Shaggy Dog for a Good Cause

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Gabe ‘the Nose’ Meline

One of the great mysteries of television’s early era concerned Jimmy Durante’s famously intimate sign-off, “Goodnight, Mrs. Calabash, wherever you are.” Climbing down from its usually noisy, animated squawk, Durante’s voice adopted a tender depth as he bid goodnight to the unknown woman. Hundreds of letters from touched fans poured into the NBC offices pleading for Durante to reveal Mrs. Calabash’s true identity, but week in and week out, Durante stayed mum, whispering his sensitive farewell to a curious nation wondering the same thing: Who the heck was Mrs. Calabash?

Gossip columnist Louella Parsons printed a story claiming that Mrs. Calabash was Durante’s pet name for his wife, Jeanne. Durante refuted it. President Truman convinced his daughter Margaret to ask Durante about Mrs. Calabash when she appeared on his show. No luck. Mrs. Calabash was variously rumored to be the name of a losing racehorse, a former neighbor who disappeared, an old girlfriend who married a dentist from the Bronx and the widowed mother of a boy who had died from polio.

It wasn’t until Durante died in 1980 that the truth came out: Mrs. Calabash was a joke based on the kind of pipe that Durante’s then-radio producer, Phil Cohan, was smoking at the time. Durante used it, and it stuck. Cohan and Durante flirted with exposing the truth about Mrs. Calabash to viewers, but having captured the nation’s curiosity with the simple image, they kept it under wraps. “We realized that we had a good thing going for us,” said Cohan. “I’m glad we did, because the fan letters kept pouring in.”

The Calabash Festival, which has nothing to do with Jimmy Durante but everything to do with the excellent people at Food for Thought, the charitable efforts of the Sonoma County AIDS Food Bank, the wonderful gang at the Occidental Arts and Ecology Center, and over a hundred artists and musicians working with beautiful gourds and gourd art, takes place this Sunday, Oct. 7, at the Food for Thought gardens, 6550 Railroad Ave., Forestville. 1pm. $30–$35. 707.887.1647. www.calabashartfest.org.


We Could Love that Tractor

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10.13.07

The Joads shocked genteel readers when they first appeared in John Steinbeck’s epic novel The Grapes of Wrath nearly 70 years ago. Now they’re as American as American Idol. Their pilgrimage from Oklahoma to California haunts our national psyche as much, if not more, than the existential quest by Sal Paradise and Dean Moriarty in Kerouac’s On the Road.

As part of the countywide Performance Sonoma slate and its “Crossing Borders” theme, veteran theater director Beth Craven brings the humble but awe-inspiring Joad family to the Sixth Street Playhouse in Santa Rosa for a month-long run. Brent Lindsay, above, portrays anti-hero Tom Joad. “The Grapes of Wrath is one of my favorite books,” Craven says. “It means a lot to me personally about human dignity and about people coming together to overcome adversity. Our stage version is all about displaced people crossing borders and fitting into different cultures. It has a lot to say to us today.”

Craven first directed the play at Sonoma State University in 1992, reprising it later at the University of Tennessee. In this exuberant production, she draws heavily on outstanding local talent, including designer David Lear’s set, a fantastic landscape that conveys the sweep of America itself, and original music by composer Tom Martin for banjo, fiddle, guitar and string bass. The battered 1935 Ford jalopy that’s onstage for much of the first act is a major character itself, a hero on wheels. The play, like the novel, the movie and Woody Guthrie’s ballad, never fails to move audiences emotionally.

The Grapes of Wrath runs Thursday&–Sunday, Oct. 5&–27. Thursday&–Saturday at 8pm; matinee, Saturday&–Sunday at 2pm. Sixth Street Playhouse, 52 W. Sixth St., Santa Rosa. $14&–$26. 707.523.4185.


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.

First Bite

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10.13.07

Editor’s note: First Bite is a new concept in restaurant writing. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience. We invite you to come along with our writers as they—informed, intelligent eaters like yourselves—have a simple meal at an area restaurant, just like you do.

It’s not surprising that the lobster roll at the Lobster Shack is good. The spiny crustacean is, after all, the centerpiece of the restaurant that opened this spring in Napa Valley. Owner Russell Deutsch, a former lobster exporter from Boston, uses quality Maine shellfish, plucked live from a tank on display in the restaurant. And he’s got a loyal clientele, enough so that this is his third location (the others are in San Francisco and Redwood City).

What’s curious is that it’s not really, really good. I’ve had plenty of exquisite lobster rolls—from the classic with mayonnaise and chopped celery on a toasted, buttery hot dog bun to an Arizona real live “Iron Chef’s” luxe rendition with avocado cream and garlic aioli on a Japanese-spiced Buddha roll. And when they’re done well, lobster rolls can be things you insatiably crave.

But at the Shack, there’s way too little meat tucked in the soft, New England&–style top-loading hot dog bun. It tastes fine, with a light slick of mayo and a sprinkle of green onion, but the stinginess is unforgivable; served in a red plastic basket with very sweet, raisin-studded coleslaw and a pickle, it’s an extraordinary $17.75.There are a lot of confusing things, actually, about the Shack. The awful location, for example. Tucked oddly inside the former Napa train depot turned grungy used car lot on a dingy corner of downtown, it’s a whole lot of work to find. (Seriously, I was hoping to come out after dinner and find an offer on my heap, but no luck). And once there, it’s just too mediocre to encourage making the effort again.

Carelessness is the main sin. Gazpacho, served in a chilled mug ($7), would have been quite tasty if it weren’t so cold. I expected to find ice chips in the tomato broth spiked with lots of pepper and chunks of lobster, whole shrimp, bell pepper and chiles. The overpriced lobster macaroni and cheese ($16.75) was appealing for the first few bites, until the gritty sauce separated into oil rolling off the plump pasta shells. Crab cakes ($16.75) were excellent, thick with meat and fiercely spicy with remoulade; unfortunately, the red potatoes they nested on were bitter and old-tasting.

Perfect, cracker-breaded shrimp in the Captain’s platter ($26.75) made up for the bland fried fish sharing the plate, but the soggy breaded soft-shell clams were an absolute disaster. Surely, they were off, smelling foul and tasting like ocean dredge. In hindsight, I should have sent them back, but I busied myself with the decent, skin-on steak fries instead.

I do like the casual, nautical interior, with its picnic tables in the back room, rolls of paper towels and self-serve water pitchers with plastic cups. I can envision fun times at the Shack, decked in a plastic bib while digging into the best meal here: an ample, whole steamed lobster ($27.75) with fries, coleslaw, corn on the cob and lots of hot drawn butter.

But until the kitchen gets a much better grip on quality control—or I’m in the market for a used car, I suppose—that’s a theory I won’t be testing.

Lobster Shack, 806 Fourth St., Napa. Lunch and dinner daily. 707.258.8200.


Quick-and-dirty dashes through North Bay restaurants. These aren’t your standard “bring five friends and order everything on the menu” dining reviews.

My Two Breasts

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10.13.07

At a recent viewing of Transformers, I was amused to note two things: (1) director Michael Bay (Armageddon, Pearl Harbor) is still Michael Bay; and (2) those admittedly gorgeous stick-figure girls playing the brainy government hacker and the plucky heroine were desperately trying to muster up some cleavage. It was a nearly impossible task given their lack of extraneous flesh. Try as they might, those push-up bras they were wearing just refused to give them the décolletage they craved—or rather, the décolletage Mr. Bay craved for them.

About halfway through the climactic battle scene, le director‘s patience finally gives out. Having failed to produce the requisite rack within the past two hours, he resorts in classic form to sticking a completely random babe slap-dab in the middle of the carnage, her designer camisole framing her glorious breasts as a phallic missile sails over her head and the camera spins to reveal that she is crouching tearfully in front of an improbably placed American flag. (Actually, I don’t remember if the flag was there or not, but this being Michael Bay, odds are good.)

The poignant struggle of Bay’s actresses to, er, transform their size into something that actually meets the eye highlights an interesting societal relationship that exists between the American public and the female breast. Having no difficulty in producing cleavage of my own, it’s a relationship I find particularly relevant. For, while popular media images lead us to believe big boobs (or at least the appearance thereof) are desirable, it only seems to work onscreen. When it comes to busty heroines in real life, the deck is sadly stacked.

I can’t count how many times I’ve received hostile glances in public simply for wearing the clothes commonly sold in my favorite stores. Remember the camisole craze a few summers ago? I bought 50 darling little frilly things and I wear them all the time. Jeans and a camisole are my favorite apparel, appealing to my rock ‘n’ roll, ultrafemme sensibilities. They’re comfortable, sexy, airy . . . OK, maybe too airy. Because every time I step out in my lacy scrap of silk, I come home soiled with dirty looks.

It’s true, I’m guilty of being a 36-C. This has never turned me into a ravening she-beast, as far as I know. But if someone put a dollar bill down my shirt every time some bitchy stranger gave me the “what a slut” look, I’d be richer than Pamela Anderson. With so many other attractive, albeit famous, girls everywhere flaunting their boobs onscreen and in tabloids (I’m talkin’ to you, Scarlett), what in the utter hell is going on? When did unharassed boobage become the sole province of Paris and Britney?

Part of the problem, of course, is Paris and Britney. Along with Jessica, Lindsay and all the other self-destructive Hollywood sexpots, they have officially abused their right to cleavage and ruined it for everyone. And despite the fact that America’s Next Top Model is considered acceptable public viewing, we’re still a nation of hypocritical Protestant prudes.

Porn accounts for much of Internet downloading—Britney’s bald crotch available at the click of a mouse—yet we’re still scandalized when the average American woman puts on a mass-marketed slip top and walks into a bar. Well, yes. And this American woman is as much a hypocrite as anyone else, for despite my penchant for shirts that look like underwear, I still judge my peers as loose and idiotic if I catch them wearing “clothes” from Baby Phat.

The tawdriness we all enjoy—Paris checking out her own ass in a hotel mirror; Britney attacking that Volvo—has, I think, left such an indelible impression upon the public mind that any woman echoing their image, consciously or not, is immediately associated with sleaze.

This is tragic. Times were, big boobs were seen as womanly, maternal, healthy, signifying that you could provide for your child andsatisfy your lover. Now Britney is called a cow for having a normal body (I know, because it looks just like mine!), and the only place a buxom woman can feel at home is a Renaissance fair.

This is also, given current fashion, unavoidable.

Over the course of my English-major career (accounting! title! tax offices!), I’ve been penalized twice for wearing low-cut shirts. And while it’s true I used to idolize Elvira, Mistress of the Dark, the funny thing is I was just wearing normal clothes bought at the normal retailers who commonly target my age group. Unfortunately for me, many of these fine purveyors of cotton-poly blend have never heard of the term “boat neck.”

Ever take a good look at Abercrombie & Fitch? The retailer who proudly clothes all age groups from jailbait to hardened frat boy sells millions of units a year of midriff-baring sweaters, basic tees with plunging necklines and jean skirts whose length is just slightly longer than the belt you secure them with.

At the time of my first censure, I was wearing an Abercrombie undershirt with a shelf bra (imagine the chaos that would have ensued if I’d had the double support of a regular bra—I might actually have had good posture), along with a rather pretty, long-sleeved cotton tee whose glittery, beaded neck went down to my navel. The look was quite popular and managed to be both demure and tempting on the anorexic 14-to-25-year-old crowd who prowl the mall. Had I been 14, we would have had a problem. But I am a full-grown woman, as seemed a little too obvious to my supervisor, who called a staff meeting one morning in order to deliver a barely veiled message about customers noticing the “charms” of the female employees.

OK, fine. I’d just be sure not to wear that getup anymore. But, upon surveying my wardrobe the following morning, I noticed that it was all “that getup.” Even the most modest shirts I’d gleaned from Express showed cleavage when I put them on.

It was then that I realized that the fashion world didn’t give a damn about me. In fact, they’d gone out of their way to discriminate against every poor floozy with a C cup. Every Victoria’s Secret bra I’d ever bought gave my boobs a freakishly well-distributed appearance, pushing them high into the neckline of my Express basic tee.

Calvin Klein hates everyone who isn’t Kate Moss and made sure my boobs would not fit seamlessly into his bras, ruining my silhouette no matter what size I tried. Banana Republic hadn’t factored the pushup variable into its 50 percent spandex shell tops, the Limited made stretchy blouses that only looked good on flat-chested losers and just forget Wet Seal or Bebe, whose existence in our slut-hating country still boggles my mind.

I was wearing the right sizes, shopping at the major stores, but unless I wanted a shroudlike sweater from the Gap, there was no way for a girl of my endowments to look fashionable without revealing curves. Meanwhile, shamed by my tawdry wardrobe, I ran out of options and, in a fit of pique, got my second citation for wearing my drabest and most inoffensive tank top to my tax-office job. Of course, the “no spaghetti strap” regulation forced me to cover this hideous accoutrement with a lacy, low-cut stretch tee that would have given even Cocaine Kate a rack—but I can’t help it if corporate America hates bare shoulders even more than it hates boobs.

These days, you can pick and choose the ways in which America is sick, but the war on breasts has got to be my favorite. We live in a society where sexuality blares from every television, radio and movie screen, where “skimpy” defines fashion, yet the moment some chick puts on the very fashions dictated to her by television or a brainless but wildly successful heiress, she gets scandalized looks on the sidewalk, inane giggles from women stupid enough to still think Uggs are cool and disgusted lip curls from young men whose stylishly punked-out hair all but guarantees they subscribe to Maxim.

Obviously, fashion still has a strong hold on how we perceive one another, but when all of us are brainwashed by the same popular images, why the backlash when those images are embraced? It’s not like we haven’t seen it before, won’t see it again or haven’t subconsciously admitted that we all want to be sexy.

Which begs the question: Are we really so scared of tits that we must shame our bosomy sisters? Are we so psychologically twisted that we can ogle Eva Longoria but can’t abide the local sexpot who, half the time, is just an ordinary girl trying to look pretty for her boyfriend? Why is a provocative woman only acceptable when her name is New York and she has her own reality show? To my dangerously naïve mind, reality TV stars should be more vilified than Jane Normal, because they’re ruining female sexuality for all of us. Think we’re open-minded enough to see past the Abercrombie and into the girl inside? Put on a tank top and take a walk—that’ll fix you.

Honestly, America, we’re all acting like a bunch of boobs.


Profile: Everything Classical

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10.03.07

It gets said all the time, “Classical music doesn’t have to be boring!” But there’s a slew of performances coming up that truly mean it, and what’s more, they’re either free or cost hardly anything. It cannot be stressed enough: If you or a friend have been meaning to check out an exciting classical performance but haven’t wanted to risk your money on a dull night, then the next couple weeks are a blessing.

This Saturday, the daring and angular Calder Quartet (above) open the Russian River Chamber Music’s season, blending the traditional and avant-garde with works by Terry Riley, Philip Glass and Franz Schubert. Appropriately named after the great visual artist Alexander Calder, the young ensemble brim with a rock ‘n’ roll energy, infusing fresh blood into challenging forms. A special afternoon “informance” for teens offers the experience of sitting in at band practice, hanging out with the dudes and dissing the Barbie-doll crossover quartet Bond (they suck) at the Palette Art Cafe (235 Healdsburg Ave., Healdsburg) at 2pm; at 7:30pm at the Healdsburg Community Church (1100 University Ave., Healdsburg), the doors are open to all. Preconcert talk at 7pm; post show reception follows. 707.524.8700. www.russianrivermusic.org.

But wait—it gets even better! You don’t often see classical performances advertised in Spanish on multicolored flyers in taqueria windows, but the American Philharmonic’s big weekend of ¡Pasion! is no blue-haired affair. Teaming up with San Diego’s amazing 15-piece mariachi troupe Mariachi Champaña Nevin, the orchestra tackle the zesty, vibrant works of Latin American composers, including Dimas, Ginastera, Villa-Lobos, Chavez and Ponce. There’re two ways to witness the weekend’s fire and grace: inside or outside—and they’re both free. Saturday, Oct. 6, at 3pm, Juilliard Park, Santa Rosa Ave., Santa Rosa, and Sunday, Oct. 7, at the Wells Fargo Center for the Arts, 50 Mark West Springs Road, Santa Rosa at 3pm (admittance to Sunday’s show requires free registration). 707.793.2177. www.apsonoma.org.

On a final note, the Santa Rosa Symphony have something literally “out there” planned in conjunction with their performance of Holst’s The Planets next weekend: a giant, live-sequenced video projection of crazy space images from NASA on a huge screen behind the orchestra. In the lobby, audience members will be able to virtually explore the solar system on 3D computer stations. Also on the bill is Messiaen’s tribute to Mozart, Un Sourire, and a Mahler song cycle sung by Jacalyn Kreitzer. Here’s an inside tip: tickets for Saturday’s rehearsal—just as cool, and way more casual than the “real” performances—are just 10 bucks. Don’t miss it, Oct. 13&–15 at the Wells Fargo Center for the Arts, 50 Mark West Springs Road, Santa Rosa. $10&–$50. 707.546.8742. www.santarosasymphony.com.


Fall Foods

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Can’t Beat It: Roasted beets drizzled with a touch of vinaigrette welcome fall.

By Stett Holbrook

The University of Vermont has some interesting data about the growth of the organic market. The organic foods industry alone grew by a whopping 17 percent in 2005 to reach $14.6 billion; nonfood products that are organic—including household cleaners, skin-care products and pet food—leapt forward 32 percent to $744 million in sales. That’s starting to sound like real money.

True, many organic companies are owned by large, less-than-righteous corporations, and some argue organic standards are being watered down by agribusiness, but it’s hard to dispute the benefits of an industry that uses no pesticides, herbicides and other nasty stuff that’s better left off your food.

To make shopping for organic and sustainably produced products easier, the Global Resource Action Center for the Environment (GRACE), a New York–based environmental advocacy group, has relaunched its excellent Eat Well Guide at www.eatwellguide.org. The concept behind the website is to link consumers looking to buy meat, poultry, dairy and eggs with local farmers and markets.

“Often, families who want to eat sustainably feel locked into buying mass-produced meat from factory farms because they don’t know where to find healthier alternatives,” says GRACE president Alice Slater. “As families prepare for the upcoming holiday season, the Eat Well Guide provides an easy way for them to exercise more choice in what they feed their families for the holidays.”

To use the site, you simply enter your ZIP code, and up pop several producers in your area. Another great, map-based site for locating sustainably produced products is at www.localharvest.org.

As the summer produce begins to wane, you needn’t turn to canned vegetables or out-of-season produce from Chile. Winter vegetables will soon abound, and they complement the slow-cooked, heartier foods that are so satisfying when it’s cold outside.

Brussels sprouts These golf-ball-sized members of the cabbage family have suffered more abuse than civil rights under John Ashcroft. Treated properly, they’re delicious and high in Vitamin C. The main crime against them is overcooking, which makes them bitter. The best method is to blanch them and then sauté in butter or olive oil. Sautéing with chopped bacon and Dijon mustard is especially good.

Butternut squash The great thing about this peanut-shaped squash is that it’s so easy to prepare. Split in half, clean out the seeds, dab with a little butter, cinnamon and nutmeg, and bake at 375 degrees for about 40 minutes. Eat and enjoy.

Beets Unlike the purple slabs that come in cans, fresh beets come in a variety of colors like gold, pink, candy-striped and red. Chiogga beets are some of the best. Steamed and served hot with just salt and pepper or cold in vinaigrette, beets are a star vegetable.

Broccoli raab Also called rapini, broccoli raab has vaulted from its status as Italian peasant fare to a trendy vegetable. Sautéed with garlic and olive oil, it’s great coupled with Italian sausage for pasta.

Parsnips Parsnips are carrots’ more interesting cousin. Their subtly, spicy-sweet flavor makes them a great winter vegetable. Roast to a golden brown or steam and purée and add to mashed potatoes.



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Profile: Punk flourishes at Santa Rosa Christian venue

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10.03.07

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Your brain is clay, what’s going on? / You picked up a Bible, and now you’re gone / You call it religion, you’re full of shit—Minor Threat, “Filler”

Michael Conrad stands outside the Light concert house on a recent Friday night, watching a friend’s hardcore band through the windows and expressing his hesitation about the downtown Christian venue.

“I just think it’s disturbing,” he says, explaining his refusal to give a $5 cover charge to fund a possibly missionary program. “Somewhere in there,” he worries, “the goal has got to be for the people running this to interest kids in coming out to church and becoming Christian.”

Conrad’s sentiments echo concern among local underground bands about what has emerged as the latest all-ages venue in Santa Rosa. The Light has existed for over three years presenting contemporary Christian music, but Epiphany Music’s demise has brought a sudden outreach to a younger, non-Christian demographic of hardcore, metalcore and rock bands. Conrad, guitarist and frontman for the band Litany for the Whale, calls it infiltration.

In a city where all-ages venues are a valuable commodity, many young bands like those on tonight’s largely non-Christian bill are willing to trade the Light’s religious bent for stage time. But Litany for the Whale (among others, including Polar Bears and the New Trust) have turned down the chance to play, citing the oxymoronic nature of “Christian hardcore.” Historically, the very fabric of punk and hardcore music has been woven with an antiauthoritarian ideal of the autonomous self rising above the conformity of religion, and mixing the two is a recipe for hypocrisy.

Stephen Saucier, the booker for the Light, doesn’t see it that way, citing the hands-off nature of his concerts—no prayer circles, no preaching, no pamphlets or scriptures on the walls. “I’m really here to just do something for these kids,” he says while the next band warms up. “This is the ministry I feel called to, to be here and build relationships with these kids and love them. I’m not shoving anything down their throats. I’m not pressuring anybody to change anything about what they do. I’m really just here to try to be an example of the love I feel to them.”

Saucier, 21, speaks with an easygoing, metered determination, wearing jeans and a black Social Distortion T-shirt. A musician himself, he volunteered at the Light for a year before he convinced those in charge to let him book younger, more aggressive bands, hoping to create a haven for kids who are alienated because of the kind of music they listen to. “They’ve been ostracized and really kind of left in the cold,” he says, “not loved the way I feel like Jesus Christ would have loved them.

“The people Jesus associated with,” he ruminates, “were the people who were ostracized in that day—the drunk people, the prostitutes, the people who nobody else loved, the people who felt alienated. I see a correlation here.”

In an earlier hardcore era, this would sound absurd, as keynote bands like Born Against, Econochrist and Christ on Parade completely disemboweled Christianity. Yet the Christian hardcore scene has managed to flourish into a nationwide movement largely indistinguishable from its secular counterpart. With names like As I Lay Dying, With Blood Comes Cleansing, Underoath, Hopesfall, Haste the Day and It Dies Today, the genre’s best-known bands play music full of screaming, volume and anger. It’s even acceptable, almost encouraged, to intentionally obscure religious affiliation. (Saucier insists that “most good hardcore bands are Christian.”)

“I know that the punk scene, as per my knowledge, is kind of nonexistent right now,” says Saucier. “And it’s a bummer to me, because it’s the music that I like. I come from an old-school sort of punk, real hardcore background—Minor Threat, stuff like that. I love that music. And I think a lot of the ideals it was founded on probably do go against the grain of Christianity. But I don’t believe that Christianity is my savior, I believe that Jesus Christ is.”

Bands need not be Christian to play the Light, but they’re nonetheless expected to be positive in their content. Saucier asks the bands to try not to swear, with varying results. Saucier admits to worrying that a prankster band will hit the stage and unleash a torrent of obscenity. “Every night,” he says, “I think, ‘OK, someone’s gonna do it.'”

Later, Saucier gets more than he bargained for when Alphabetix, a female hip-hop duo from Portland, storm the stage unannounced. Though the raps are mostly obscenity-free, the final song does the trick: both girls completely unzip their pants to reveal oversized tufts of fake pubic hair before launching into “Fur Bikini,” a song explicitly touting the pleasures of avoiding the Brazilian wax. Saucier looks nervous, but the crowd goes nuts, and no parents complain.

Most bands more typical of the scene are toned-down, almost harmless. A Christian screamo band from Concord, Dreams Die First, are also on the bill tonight, with singer Jon Leyden replete in tight pants, eye makeup, studded belt and early MySpace haircut. “I don’t know if this club has a rule about dancing,” muses Leyden. “Can you guys do that here?” The crowd of about 50 cheers, but when the song starts, no one moves; instead, they hold digital cameras, looking bored, waiting to go home to upload the photos online.

The band blister with volume and speed, and Leyden’s fierce growl fills the room. But between songs, he’s coy and affected. He apologizes pointedly for his fly being down, and in the same quasi-ribald fashion teases the guitarist with a suggestion to strip off his clothes. It’s about as tame as tame can get—except that between songs, he sometimes utters the word “hell.”

Back outside on the sidewalk, Conrad rolls his eyes. “In the hardcore scene especially, Christians have been invading for a while,” he rues. “They’re trying to play this music which is based on rebellion and always has been. It’s a little frightening.”

Hazel & Vine, Waive, Days into Years, and Ashes Ashes play this Friday, Oct. 5; Five Victims Four Graves, By His Stripes, Awaiting the End, All Teeth and Hear the Sirens play Saturday, Oct. 6. The Light, 525 Fifth St., Santa Rosa. 8 pm. $5. www.lightconcerts.com. By unholy coincidence, the Rock of Ages Christian music festival rolls it out Oct. 6 in Calistoga. www.rockofagesfestival.com.


Clark Wolf’s Napkin Notes

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Photograph by Ed Troxell
Dangle: Grapes and Galas at the Sebastopol Farmer’s Market.

By Clark Wolf

Splitting his time between Guerneville and Manhattan, acclaimed consultant Clark Wolf graces these pages with the occasional diatribe from the periodic local.

Have an apple. Have a pear. For goodness sake, have a handful of recently harvested grapes! As September ends, yet another brilliant peak harvest season turns toward the next crop and the crunchy fallen leaves beyond.

I really am done with peaches for the year, focusing on dry farmed tomatoes and dreaming of pomegranates and Pixie tangerines. In the wonderful film Postcards from the Edge, Meryl Streep’s Carrie Fisher-inspired character complains that instant gratification “takes too long.” But with ripe fruits, anticipation seems just right.

The last year or so has also seen a hefty crop of what I can only call publishing-related stunt farming. You know, where a writer gets a contract for a book or an article that requires him or her plus family to live for a year on the crops grown in their basement bathtub or out of their rooftop flower pot collection or even from their previously overgrown and somewhat frightening Brooklyn backyard, so they can tell (and sell) the story of magic and woe relating to what humans have been doing for thousands of years. Namely, growing food.

It’s like publishers have just discovered that food comes out of the dirt and that&#8212what a shock!&#8212dirt (known socially as “earth”), is all around us.

Compelling writing though it may be by bestselling novelist Barbara Kingsolver, her popular book, Animal, Vegetable, Miracle: A Year of Food Life doesn’t change, for me, the fact that there is a sort of moral high-ground of opportunism involved. It’s a bit like Salman Rushdie’s soon-to-be ex-wife Padma Lakshmi kicking her Manolo Blahnik stiletto-heeled toe in water while the wind machine blows her hair and she undulates her lips in the introduction to the Bravo TV’s hit show, Top Chef. As a TV exec recently explained to me, “These are television values, not food values.” So, too, with stunt eating.

I appreciate the enthusiastic sense of discovery and am pleased that more men and women aged 15 to 55 are discovering the pleasures of public (and low-cut) cookery. But for those of us who treasure the common sense of at least somewhat natural living, paying attention to the seasons as they come and go year after year, the term “big whoop” comes firmly to mind.

That said, some of this is simply good writing and storytelling, both to be respected and enjoyed. If it is the current fashion to idealize&#8212or even make indie films of&#8212working the land, then it’s a fad-let I can swallow. Just as greening things is all the rage, thoughtful foodism can have lasting and meaningful results if we can work through the dross. There’s nothing wrong with going along with the crowd if the crowd is going somewhere swell.

Ms. Kingsolver says, “No matter what else we do or believe, food remains at the center of every culture. Ours now runs on empty calories.” She adds, “A lot of us are wishing for a way back home, to the place where care-and-feeding isn’t zookeeper’s duty but something happier and more creative.” I wholeheartedly agree.

I suppose it’s really the blogsters that have me cranky. I’m all for free speech but editors are one of the great gifts of the civilized world. So too are editorial meetings, where the Straight Face Test (“Are you kidding me? Another story about purslane?!) weeds out embarrassment before they can go public.

That said, the reasonably ingenious website www.locavores.com is full of interesting information and resources for learning more. But www.eatlocalchallenge.com makes me chuckle. First, why does food need to be a competition? We’re not exactly vying with the mountain lions for life-sustaining kill. And really, how challenging is it to eat locally in the North Bay in September? It’s a treat, a treasure, a privilege and not nearly as challenging as 10 minutes in a Costco.

More interesting to me us the growing movement, or rather return, of raising chickens out back. Not surprisingly, this practical and logical phenomenon is showing up in places like Oakland, Austin, Brooklyn, Seattle and Portland. But it’s the flocklets in Chicago and Houston that catch my eye. “Chickens are the gateway animal for urban farming,” says our own former REV columnist Novella Carpenter as quoted in the New York Times. And there are all those good eggs. Carpenter’s writing a book too, about her “menagerie” of urban Oakland birds and rabbits, turkeys, duck and the occasional pig that should have enough how-to&#8212both husbandry and interpersonal&#8212to be of real use. Check out her posts on yourcityfarmer.blogspot.com as well as thecitychicken.com and backyardchicken.com for more. When live animals are involved, the experience moves quickly from stunt to real life to, well, Sunday supper, a trajectory I can warmly embrace and enjoy.

So, this harvest season make an extra effort, if you can, to relish and rejoice. Let flavor and freshness guide your nose to good foods, some&#8212but perhaps not all&#8212raised by your neighbors and friends, by farmers you know or ranchers you trust. It doesn’t have to be a challenge or a game. Better yet, make it a party.

Clark Wolf is the president of the Clark Wolf Company, specializing in food, restaurant and hospitality consulting.



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Wal-Mart approved for American Canyon and Fairfax residents plead with the city

not to fix a bridge felled by the 2005 New Year’s flood.

BIG BOX BATTLES

After three years of legal opposition, a 24-hour Wal-Mart Supercenter opened Sept. 19 in American Canyon. That’s good news for American Canyon’s bottom line, says city manager Richard Ramirez. Because the project faced stiff courtroom opposition, he says, “we did not budget for any additional revenue.” The city is predicting more than $600,000 in additional sales tax from Wal-Mart and the surrounding shopping center. The city will monitor its actual income and adjust its budget accordingly.

But does a “big box” like Wal-Mart generate new revenues or just cannibalize the sales taxes once collected by local businesses, asks Marty Bennett, co-chair of the Living Wage Coalition of Sonoma County. Opponents of the American Canyon Wal-Mart unsuccessfully argued that another environmental impact report was needed. Bennett and others would like to expand the planning process to include a community impact report (CIR) for large projects.

CIRs are already being used in San Jose to access impacts on small businesses, employment, housing, smart growth design, community services and public healthcare, as well as potential fiscal costs and benefits to the city. Wal-Mart currently has no super centers in Marin or Sonoma counties, but its plans call for adding more than 40 of these extremely large stores throughout Northern California, Bennett asserts. A CIR “doesn’t mandate any mitigations but it does supply good information to decision-makers,” he explains. While no Wal-Mart super centers are currently proposed for Petaluma, that community is reviewing plans for Target and Lowe’s store locations. A community forum to discuss a potential CIR ordinance will be held on Tuesday, Oct. 2, at the Petaluma Public Library, 100 Fairgrounds Drive, from 6:30-8:30pm.

The Creek Road Bridge in Fairfax was damaged in the 2005 New Year’s Eve floods and closed to all traffic; early this year it was opened only for bicyclists and pedestrians. Rather than clamoring for repairs to finally get done, at least some nearby residents like the lower traffic loads on their streets and want to keep the bridge off limits to all motor traffic except emergency vehicles. Other residents&#8212especially those along the detour route&#8212don’t like the higher level of traffic in their area and want the bridge restored to its former state. Fairfax can’t afford the $500,000-plus repair bill without state and federal funding, which mandate that the bridge be open to all vehicles, says Town Manager Linda Kelly. Plus, Kelly says, equal numbers of neighbors support and oppose reopening the bridge. So the town is considering other traffic-calming measures.


First Bite

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Editor’s note: First Bite is a new concept in restaurant writing. We invite you to come along with our writers as they&#8212informed, intelligent eaters like yourselves&#8212have a simple meal at an area restaurant, just like you do. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience.

There’s a gorgeous patio with stunning views of the water at Claudio’s Trattoria in Bodega Bay. It’s decorated with bistro tables charmingly complete with yellow umbrellas despite the glass roof, as well as lush plants and flowers.

On a recent early evening visit, the sun was setting, and the bay was dancing into darkening navy pools struck with brilliant red. No matter how long I live here, I’ll never fail to be smitten by that sight, and this Tuscan cafe is one of the best places to catch it.Inside, the ambience is equally enticing. Claudio’s has been open for about a year, yet it feels like it’s been there for a much longer, well-loved time. Owners Betsy and Claudio Capetta previously operated a restaurant of the same name in Sebastopol in the mid-1990s. Its cottage interior soothes with warm buttercup walls, bistro-style chairs, and a home-fashioned décor of potted plants, kitschy Italian art and even empty Chianti bottles turned into tabletop vases. The owners greeted us at the door, then bid us farewell as we wander out at meal’s end.

Pretty perfect? Yes, and especially for the low-key dinner I wanted after a long, hectic week of way too much work and too much thinking.

This cooking isn’t cutting edge, and it’s not rock-the-world, but it’s plenty competent, and friendly for its familiarity: sturdy spaghetti and meatballs ($16.95), eggplant parmigiana ($16.50), veal Marsala ($18.75) and the like. In a nod to its waterfront setting, it’s a fine option for ocean-minded folks seeking a tasty cioppino (brimming with calamari, mussels, clams and shrimp in just spicy-enough marinara over linguine ($22.95), or an admirably tender calamari steak ($18.50) sautéed simply in lemon butter.

Ravioli casalinga ($16.95) is pleasant, too, tucked with cheese in an earthy mushroom cream sauce, while lasagna ($16.75) is wonderful to keep warm with as the bay breezes start to kick in. I’d expect a wedge salad in an old-style spot like this, and it’s here ($6.75), topped with chopped tomatoes and better only if it came with big fat crumbles of real bleu cheese instead of bleu cheese dressing.

And though it’d be a more mom-and-pop meal if entrees included salad for the relatively high price, or a more interesting basket of bread, those are minor quibbles when the chef sends out such a savory dish as veal Claudio ($18.75), layered with prosciutto, fontina and peas in a sweet sherry wine sauce.

The true highlight, though, is the antipasto della casa ($10.25). I painfully crave, as I recount this now, the enormous sampler blossoming in a pretty starburst pattern with tangy marinated artichokes, assorted olives, roasted red peppers, assorted cured meats and mild cheeses, bracingly salty anchovies, and a centerpiece of gorgeous bruschetta buried in lots of great gutsy garlic.

For dessert, classic cannoli ($6.25) fills the bill, stuffed with sweet ricotta and chocolate bits. Sipping a strong espresso alongside, out on the patio, with the full moon sending silver streaks across the black waters of the bay, it’s a perfect ending.

Claudio’s Trattoria, 1400 Highway One (Pelican Plaza), Bodega Bay. Open Saturday and Sunday for lunch; Tuesday through Sunday for dinner. 707.875.2933.



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First Bite

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