Letters to the Editor

01.23.08

First Fruits

I have been thinking about our two January holidays. Why is the first day of the year a holiday? Shouldn’t it be a day of “first fruits,” giving our best to the community? We “thank God it’s Friday” (I’m sure s/he is not saying “you’re welcome”). Why do we hate labor?Furthermore, Dr. Martin Luther King would feel far more respected if business and government stayed open longer than usual to promote his cause of social justice. Closing offices and creating a three-day weekend tames his message. Are we secretly scared of or averse to his goals? The present arrangement seems to preserve the status quo that he fought against.

Public observances of this life teach and inspire us, but should not be considered vacations! Is election day a vacation? A more honest homage is to work a little extra, and then attend a public gathering.

David West

San Jose

John Edwards for Prez

As a progressive, I’m most in league with the platform of Dennis Kucinich, but given the dictates of realpolitiks, I’m supporting John Edwards for these reasons:On Iraq, Edwards advocates immediate withdrawal of 40,000 to 50,000 troops, a complete withdrawal of all combat troops within nine to 10 months and no permanent bases in Iraq.

His healthcare plan is the most comprehensive and specific, and provides coverage for all. New York Times columnist Paul Krugman says about the plan: “It addresses both the problem of the uninsured and the waste and inefficiency of our fragmented insurance system. And every candidate should be pressed to come up with something comparable.”

His plan to halt global warming is based on capping greenhouse gasses at levels that the latest climate science has determined to be necessary to avoid the worst impacts of global warming. The plan reduces greenhouse pollution by 20 percent by 2020, and by 80 percent from 1990 levels by 2050. It is based on the cap-and-trade system established by the Clean Air Act of 1990 to limit pollution by acid rain.

He is committed to ending poverty by 2036. He would increase the minimum wage to (at least) $9.50 an hour by 2012; index it to inflation; create 1 million “stepping stone” jobs; strengthen labor laws and enforce workplace protections.

He pledges to protect the Constitution, and to respect and restore civil rights and freedoms. In particular, the United States will not engage in torture, will restore habeas corpus and shut down Guantanamo. We will not engage in warrantless wiretapping, and will fix provisions of the Patriot Act restoring privacy safeguards. Edwards would end the practice of presidential “signing statements.”

He pledges to reform election laws, require the use of paper ballots verified by voters and end voter intimidation and suppression.

For more in-depth information on what Edwards is proposing and why, go to www.johnedwards.com.

Will Shonbrun

Sonoma

toxic trash

I was pleased to see the California Product Stewardship Council (CPSC) mentioned in Gianna de Persiis Vona’s article (The Green Zone, Jan. 2). The CPSC is a relatively new organization formed to advocate for increased producer responsibility in the wake of communities wrestling with a barrage of products ending up at their doorsteps that are now considered too toxic to put in landfills—televisions, batteries and fluorescent tubes, to name a few. The concept is called “extended producer responsibility” and the CPSC website has an 18-minute presentation on its website (www.caproductstewardship.org) that provides an overview to help citizens understand the problem and become empowered to advocate themselves. Our government officials at the local and state level need to hear from us.

I work for Napa County Department of Environmental Management and we have signed on to CPSC, along with Sonoma and Marin counties and about 40 other cities and counties in California. The increasing demands on local budgets to properly manage the increasing number of products too toxic (or valuable) to toss in the landfill are escalating. I encourage Bohemian readers to learn more and get involved.

Amy Garden

Kenwood

was Fairies, pure and simple

Thanks to the civic-minded reader who not only phoned all of the lawmakers whose contact info we published in the Jan. 16 “Blast” column regarding proposed state park cuts, but who also let us know of our attack from the unseen world. It appears that, while we slept, fairies went into our pre-press system and swapped the phone numbers for senators Jared Huffman and Carole Migden. Bad fairies!

The correct contacts are Jared Huffman, 415.479.4920; Carole Migden, 415.479.6612. We apologize for our apparent plague of pixies.

The Ed.

Decidedly Of this Earth


Life in Balance

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01.23.08


The art of San Francisco sculptor Ruth Asawa is inextricably tied into the darkest moment in 20th-century U.S. history, as well as its greatest cultural achievement. One of seven children of Central Valley truck farmers, Asawa and her family were interned after the attack on Peal Harbor. Her understanding of nature and organic patterns was formed on her parents’ farm; her first training given to her by three interned Disney animators; her culminating education achieved at the innovative experimental Black Mountain College; her resulting vision marking the physical experience of San Francisco, the arc of its own school children and American sculpture itself.Founded in 1933 and closed in 1956, Black Mountain College was among the freshest experiments in American education. Asawa, who turns 82 on Jan. 24, was among the slim population of just 1,200 students who attended the storied North Carolina school. There, she was taught by Josef Albers, a refugee who fled his homeland when Hitler closed his beloved Bauhaus, as well as by the visionary designer Buckminster Fuller. Other staff and alumni of the era include such notables as dancer Merce Cunningham, composer John Cage, painters Robert Rauschenberg, Willem and Elaine de Kooning, Robert Motherwell and Franz Kline. Albert Einstein and the poet William Carlos Williams sat on the school’s board of directors.

Including work created at Black Mountain, a rare look into Asawa’s son Paul Lanier’s private collection of his mother’s work, “Following Nature: Ruth Asawa in Sonoma County,” opens Jan. 26 at the Sonoma County Museum.

“We, my brothers and sisters, all have feelings about certain pieces,” Lanier says by phone from his San Francisco home, describing how the 24-piece collection came about. “Maybe we helped Ruth make it or maybe there’s a story connected with it, and sometimes we want the same thing and then have to work that out. There’s one [piece in the show] that I helped her make; it’s a hanging sphere of tied wire. And the one that’s on the invitation [shown above]—I just like the way that it’s rusted and imperfect, I appreciate artwork that has ‘flaws.’ I’m not so much into cleaned up perfection.” According to curator Patricia Watts, “seven or eight” of the pieces were exhibited at the de Young Museum’s ground-breaking 2006 retrospective, a project that took six years to mount but which only exhibited for two months. The de Young has 11 of Asawa’s hanging wire sculptures now in its permanent collection, those shadow-casting works that make waiting for the elevator to their tower such an enlivening experience.While at Black Mountain, Asawa was introduced to clay sculptor Marguerite Wildenhain, who was at the institution scouting talent to lure to her Pond Farm studio in Guerneville’s Armstrong Redwoods. (Wildenhain was also the subject of an excellent one-person retrospective mounted last year at the SCM, making this show a natural follow-on.)

The two women became friends, and when Asawa and her husband, the architect Albert Lanier, moved to San Francisco from North Carolina and married in 1949, they made so many regular trips to Guerneville that they eventually purchased a property there and built a summer home still in happy use by their large family.Creating organic forms, Asawa’s oeuvre largely follows the curves and linear processes that the natural world employs. Perhaps best known for her wire work, a technique of crocheting wire taught to her by native peoples in the Toluca area of Mexico, Asawa made biomorphics meant to hang and swing and cast shadows, pieces that both reveal and add mystery to the unfathomable perfection of nature. The pieces are intended to be grouped together, prompting curator Watts to hail Asawa as among the first artists to create installation art. “Her work is always known as ‘modern,'” Watts says, “but in this instance it really points to what was coming in contemporary art.”Asawa and Lanier had six children, with the two eldest both born within the span of 1950. As her sons and daughters grew, Asawa engaged them as apprentices; old photos—some taken by family friend Imogene Cunningham—show the children helping her with the many public art commissions that helped to support the family. Known familiarly as the “fountain lady of San Francisco,” Asawa is perhaps best renowned in civic circles for her mermaid fountain in Ghiradelli Square. She and youngest son Paul also collaborated on the storytelling fountain in Santa Rosa’s Courthouse Square area.

“We are all very artistic. I’m a full-time artist and all of the kids like to make things,” Lanier, who works in clay, says. “Art’s difficult, you need help—people to do welding or drafting or engineering or shaping. A lot of the things [Ruth] did were very difficult, and she was always very good at getting people to help her out.”

When her children were school-aged, Asawa became frustrated at the lack of art education in the public system and, with characteristic vigor, set out to change that, working to establish a robust art-in-the-schools program that included having artists work in-residence within San Francisco’s grammar schools. That’s a legacy that Lanier has carried on. “Artists need spaces and schools have spaces,” he says. “It was Ruth’s idea and it was ahead of its time. It’s never easy bringing artists into schools. People like Ruth fought for it for many years and it’s constant fight, even today.”Because of Black Mountain College’s admired renown, Asawa could have easily had a high-profile full-time career. But she wanted a family, too, a balance that many female artists have found ultimately exhausting.

“She didn’t really put a lot of energy into her career and didn’t take the typical path of promoting herself,” Lanier explains. “For many years, she was off the arts scene radar. She spent her energies in other ways, dedicated to her family and to bringing professional artists into public schools. She kept making her work but not really doing any showing or promoting.

“Not that many people know her,” he says, “and that’s what the curator at the de Young wanted to do [with the 2006 retrospective], to give her her place in the history of American art.”

And what place is that?

Lanier laughs modestly. “I’m not really the person to ask about that.”

‘Following Nature: Ruth Asawa in Sonoma County’ opens with a public reception on Saturday, Jan. 26, from 4pm to 6pm, and runs through April 20. A full slate of public programs is scheduled. Exhibiting in the adjacent contemporary art space is the ‘EcoCentric Video Lounge,’ a looped screening of some 20 experimental video projects involved with nature. Sonoma County Museum, 425 Seventh St., Santa Rosa. 707.579.1500.


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.

World Vision

01.23.08

According to Northern California lore, summer is a time for festivals, fun and frolic, and winter is a time for hunkering down, battling depression and staring dully at heating bills. Justine Ashton, founder of the Sonoma Environmental Film Festival, inaugurating Jan. 25, believes that winter has so much more potential. To this end, Ashton has organized and produced a new film festival that promises to be as invigorating as January is predictably dull. As cofounder of the Wine Country Film Festival, held every summer for the last 22 years, Ashton is no stranger to the art form that is the indie film festival. Not only does she understand good film, but she has an intense passion for earth conservation, two skills which, now that they have been coupled, should be of service and inspiration to anyone willing to battle the damp and travel the distance.

When I speak to Ashton, she is in Nevada City at the Wild and Scenic Environmental Film Festival, doing what she loves to do: seeing great films, meeting great film makers and scouting out good material. Ashton, who owns Ashton Vineyards in Glen Ellen, speaks passionately about her commitment to changing the way she lives every day in order to reduce her impact on the planet. The Environmental Film Festival is a direct extension of her desire to live every day as if it were Earth Day. This is an event intended to be not just informative, and entertaining, but transformational as well.

Boasting a total of 25 films submitted from all over the world, this three-day festival—curated by Ashton with the help of students from a local high school and individuals from Sonoma Valley’s green community—covers such topics as water, green building, sustainable economy, alternative energy, organic agriculture and wilderness conservation. The films range in length from five to 87 minutes and cover a gamut of emotional trajectories that Ashton says are meant to be inspiring, entertaining and easy to understand. After the films, there will be discussions led by an array of individuals knowledgeable in the varying fields of inquiry, whose goal it is to help the viewers examine how the films relate to us and to our communities. I browse the list of upcoming films, as disparate in subject matter as they are in length, and find that, given the opportunity, there isn’t a single one I would miss. Unable to decide, I allow myself to be drawn in by the titles alone. There’s The Weeping Camel (Jan. 25), a Mongolian film in which, after a difficult birth, a mother camel rejects her newborn, and a musician must be summoned to perform a ceremony in an attempt to coax the camel mother into nursing her baby. Waiting to Inhale (Jan. 26) is a documentary that investigates the controversy over cannabis legalization, a matter whose importance, the summary claims, is “of life and death.” The short doc Carbon Nation (Jan. 27) follows 10 Utah teenagers as they experiment with a carbon-neutral lifestyle. One Man, One Cow, One Planet (Jan. 26) is a film about a man who, at the age of 78, leaves home to live in India to teach biodynamic farming. The screening, naturally, is paired with biodynamic wines and other organic local fare. Buddha’s Lost Children (Jan. 27) tells the story of a Thai boxer turned monk who travels Thailand’s Golden Triangle in order to help the region’s children.

For the better part of January, I have been either at home watching uninteresting movies on my little television set while folding laundry, or at the theater watching depressing movies and eating too much candy. With this reality as a backdrop, the Environmental Film Festival offers a level of intrigue that comes as a sort of oasis amid the cinematic crap that veritably rises around me. To further push the constraints of the month, the festival is striving to be a zero-waste event, a goal that seems entirely feasible given that Green Mary, event-greener extraordinaire, will be there. This is a ticket-free weekend promoted without the use of flyers or posters. Home-made meals composed of organic, locally grown produce will be available; organic wine will be served in biodegradable cups; and on Saturday, there is a crab feed, followed by a round-table discussion that includes filmmakers and selected speakers.

All net proceeds are to be donated to the Sonoma Valley School district, where the money will be used for the creation of an organic garden at Sonoma Valley High School. While a January drive through wine country may not be recommended in any of the guide books, after considering the bounty offered by the Environmental Film Festival, it seems prudent, in this case, to make an exception.

The Sonoma Environmental Film Festival runs Friday-Sunday, Jan. 25-27. All films and activities take place at the Sonoma Valley Women’s Club, 574 First St. E., Sonoma. Films, $8-$10. For details, go to www.seff.us or call 707.935.3456.


Acquired Tastes

Wine Tasting Room of the Week

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A s I make another U-turn in the rain and mist on a twisting mountain road, I wonder if Storybook Mountain’s location is as fabled as the name suggests. At the least, the result of my attempt to Mapquest it is clearly fanciful. When I arrive, the only two other people scheduled for that afternoon are also late, and it’s just as well because Storybook is not open for public tasting. By appointment, Storybook arranges informative, friendly tours led by a family member, followed by a tasting in the caves.

Jerry and Sigrid Seps purchased the abandoned property in 1976 and named it Storybook as a tribute to two brothers Grimm who founded the original vineyards in the 1880s. At a time when Sutter Home had just stumbled upon White Zinfandel and quality red Zinfandel was truly a cult wine, they followed wine legend André Tchelistcheff’s advice and planted Zinfandel on the steep, northeast-facing, red-clay hillside. By the early 1980s, they were winning gold medals, and Storybook became one of the leading names of the Zin revolution.

In 1990, Seps and a few likeminded winemakers founded Zinfandel Advocates and Producers (ZAP), through which they continue to proselytize on behalf of “America’s heritage grape.” ZAP holds its annual meeting of thousands of acolytes at San Francisco’s Fort Mason Center Jan. 23–26, so that we may be anointed with the most recent vintages. Among those will be the 2006 Heritage Vineyard Zinfandel, blended from a ZAP research vineyard that includes 90 different Zin clones. Each vintage is made by a different notable member winery—which this year brings us back to Storybook.

They’ll be pouring the 2005 Napa Estate Antaeus ($40), a blend of Zinfandel with—keep it quiet—Bordeaux varietals. It turns out that Cab grows pretty well on the Seps estate, too, and the Cabernet Sauvignon 2003 ($65) shows a bouquet of cedar box and a rich palate of cassis and leather. The 2006 Napa Mayacamas Range Zinfandel ($30) is an exotic Zin built more of structure and spice than fruit. Oriental spices and liqueur tease the nose, while a lively balance of tannin and acidity drop on the tongue like a mountain cat before scampering away, leaving a lingering finish of mellow acidity and woodsy perfume.

It’s a little funny that Storybook’s label art references Aesop’s fable of the fox’s troubles with a certain bunch of grapes. (Seps couldn’t find anything viticultural in Grimm’s fairy tales.) Maybe it’s a reminder that if we don’t give up on finding this wine, it’ll certainly be worth our while.

Storybook Mountain Vineyards, 3835 Hwy. 128, Calistoga. By appointment only. 707.942.5310.

ZAP’s 17th Annual Zinfandel Festival runs Jan. 23–26, with the public tasting slated for Saturday, Jan. 26, from 2pm to 5pm. Fort Mason Center, San Francisco. $55–$65. 530.274.4900. www.zinfandel.org.



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Blues Royalty

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music & nightlife |

OBE: Eric Clapton once quipped that John Mayall has run a great school for musicians.

By Robert Feuer

T he harmonica was introduced to America in the mid-19th century. Abe Lincoln is said to have carried one in his pocket, and during the Civil War, soldiers used them to croon away long nights between battles. The list of early players includes Wyatt Earp and Billy the Kid. The harmonica has often been called the “people’s instrument,” because it is inexpensive and easily portable. Thus it was often chosen by impoverished and migratory early blues and folk artists.

Times, of course, have changed, and on Jan. 24, a member of the Order of the British Empire graces the stage of a local saloon replete with a harmonica. John Mayall, who received the honor in 2005 at a Buckingham Palace ceremony, headlines Mark Hummel’s annual Blues Harmonica Blowout at the Last Day Saloon. Also on the bill are Lazy Lester, Kenny Neal and Greg “Fingers” Taylor, all backed by Hummel’s band, the Blues Survivors.

Hummel has been taking his Blues Harmonica Blowout on the road since 1991. It has been a revolving door of performers, including most of the greats of the past two decades. Speaking by phone from his Oakland home, he says his original motivation was his feeling that “guitar was getting so much more attention than harmonica.” For him, the tour not only pays the bills but, he chuckles, “I get to hang out with friends of mine, people I’ve known for years and years.”

Hummel ran into Mayall at the 2007 Blues Music Awards ceremony and reminded him of an unanswered e-mail inviting him on the harmonica tour. Mayall immediately climbed on board. “I was almost shocked when he said yes to the show. He’s such a big name,” Hummel says.

Mayall, 74, was born in England but has been living in the Los Angeles area since 1970. His career spans over 40 years and 56 albums.

In 1962, he formed his still-active band the Bluesbreakers, through which has passed some of the legends of rock and blues guitar, like Eric Clapton, Peter Green and Mick Taylor. Clapton once said, “John Mayall has actually led an incredibly great school for musicians.”

In the ’60s, the Bluesbreakers backed John Lee Hooker, Sonny Boy Williamson and T-Bone Walker on their first tour of the English club scene.

“This is a new venture for me entirely,” Mayall says, interviewed from his home in the L.A. area. Leaving his own band behind, he arrives in Santa Rosa, joining his fellow performers for the first time, on the afternoon of the show. He says the fact that he hasn’t played with these guys before doesn’t concern him because “musicians share a common language.” Mayall has a unique style of singing and will be performing on keyboards as well as harmonica.

At an age when most would consider themselves past retirement, Mayall says, “My career just keeps on going. The greatest gift I’ve had is the freedom to create my own music and be accepted for it. You should always play something you can believe. Stick to your guns.”

Lazy Lester, born 1933 in Louisiana, is known for a string of hits in the ’50s and ’60s for the classic Excello Records label. He won a W. C. Handy Award (now known as the Blues Music Award) in 1987, and in 2004 performed at the Radio City Music Hall all-star blues concert “Feel Like Going Home,” produced and filmed by Martin Scorsese.

Legend has it that Lester’s professional career began when he met Lightnin’ Slim on a bus as Slim headed for an Excello recording session. Coincidentally, the regular harp player didn’t appear and Lester took over. He once said he got his nickname because, “I was never in a hurry to do nothing.” Indeed, his favorite hobby is fishing.

Mark Hummel’s Blues Harmonica Blowout featuring John Mayall, Lazy Lester, Kenny Neal, ‘Fingers’ Taylor, local faves the Blues Survivors with Rusty Zinn, and Nathan James and Ben Hernandez puts its lips together and blows on Thursday, Jan. 24. Last Day Saloon, 120 Fifth St., Santa Rosa. 7:30pm. $30–$35. 707.545.2343.




FIND A MUSIC REVIEW

Stories in Wood

01.16.08

S torytelling is said to be a dying art, a trajectory that Michael “Bug” Deakin, owner of Heritage Salvage in Petaluma, believes should be stopped. If there is one thing that Deakin understands besides the beauty of wood, it is the importance of preserving our history as a way of sustaining our future. To this end, Deakin makes it his personal obligation to pass on the stories, or “heritage,” of each piece of salvaged material that passes through his hands. His Heritage Salvage aims to provide a vital environmental service by salvaging and reusing viable materials, but it is the commitment to preserving the stories within the materials that sets it apart.

Born into a family of storytellers, Deakin has succeeded in keeping the family tradition alive and thriving. He knows the story of virtually every piece of wood or harvested item that exists in both his extensive salvage yard and proportionately modest showroom. He can identify the origin of the materials used to build the custom-made furniture on display, and each piece comes with a certificate of heritage that re-tells the slice of history that has been passed on to Deakin during his salvaging adventures.

The showroom boasts baskets made from the discarded planks of wood that winemakers place in their vats to bestow that “barrel-aged” flavor upon their wines. Chicken feeders are made into exotic, intricately etched lanterns. Old wood from falling-down barns is refashioned into hope chests, tables, coat racks, wine consoles, mirrors and picture frames. Lamps are culled from industrial spools. Deakin tells me that he is forever trying to figure out new ways of transforming his diverse finds while valuing both form and function.

In the back of the showroom, I discover a bevy of recycled treasures: doors, stoves, massive pieces of hand-hewn teak from Bali and Indonesia (which Deakin came upon after someone else imported them and then was unable to put them to use) and a salvaged staircase from a church pew that leads to nowhere in particular. Out in the yard sits a hulking pile of old growth redwood beams, rescued from San Francisco’s 1906 Levi Strauss building.

While profit is surely a factor, it takes a certain measure of love and obsession in order to justify the long, often grueling hours involved in salvaging and moving the inspiring specimens that litter the Heritage Salvage yard. I am reminded of the wood lovers of my Big Sur childhood who relished the coastal storms and who every winter could be counted on to be out in the dumping rain with their chainsaws, prepared to mark any fallen tree they could find as their own. But storms felling mammoth redwood trees are not the norm, and much of today’s salvaged wood is being trucked in from faraway places, which makes me question the carbon foot-print involved.

Can using salvaged beams, most often shipped from another state, to add beauty to an opulent and quite likely palatial home really be considered a green practice? After all, antique, harvested wood does not come cheap. But I am encouraged by what Deakin calls his “organic pricing.” Deakin says he has a commitment to making his salvaged materials available to those who need them and, I get the strong impression, to those who will truly value the story held within.

Heritage Salvage is not about dressing up our present with a little old-growth splinter stock; it is about salvaging the past to feed our future. Deakin’s ultimate goal is to spread the methods of Heritage Salvage across the country. His aim is to show communities how to keep it indigenous, how to take down their own barns, chicken-coops and houses, and how to salvage the materials along with their stories.

Deakin says he gets calls from all over the country from those who want him to come out and take down their barn, preserving, as he does so, the stories of their grandparents and great-grandparents. They want their family history to carry on, long after all traces of the structure, where it once sagged as if desperate to return to the earth, have been removed.

I write at an old school teacher’s desk, very ugly but functional, that I bought years ago at a thrift store for five dollars. The desk is unattractive and ridiculously heavy, but if I had been given the written history of my desk, from creation to its eventual existence with me today, I gladly would have accepted. Instead, I look at the scuffs, scratches, dents and various modifications of time, and have no idea where any of them came from. Perhaps Deakin is on to something, and if we remain in touch with our stories, we will be better able to remain in touch with ourselves, and thereby, with the very planet we are so desperately failing.

For more information on Heritage Salvage, go to www.heritagesalvage.com or call 707.762.6277.


A Votre Santé

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01.16.08

T his just in: Demographic studies in the south of France suggest that drinking red wine in moderation is good for your health. If it seems like you’ve heard that a hundred times, it’s because you’ve heard it a million times, yet it’s the piping-hot subject of British wine scientist Roger Corder’s new book, The Red Wine Diet: Drink Wine Every Day and Live a Long and Healthy Life (Avery; $15.95).

Corder, a professor of experimental therapeutics at the William Harvey Research Institute in London, rustles up this old yet happy subject and tackles it with barrels of data at the ready. Much comes from correlation studies demonstrating that those who drink red wine live longer; that those who drink more beer than wine suffer more health problems than vice-versa; that wine drinkers have a lower risk of acquiring dementia in old age than beer drinkers; that red wine protects against fatty buildups in the arteries more efficiently than beer, whiskey or pure alcohol; and other startling if somewhat inconclusive observations.

The subject of The Red Wine Diet addresses a long-discussed issue termed “the French paradox,” which observes that the French, in spite of ample red meat and fat in their diet, are generally thin, heart-healthy and long-lived. Many have tried to explain the French paradox through wine, and for years resveratrol was cited as the latent goodness in the juice. Corder dismisses the idea. Resveratrol occurs in wine in such low densities that one would have to enjoy thousands of glasses each day to ingest enough of the compound to positively affect one’s health.

So in his laboratory, Corder and his assistants analyzed the molecular constituents of nearly 400 red wines from Australia, Europe, South America and California with the goal of “identifying the vascular-protective constituents of wine.”

“In a nutshell,” he writes, “we identified procyanidins (sometimes called proanthocyanidins), the most abundant polyphenol in young red wines, as the key health component of wine.”

Procyanidins have long been known by scientists to have positive effects on the vascular system, and they occur in such abundance in many red wines that two to three glasses per day will offer optimum protection against various maladies. For the nonchemist layman wine drinker, it is enough to associate procyanidins with tannins and to simply think of healthy red wines that protect your blood vessels from clogging as those with a piquant tannic, or astringent, profile. Such wines represent a distinct style of Old World winemaking, says Corder. They are, in general, slightly tart and abrasive on the palate, yet particularly food-friendly.

In a recent interview with the Bohemian in San Francisco, Corder said that the tannic taste is an acquired one, but that a drinker will never abandon it once he comes to appreciate it. On the other hand, the gigantic fruit bombs of California and Australia, so pleasurably simple and easy to drink, lack the tannic structure of the heart-healthy wines in question. Corder suggests that they may even be bad for us.

“They don’t have the procyanidins that we’re interested in, and they have way too much alcohol,” explained Corder. “It was once considered perfectly fine to drink half a bottle of wine or more per day, but wine styles have changed so that today that may be too much, depending on the wines you drink.”

Corder has devised a system for grading wines by their procyanidin content and healthfulness: five hearts, good; no hearts, bad. Most of the red wines he looked at bear a rating of two to three hearts. The Madiran Plenitude from southwestern France is among the highest heart-rated wines. Many Bordeaux wines, though of promising grape blends, are fined with egg whites, which reduce the procyanidins in the final bottled product and therefore dwell in the lower end of the chart.

In California, Robert Mondavi’s Napa Valley Reserve achieved a four-star blessing, while Ravenswood’s Old Vine Zinfandel and Vintners’ Blend received two stars. Corder hopes that within several years, many wine labels will bear this heart-based rating system for the benefit of consumers who wish to literally drink to their health.

Corder acknowledges early in the book the first of several obvious questions, wondering “whether [longevity] is primarily due to a better diet or healthier lifestyle, or whether specific components of wine are part of the secret of improved health.” Of course, by now we’re all sweating and praying and wringing our hands in the hope that it’s the wine that makes us more vigorous in our advancing years, and Corder pursues this conclusion with an endearing commitment.

He hones in on several parts of Europe where old-fashioned winemaking techniques—long fermentation and extended contact between wine, seeds and skins to extract ample tannins—still prevail, pointing out that some of the longest-lived people in Europe dwell in remote pockets of country where the fruit-bomb wines so beloved by Americans and Australians have not yet arrived. In particular, Corder cites the Greek island of Crete, the mountainous Nuoro Province in Sardinia and a tiny pocket of rural southwest France called Gers, regions where men reach 100 years of age more often than just about anywhere else and where the wines they drink daily are red, highly tannic, only moderately high in alcohol and largely from the Tannat grape, which bears high ratios of seed and skin to juice.

But correlation does not prove causation, prompting questions. For one, what about all the regions of France, Spain, Portugal, Italy and other Mediterranean nations where the citizens drink wine at almost every meal? Why do people live less long there?

“They drink white wine in a lot of parts of Europe,” Corder said. “There are areas where red wine is not the first thing they put on the table.”

Corder added that those drinking white wine might as well be drinking water in terms of artery-scouring goodness, for most whites contain virtually no procyanidins. He paused and then delivered the most promising, if downright startling, piece of news yet. “All alcohol is good to an extent, because just the positive feelings of well-being that come from a tipple are a great start toward general healthfulness.”

What about the swarming seniors in the Okinawa Islands of Japan. where, local longevity is sky high, yet red wine, olive oil and all the basic ingredients commonly found in the average European kitchen are virtually unheard of? Corder explained, as he does in his book, that various aspects of diet and lifestyle, not just red wine, almost certainly lead to the good health of centenarians.

“Longevity comes from a combination of red wine, diet and lifestyle,” he said. “The three are inseparable—and, of course, if you smoke, it’s all down the toilet.”

Corder reminds the reader consistently that wine must be enjoyed with food to maximize health benefits, and he suggests chocolate, walnuts, cranberries and pomegranates as snack items high in procyanidins. The latter half of the book, in fact, offers several dozen recipes for fantastic heart-healthy Mediterranean-style meals, and also includes some facts and myth-busting revelations on the pros and cons of low-carb diets, coffee, drinking large amounts of water, indulging in dietary fiber and more.

The Red Wine Diet covers a large area of information, as widely scattered as those three geographical pockets of centenarians that Corder cites as evidence of red wine’s virtues. Ultimately, the book will surely leave some readers wondering why someone hasn’t just fed procyanidin pills to rats to see what happens. Until then, Corder’s red wine thesis is an easy pill to swallow .

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.

Back with a Bang

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01.16.08

T he holiday slumber is emphatically over as fine arts institutions around the North Bay unveil terrific new shows that start 2008 off with fresh and different ways of seeing.

Following on last year’s superb retrospective of work by ceramic sculptor Marguerite Wildenhain, the Sonoma County Museum opens “Following Nature: Ruth Asawa in Sonoma County.” Trained at Black Mountain College in the 1940s, Asawa, a metal sculptor, became friends with Wildenhain when that Bauhaus-trained artist did a residency. Wildenhain subsequently invited Asawa to visit her studio at Armstrong Redwoods and both were changed by the experience. That show opens Jan. 26.

Also on the 26th, Napa’s innovative di Rosa Preserve celebrates emerging artists and honors founder Rene di Rosa’s unerring instinct for new talent with “MFA Selections: A Salute to Bay Area Emerging Artists,” juried by former SF Art Institute dean Larry Thomas. Two artists each from four Bay Area training institutions have been tapped for this prestigious exhibition.

In Marin, the Bolinas Museum shows select photographs by the great Jack Welpott, considered one of the premiere photographers of the post&–WW II generation, and known for his luminous nudes and insightful portraits. Handled by the nationally renowned Barry Singer Gallery, based in Petaluma, Welpott’s Kathleen Kelly is shown above. Also on tap is work by land artist Daniel McCormick. Trained under light sculptor James Turrell and influenced by such as Andy Goldsworthy and Robert Smithson, McCormick does site-specific work using the natural materials of the area. He will create a piece inside the museum, using one corner of the room as if it were a gully. On Saturday, Jan. 26, McCormick will work from 3pm to 5pm, and the public is invited to watch the process as well as ask questions.

On Jan. 19, the ever-lively Sonoma Valley Museum of Art presents photographs by British artist and designer James Morris, who traveled to West Africa in 2000 with a particular eye to documenting indigenous housing structures. Primarily composed of earth and water, these ingenious homes point to so many things other than mere housing. Community involvement is needed to maintain them, their rude materials morph into elegant structures about which sustainability and other buzzwords of the high arts are mere facts, not lofty notions.

Furthermore, the SVMA has just announced that a traveling show exhibiting some 65 precious examples of Pablo Picasso’s ceramics will end its 11-year national tour in Sonoma this May, the last time the public will have a chance to see this collection before it is broken up and sold into private hands.

And the year is just starting.


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.

Letters to the Editor

01.23.08First FruitsI have been thinking about our two January holidays. Why is the first day of the year a holiday? Shouldn't it be a day of "first fruits," giving our best to the community? We "thank God it's Friday" (I'm sure s/he is not saying "you're welcome"). Why do we hate labor?Furthermore, Dr. Martin Luther King would feel far...

Life in Balance

01.23.08The art of San Francisco sculptor Ruth Asawa is inextricably tied into the darkest moment in 20th-century U.S. history, as well as its greatest cultural achievement. One of seven children of Central Valley truck farmers, Asawa and her family were interned after the attack on Peal Harbor. Her understanding of nature and organic patterns was formed on her parents'...

World Vision

01.23.08 According to Northern California lore, summer is a time for festivals, fun and frolic, and winter is a time for hunkering down, battling depression and staring dully at heating bills. Justine Ashton, founder of the Sonoma Environmental Film Festival, inaugurating Jan. 25, believes that winter has so much more potential. To this end, Ashton has organized and produced a...

Acquired Tastes

Jami Attenberg’s ‘The Kept Man’

Since when do novels have their own YouTube videos? Call me Rip, but I've evidently just awakened from a 40-year nap to discover that not only is my beard outta line but that such as New York author Jami Attenberg, whose second novel, The Kept Man centers on the lonely life of Jarvis Miller, the wife of a...

Blues Royalty

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Stories in Wood

01.16.08 S torytelling is said to be a dying art, a trajectory that Michael "Bug" Deakin, owner of Heritage Salvage in Petaluma, believes should be stopped. If there is one thing that Deakin understands besides the beauty of wood, it is the importance of preserving our history as a way of sustaining our future. To this end, Deakin makes it...

A Votre Santé

01.16.08T his just in: Demographic studies in the south of France suggest that drinking red wine in moderation is good for your health. If it seems like you've heard that a hundred times, it's because you've heard it a million times, yet it's the piping-hot subject of British wine scientist Roger Corder's new book, The Red Wine Diet: Drink...

Back with a Bang

01.16.08 T he holiday slumber is emphatically over as fine arts institutions around the North Bay unveil terrific new shows that start 2008 off with fresh and different ways of seeing.Following on last year's superb retrospective of work by ceramic sculptor Marguerite Wildenhain, the Sonoma County Museum opens "Following Nature: Ruth Asawa in Sonoma County." Trained at Black Mountain...
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