they can choose.”

The NPS insists that Lunny knew from the beginning that the oyster farm would close down in 2012. Park officials claim operations were always supposed to shut down so the land could revert to wilderness.

“The intention was for the oyster farm to basically sunset in 40 years time,” says John Dell’osso, chief of interpretation for the Pt. Reyes National Seashore. “And in 2012, the area would become a wilderness area. We’ve always managed that area as wilderness, even though it’s called ‘potential.’ Wilderness is wilderness. The only differentiation here is that this impediment will be removed in 2012.”

Although the NPS calls the oyster farm an “impediment,” Dell’osso is quick to point to the many other ranches and dairies that have leases within the park. The difference between those operations and the oyster farm is that the ranches are zoned for agriculture and the oyster farm is zoned as wilderness.

Environmentalists are concerned about the impact the oyster farm is having on the estuary, citing possible effects on such wildlife as endangered eelgrass and harbor seals during pupping season. In May, the NPS blamed Drake’s Bay Family Farms for an 80 percent decrease in harbor seal pups in 2007 compared to 2005. At the time, staff scientist Sarah Allen called it a problem of “national significance.”

The claim was proven false. According to the NPS’ own numbers, while there was a significant drop in seal pups on one sandbar, there was an increase on another nearby sandbar, meaning that the seals just moved to a different place to pup that year. And it was disturbances like hikers and predators that caused them to move, not the oyster company.

“That’s something I can’t comment on until some issues are better documented,” says Dell’osso.

“It’s irrelevant whether he has disturbed the seals or not, he needs to keep [the oyster harvesting] boats away from the seals,” says Gordon Bennett, conservation chair of the Sierra Club Marin Group. “The way he runs his business, it is disturbing the seals, and we believe it is significant. So it doesn’t matter whether it has happened or not.”

Lunny would be the first to admit that it’s impossible to run a business without having some impact on nature. For him, it’s a matter of how significant that impact is, especially considering that the oyster farm also has beneficial impacts on the environment. Oysters improve water quality, and their shells are almost pure carbon.

For others, it’s not worth risking even the slightest impact when you’re talking about the only estuary on the West Coast south of Canada.

Johnson’s Oysters, the original ranch owner, first opened in 1940, but oysters have been commercially harvested in Drake’s Estero for at least 100 years. Losing the farm would be losing a piece of the park’s history.

Of course, nature was there even before that.

“It depends on how you define history,” Bennett says. “The canning operation is basically a one-truck container. It’s a high-tech situation, not some elegant Victorian factory that’s been there a hundred years. The fact of the matter is fairly clear here, which is that the Lunny family wants to make money from it. That’s what business people do. But the wilderness is not about money.”

Still, it’s hard to argue that the Lunny family hasn’t displayed devotion to the land. Drake’s Bay Family Farms has the first certified organic pastures in Marin, the only certified beef cattle and the only salmon-safe certified farm in California.

“They did a fabulous job of cleaning up a horrible mess,” says Dell’osso, who perhaps unintentionally voices the equivocation this situation has evoked. “Well, they haven’t made anything worse. So, yes, they’ve done a good job since then.”


Hopmonk Update

0

12.05.07

W hen Dean Biersch, cofounder of the Gordon Biersch brewery chain, took over the Sebastopol Brewing Co. in downtown Sebastopol last month, he hinted at a neighborhood friendly operation with his new Hopmonk Tavern.

It looks like he’s delivering.

The upscale, North Bay—friendly bar and bistro opens this spring, featuring handcrafted beers made by small, independent and traditional brewers. Sure, some of the beverages will come from Europe, but now the official word is out: We’re guaranteed “an impressive array of local” product, too.

In fact, Biersch, a Sonoma resident, will be personally selecting each and every beer found on the constantly changing lineup, and will be hands-on in the tavern’s day-to-day operations. Want to request a specific brew from a rare backyard talent? Just shout it out, and if it’s not in stock, Biersch himself may track it down for you.

Now, Biersch also tells us that the short but sexy food menu will draw from lots of local fish, produce, cheese and meat vendors. Look for seasonal, beer-friendly plates with “a California vibe.”Sonoma County musicians and music lovers can rejoice, too. The 1,400-square-foot venue adjacent to the restaurant will showcase local, regional and international performers.

Yet here’s how we can really tell we’re not going to be treated like big-city corporate customers: in a sneak peak at marketing materials, we saw this unique selling point: “In addition to ample free vehicle parking, a regional bike trail passes through the front of the property, and bike travelers are invited to stop by.”

Free parking? Bike racks? Now that’s a welcome mat only a small, neighborhood-respecting place could know to lay out.

Sebastopol. [ http://www.hopmonk.com/ ]www.hopmonk.com.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

Food-related comings and goings, openings and closings, and other essays for those who love the kitchen and what it produces.

Recipes for food that you can actually make.

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