Profile: The Subdudes

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10.03.07

You have to pay attention.

A casual listen to the (lowercase-loving) subdudes’ newest recording, Street Symphony, will catch the easygoing virtues the New Orleans&–rooted band is known for: the effortless grooves, the keening accordion and slicing slide guitar, the soulful vocals and tight group harmonies. But you might overlook the pain.

This is the quintet’s first release since Behind the Leveein early 2006, so it contains their first post-Katrina songs. In some cases, notably “Thorn in Her Side,” the reaction is overt and angry. But most of Street Symphony‘s lyrics are more reflective than reactive, laced with bittersweetness and carried by the subdudes’ casually assured musicality. They appear Oct. 5 at the Sebastopol Community Center.

The hurricane and its aftermath “affected us all pretty heavily,” says bass player Jimmy Messa, one of three band members who grew up in or around the Crescent City. “The band came together there, and it’s still a very special, spiritual home for us.”

A sense of lingering loss and dismay is tucked away behind the upbeat first impressions offered by key songs on Street Symphony. Messa says it was a deliberate choice to engage the body first and the intellect second.

“As times goes by, you’re angry about certain points and you’re saddened about certain points, but people don’t want to hear you moan about it or protest, so you gotta kinda veil what you want to say in a nice little sugarcoating,” he says. “It might be a little introspective lyric that’s trying to get a point across in a bouncy, peppy musical package. It has to be kinda, ‘You figure it out.’ So I’m hoping people will read between the lines, which they have so far.”

“Stranger,” “Fair Weather Friend,” the elegiac “Brother Man” and “I’m Your Town” can each be read as an oblique call for broader compassion and action for the band’s beleaguered hometown and its denizens. But that sober subtext fades alongside the warm, empathic portraits offered in “Work Clothes,” “Poor Man’s Paradise” and the title track.

Of course it helps that the CD as a whole brims with the genial intimacy that is the subdudes’ onstage calling card. Street Symphony was recorded in the Nashville studio of producer George Massenburg (Linda Ronstadt, Little Feat, Earth Wind & Fire), using an unusual approach.

“We all sat in a circle facing each other,” Messa recalls, “and normally the producer is in a booth, behind a big sheet of glass, but he was sitting right there next to us with the mixing board. And it ended up being so relaxed and nice and intuitive, it was just like playing live, live in your living room. Which yielded a real good performance.”

This is the eighth recording in the subdudes’ catalogue and the third since the band regrouped in 2002. They initially formed as a quartet in 1987, three-quarters of the members (guitarist and vocalist Tommy Malone, accordion and keyboard player John Magnie and original bassist Johnny Ray Allen) coming from another New Orleans band, the Continental Drifters, which also included Messa. Teaming up with Steve Amedeé, whose tambourine is the band’s main percussion, the band soon elected to hone their sound elsewhere, and migrated to Colorado. Messa stayed in touch, but stayed behind.

“Bad career move,” he grins. “They went on and immediately got a record contract with Atlantic, and I was hitting myself in the head: ‘Stupid, stupid, stupid.'”

Over the next 10 years and five albums, the subdudes built a sizable following, then decided to take a little break. It lasted five years.

Gradually, time and circumstances brought Malone and Magnie together again, and soon a retooled version of the band was back in action, this time with Messa aboard. Another five years in, and an older and wiser subdudes are hitting their stride.

This time, Messa says, “I don’t see us stopping. It’s too ingrained, it’s too fun, it’s pretty much what our lives are. We’ll probably continue in this pattern for quite a while, until something drastic happens down the road.

“But for the moment, it’s just too good, too good to let go.”

The subdudes play the Sebastopol Community Center on Friday, Oct. 5, at 8pm. 390 Morris St. $25; premium seating sold-out. 707.823.1511.


Review: ‘December Boys’

10.13.07

Since Australia is a pipeline of huge female talents, there’s some likeliness that December Boys‘ Teresa Palmer (above) is the next big thing. She has a self-assured walk and a drastic way with men. The problem is one of intensity. In a seaside cave—Remarkable Rocks on Kangaroo Island, off the coast near Adelaide—Palmer, playing a lass named Lucy, seduces the untried Daniel Radcliffe (that’s Harry Potter to you).

Radcliffe portrays an orphan nicknamed Maps. In his chance to break out of the role of Young Mr. Wizard, Radcliffe falls back on the same shy, pale and slightly blocked manners he has at Hogwarts; it’s not clear if he has any other speed. And since Palmer’s Lucy has to do all the work in seduction, she seems convinced she’s burning a hole through the screen. That’s not an idea any actor should allow themselves. (That said, Michael Powell’s last movie, 1969’s Age of Consent, had a similar beachside Oz odalisque. No one would have expected the gawky blonde beachcomber to grow up to be Helen Mirren, which is exactly what happened.)

Set in the late 1960s, Boys follows four denizens of a Catholic orphanage in the Outback who are sent out to spend a holiday by the sea. Their foster father for the summer holidays is a portly, jovial old ex-Navy sailor (Jack Thompson), who blows a bosun’s whistle and refers to his wife as “Skipper.”

The resort is a series of half-painted shacks linked by a small boardwalk and by a pair of electric wires climbing up hill to a clanky gas generator. It’s a funky background to the adventures of Misty, Sparks, Maps and Spit. Puppies by name, they’re pretty much puppies by nature. The real highlight of their summer vacation is the boys’ glimpse of a naked girl. She’s their neighbor Teresa (Victoria Hill), the French wife of “Fearless,” a trick motorcycle rider at the local carnival. (Sullivan Stapleton plays him, with the tepid brooding of the thug on a soap opera.)

Misty (Lee Cormie), a shy artistic kid with thick spectacles, is the narrator of this “summer we became men” story. Early on, he hears that the childless Fearless and Teresa are considering adopting a child, and he tries to be as good as possible so that he’ll get the position.

The Catholic strain in the story is both lampooned and honored. There’s a fantasy sequence about cartwheeling nuns, as well as a serious guest appearance by the glowing Virgin Mary herself. This piousness is counterpointed with more gutsy material, but a Disney story with breasts and butts is still a Disney story. It’s just the sun, the sea, the landscape and the summer girl that end up justifying this movie, if anything justifies it.

December Boys opens on Friday, Oct. 5, at the Rialto Lakeside Cinemas. 551 Summerfield Road, Santa Rosa. 707.525.4840.


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Wines: Harvest Fair Gala

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When at the track, it’s popular to stand by the show ring and study the horses in the next race. Why this is popular remains unclear. Most people find that they can’t tell anything about the winner simply by looking at the horses. It could be the frisky horse or the one with taller shoulders. Some people just like a gray and white spotted horse.

Similarly, over 500 wines were lined up at the Sonoma County Fairgrounds for last weekend’s Harvest Fair Gala, and who could pick the winner from among them? Notwithstanding the occasional aroma of “sweaty saddle,” winemaking isn’t a horse race—is it? Under the darkened dome of Grace Pavilion, a well-dressed crowd bathed in twinkly, flattering, gold-hued lights meandered among winery tables. It’s a locals night, albeit a bow-tie and high-heels locals night. Some were in social high gear, others grazed down the line of local food purveyors. Unlimited winetasting at Sonoma County’s largest tasting room was almost an afterthought. Fregene’s exotic mushroom and Gorgonzola pizza, a must.

All eyes were glued to giant screens as they announced the gold medal winners, and cheers went up from particularly spirited groups. Among the golds were some of my favorite picks from the past year, like the Eric Ross and Sapphire Hill Syrahs, and the Woodenhead Zinfandel. For this schmooze fest, many of the owners and barrel jockeys were on hand, as were dozens of small wineries I’d never heard of; others were notable in their absence. The winning wines were announced live on the center stage after much ado. Later, I stumbled upon the red winner, De La Montanya’s 2005 Christine’s Vineyard Pinot Noir. Drum roll . . . It was rather pleasant. The funny thing is that their table was not mobbed at this event; a different story will likely unfold at the Harvest Fair this weekend. Everybody likes a winner. Hope it’s a big vineyard.

Unlike the free-for-all that is the gala, tastes are metered by pour spout at the Harvest Fair tasting, and available in exchange for tickets (find the sparkling wine folks in a good mood, and you might get half a glass). But general admission is only $6 and—this is a big plus—the Harvest Fair features a daily llama parade. And gambling types, now that the results are in, can at least place a private wager on the winning team at the Grape Stomp.

The Sonoma County Harvest Fair runs Friday–Sunday, Oct. 5–7, at the Sonoma County Fairgrounds. 1350 Bennett Valley Road, Santa Rosa. Friday, 10am to 8pm; Saturday–Sunday, 10am to 7pm. Winetasting hours: Friday, 3pm to 7pm; Saturday–Sunday, 12:30pm to 5pm. Admission, $6; souvenir glass and two tasting tickets, $7. Additional taste tickets are $6 for four. www.harvestfair.org.



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Scissors Cut Paper

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I looked into my opponent’s eyes, and they weren’t kind. His right fist, resting on his left palm—what would it do? The referee threw his hand in the air, and the pounding began; one count, two counts and then—oh, as sharp as a knife in the chest!—two outstretched fingers, pointed victoriously in the direction of my feebly flattened palm.

“Scissors cut paper!” declared the referee, and with a swift hole-punch on my competitor’s badge, I had been cruelly eliminated in the first annual Rock Paper Scissors Championship at Roshambo Winery.

That was five years ago, but the memory still burns. Not since I’d played Little League had I felt such a surge of adrenaline, a crazed rush of competitive vigor, and then a complete deflating of the ego. After all, if you can’t win at Rock Paper Scissors, what in God’s name can you win at?

No one with anything even remotely resembling a sense of humor can deny the brilliance of an actual Rock Paper Scissors championship; the only strategy is to pretend, so hard and so convincingly, that there is, in fact, a strategy, therefore intimidating the opponent into throwing the wrong hand. Or the right one. It is luck, after all, right?

Graham Walker, co-author of the Official Rock Paper Scissors Strategy Guide, doesn’t think so. His tips involve a blend of simple statistics (most rookies, for example, throw rock first, while paper is thrown the least overall) and tactical psychoanalysis of opponents’ moves (watching for patterns, counting throws, anticipating moves based on prior outcomes). There’s even a whole category of ways to mentally suggest a throw into the opponent’s mind.

These tips may work—or they might not. Last year’s champion, Philadelphia’s Kristen Lantz, was returning from a Hawaiian honeymoon with her husband when, on a layover whim, the newlyweds decided to drive to Healdsburg to compete. She outlasted 256 other opponents and took home the $1,000 purse, prompting Roshambo president Naomi Brilliant to declare, “This just proves that guys have no idea what’s going on in a girl’s mind, while the ladies know exactly what guys are thinking.”

Part competition, part theater of the absurd, the Rock Paper Scissors Championship has drawn lovers of good, clean fun for five years now. But not everyone is amused. Josh Drake, erstwhile promoter of the Supreme Pro Wrestling matches at Petaluma’s Phoenix Theater, was overheard condemning the Championship recently. “Let me just go on record,” the wrestling honcho declared, “by saying that that’s not actually a sport.”

The fifth annual Rock Paper Scissors Tournament takes place on Saturday, Oct. 6, at the Flamingo Hotel. 2777 Fourth St., Santa Rosa. Noon to 6pm. $20 competitors (advance registration a must); $10 spectators. www.roshambowinery.com.


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.


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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.


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.


Sweets for the Sweetwater

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All photographs by Elizabeth Seward

This could be the year that Mill Valley stops being too good to be true, with the town seeing the recent closures of local institutions Village Music and the Sweetwater Saloon. One wonders if the southern Marin nook so famous for retaining a tinge of local bohemia will soon comprise nothing but upscale chain boutiques. (On a high note, Sweetwater owners Thom and Becky Steere have just announced plans to reopen the club at 32 Miller Ave.)

At the Sept. 22 farewell gig, Sweetwater’s last night open to the public with local favorites the Mother Hips headlining, regulars bid adieu to their favorite downtown bar with one last awkward stroll next to the stage to reach the restroom and a final tiptoe lift to see the performers from the back of the room. “This is my chair,” says Mill Valley resident Sandra Meadows, decked out in all black. “I don’t what we’re going to do for music. It makes me really sad.”

With over 30 years of surprise performers, from Jerry Garcia and Elvis Costello to Sammy Hagar, we expected fashion to be just as eclectic. We were not disappointed.

Chris Joseph, 30, San Francisco
The Story
When I first see him, I think Superbad‘s Jonah Hill has stopped by to steal some alcohol. It turns out to be Chris Joseph, A&R man for Reapandsow, a digital distribution company that’s working with all three bands that helped to close the Sweetwater down. While the Chicago native laments the shuttering of a venue beneficial to so many of his clients, he won’t miss how cramped it could get. “The bathroom’s in the corner and it’s really hard to get to that,” Joseph says of the place he’s visited for a decade. “I’m not a proud smoker, but I’m confident, so I have to hustle through the crowd to get outside.”

The Look
Joseph definitely wears his heart on both sleeves, with his outfit signifying his commitment to work, especially his striped Cricketeer jacket, which he received as a gift from musician Charles Gonzales, the first act on the bill. “He told me I saved his life by helping him get an apartment in San Francisco,” he recalls. “It required him to walk a lot, so he lost a ton of weight and gave it to me because it fits me.”

More interesting than his Armani glasses, brown Bacco Bucci shoes or Lucky jeans is Chris’ T-shirt adorned with the Reapandsow logo, a colorful evolutionary music-media chart that begins with a reel-to-reel and ends with the digital age.

Matthew Weeder, 32, Mill Valley
The Story
Weeder lives and breathes the ease and comfort of Mill Valley. He lives there, works at Mt. Tam Bikes in town and of course has frequented the Sweetwater since before he really should have. “I’ve been coming here since I was 18,” he says with a laugh. “You do the math.”

The Look
With autumn still young, Weeder’s red ski cap immediately strikes us as seasonal preparedness. We’re wrong. “I wear it during the summer too,” he says of his purchase from “a thrift store down the street. The old ladies occasionally knit hats, and they sell them up there. The best part is that it costs a dollar.”

The rest of Weeder’s outfit is similarly informed by his locale, with his work pants from Goodman’s and his boots from nearby Shoe Envy. The layered look that naturally comes from living in Marin is exhibited in his fleece, purchased purely for the sporadic need for warmth.

Michael van Wolt, 55, Sausalito
The Story
It’s no wonder that van Wolt lives in Sausalito’s houseboat community, because his attire immediately evokes the luxury of a yacht and the worldliness of a jet setter. Originally from the Netherlands, he travels frequently for his job as a mediator. Yet places like the Sweetwater have made van Wolt feel at home since he moved to Marin in 2000. “I think the closing is awful,” he says. “It’s a tradition, and it’s just really a shame that it’s going.”

The Look
Van Wolt’s noticeably European look is largely owed to his brown Rosetti suede coat, which he purchased in Italy while on business. His khaki pants and shoes were bought in the Netherlands, but he regards fashion with a carelessness that suits his transient lifestyle. “I like Italian clothes, but for the rest of my style, I don’t really know,” he says.

Craig Weil, 40, & Erin Powell, 33, Chico
The Story
Weil and Powell hail from Chico, the birthplace of the Mother Hips. The close friends traveled here to see their favorite band at the venue that’s hosted them countless times over the years. “It’s an interesting place,” says Weil, an information-services manager at a nonprofit. “For as small as it is, it’s got a great sound and the crowd stays pretty mellow.” Since the Hips don’t play Chico much anymore, the duo often leave town for them. “Great band,” Weil says. “Worth traveling for.”

The Look
Powell’s leopard-print top jumped out at us immediately. “Our friend in Novato just started working at the Goodwill, so I found this shirt there,” she says. The night before, at a country music&–themed Hips show, she had sported a Western shirt, but she felt that tonight’s performance needed a “rock ‘n’ roll” look. Much of Powell’s outfit comes from Chico, her amber earrings from a local farmers market and her Santana waterproof boots from the Birkenstock store in town. Besides her necklace, which she received as part of the Temple of Hope crew at Burning Man, Powell is proudest of her most recent acquisition. “Since the Sweetwater is closing, I wanted to get some of their clothing, so I purchased one of their red hoodies tonight.”

Though Weil looks perfectly fitted out in his T-shirt, jeans and glasses, he says he rarely shops. “Anything I’m wearing right now was pretty much given to me—the rings I wear, the Seiko watch,” he says. When he does buy clothes, it’s mostly at stores in downtown Chico. Despite his dressed-down look this night, Weil’s fashion palette runs the gamut, a necessary evil of his profession. “Sometimes, I have to wear a suit and tie, but sometimes I have to climb under desks inside of attics,” he says. “At a nonprofit, you have to do a lot of things yourself.”

John Hofer, ‘141,’ San Francisco
The Story
When we see a tall, Ric Ocasek&–looking guy with a shag haircut and a tasteful orange and brown ensemble, we somehow know he’s in a band. It turns out to be John Hofer, drummer for the Mother Hips, who have become more than familiar with the Sweetwater since their inception. “I think it’s a travesty and a tragedy and a bunch of other terrible t-words,” he says. “What the fuck is wrong with this city? First the record store and now this?!” The band will have time to ponder it on the way to shows in Chicago and New York before returning to play hometown shows and work on the follow-up to Kiss the Crystal Flake.

The Look
Although he could be the most stylish of the band, Hofer finds shopping to be a chore and a difficult thing to focus on when on the road. “I got these clothes at thrift stores across the United States,” he says, “except for these jeans. I bought them brand-new, probably at a Levi’s place.” Hofer insists his look is effortless and not special for the show. “I’ll be wearing the same type of thing tomorrow.”

Ann Solomon, 36, & Florence LeGoff, 40, San Francisco
The Story
It’s rare to see someone and her boss on the town together, but Solomon and LeGoff do it in style. “She’s a way cool boss,” Solomon says of her supervisor at a San Francisco tech firm. When I ask if this is a strategy for a raise, she laughingly replies, “I think it’s already in process.” Although LeGoff has never been to the Sweetwater before tonight, Solomon’s determined to party it up one last time. “We’re just going to close this place down,” she says. “It’s pretty sad that they couldn’t find the means to keep it open.”

The Look
LeGoff’s reddish bob is perfectly complemented by her brown newsboy hat, which she bought for $30 from a department store in San Francisco. “I bought it tonight and I love it,” she gushes, “and I love brown.” Rounding out her outfit are Nine West boots, trusty old jeans and a pink blouse purchased at Marshall’s. It’s also hard to ignore the bling on her wrist, courtesy of Rolex. “It’s the only thing worth anything!” she laughs. A constant traveler, LeGoff looks for a European style of clothes, but convenience is also a factor. “Nothing that wrinkles and stuff you can pack and travel with,” she says of her shopping agenda.

Solomon sticks with simple fall colors with a black Banana Republic sweater, Paige jeans and J. Crew headband and boots. Her most prized accessories are her own creations, represented this night by a pewter necklace. “I try to stay ahead of the trends,” she says of the hobby that recently led her to San Francisco’s brand-new Barney’s New York. “Mined organic rocks and crystals are really the thing right now.” After admiring her neckpiece, I urge her to imagine doing her jewelry full-time. “That’d be nice,” she says, chuckling. “No more kissing ass!”

Antonia Cipollina, ageless, & Ruben Ray, ‘forty-something,’ Mill Valley
The Story
The most rock ‘n’ roll-looking people, more so than even the performers, are Cipollina—sister of the late John Cipollina of Quicksilver Messenger Service—and her partner, Ruben Ray, both longtime Mill Valley residents. Their connection to the tiny stage runs deeper than we knew. “All my brothers have played here, I’ve played here, my students have played here,” says Cipollina, a piano teacher. “It’s the warmest atmosphere of any club I’ve ever been to.” The local loss is compounded for Cipollina, whose brother-in-law John Goddard is the owner of the similarly mourned Village Music.

Ray is also a musician, a guitarist who once played the Sweetwater with Barry Melton of Country Joe fame. “I think it’s horrible,” says the guitarist and cab dispatcher. “Now there’s nowhere to go to have fun in this town anymore.”

The Look
For this couple’s look, dark hues are a necessity, with Cipollina wearing a long flowing black coat above a purple dress. “I’m wearing thrift-store clothes and stretch pants,” she says of her instinctual eye for fashion. “No style label for me.” Ray’s black coat, black Levi’s dress pants and boots from Corte Madera’s Town Center wouldn’t look out of place on the Sunset Strip, but he doesn’t discriminate in his shopping choices.

“I shop wherever there’s a good sale with quality clothing,” he says. “I’ll go anywhere from Macy’s to Ross Dress for Less. I hate to admit it, but they have some good deals.” And if the Sweetwater’s passing is like CBGB’s, Ray’s black bangs make him the resident Ramone, a comparison he’s heard many times. When I suggest the stage name Ruby Ramone, he corrects me in an exaggerated Spanish accent: “Rrrrruuby Rrrrrraaaaamooone!”

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.

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.


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First Bite

10.13.07Editor'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...

Shaggy Dog for a Good Cause

Gabe 'the Nose' Meline ...
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