Back in Black

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July 4-10, 2007

The grammatically exuberant group Against Me!, one of the most exhilarating live bands I have ever seen, release a major label debut next week, and rarely has a punk rock band so fully demagnetized the admiration of their fans in one simple act. The Gainesville band dedicated 2004’s tour DVD We’re Never Going Home to the unsuccessful wining and dining of major label executives, stating that they remained nonplussed with the enemy world of corporate music; the next year a message appeared on the band’s website. “Submitted for your disapproval: Against Me! signs to Sire Records.” New Wave, a stab at overproduced hit-making hitting stores next Tuesday, could finalize the dismay.

Against Me!’s closest musical predecessor is the Clash, except that the swift career arc of Against Me! has followed every predictable cliché, beer bloat and all. At the Gilman Street Project in Berkeley three years ago, a transcendentally energetic set had frontman Tom Gabel climbing onto bassist Andrew Seward’s sturdy shoulders, beating on his Rickenbacker and screaming to the rafters. Last month at the Warfield Theater, skewered on an awkward label co-billing with the heavy metal band Mastodon, the band acted calmer but were far less at ease, rehashing formulaic maneuvers and poses, as if scared to be themselves.

The band’s back catalogue is peppered with anthems, and while Against Me! are onstage, most of the band sings along. Not that anyone could hear–the crowd usually sings louder than the band, even during the songs about how stupid it is to sing along. Rousing the audience more than any other is “Turn Those Clapping Hands into Angry Balled Fists,” a diatribe from the band’s masterpiece, 2003’s As the Eternal Cowboy, that indicts the suburban lifestyle simply by listing off its comforts. In the fourth stanza, out of nowhere, Gabel screams, “I hate these songs! / I hate the words that the singer is singing! / I hate these melodies! / I hate these stupid fucking drum beats!”

What does this mean, when a singer in a band tries to get people to sing along to a song about a singer in a band who tries to get people to hate singing along to a song? Now, Against Me!’s latest attempt is a doozy: New Wave‘s “White People Against the War” very well could be the only empowering political anthem about the futility of empowering political anthems. The chorus is slick, with pitch-perfect harmonies straight out of the Bad Religion handbook: “Protest songs in response to military aggression / Protest songs to try and stop the soldier’s gun / But the battle raged on.” At the Warfield, the band followed “White People Against the War” with more material from New Wave, ending with the album’s closer, “Ocean,” a long, slow dirge about the emptiness in Gabel’s soul.

On the floor, the crowd stood still, mouths open but silent.


Summer Repertory Theater’s ‘Working’ and ‘The Talented Mr. Ripley’

July 4-10, 2007


‘Work is an essential part of being alive.”

So states one of the 16 eloquent, funny, loquacious, reserved, conflicted, happy, miserable and/or completely satisfied characters in Studs Terkel’s Working. This rarely produced 1978 musical by Broadway mastermind Stephen Schwartz (Godspell, Wicked) is a glorious, unexpectedly powerful celebration of the American working stiff, based on Terkel’s award-winning oral history of the men and women who serve our tables, deliver our packages, protect our streets, build our houses, bake our bread, park our cars, fight our fires, clean our offices, pick our vegetables and teach our children.

Along with Phyllis Nagy’s adaptation of The Talented Mr. Ripley, the show opened last week, kicking off a five-week run as part of Santa Rosa Junior College’s annual Summer Repertory Theatre season, a renowned training program for theater students from around the country. Having already opened the Victorian musical-melodrama The Mystery of Edwin Drood, SRT will have a total of six plays running in repertory by the end of the summer. (Moliere’s Learned Ladies, Jonathan Larson’s Tick, Tick . . . Boom! and Disney’s ‘Aladdin Jr.’ are still to come.)

If the rest are half as good as Working and Ripley, this looks to be the best SRT season in recent memory. New artistic director James Newman has shaken things up, eschewing the usual blockbuster musicals and classic comedies that sell tickets, instead packing the season with lesser-known shows, some of them decidedly odd and offbeat.

The main question is whether these shows will draw an audience. Based on the opening-week performances of Working and Ripley, I can only say that if theatrical work this good doesn’t end up playing to packed houses by the end of the summer, something is wrong with North Bay theatergoers. To put it more succinctly: I recommend that you not miss either of these shows, especially Working.

Directed by Mollie Boice, Working is essentially plotless, since it is taken from a series of interviews Terkel conducted with various workers across the country, but the show still carries a compounding arc of momentum and emotional power that most thrillers would envy. On Peter Crompton’s magnificent set–a colorful collage of restaurant marquees, truck-stop signs and various brick and steel structures–a cast of 10 take turns playing an array of American workers, speaking and singing their hearts out about the jobs they do, why they do them, the reason they love or hate them and whatever it is they’d rather be doing.

Some of the insights are amusing (“You can always tell an iron worker because they have no hair on the inside of their legs,” reveals Eric Firdman as an intellectual construction worker); some are eye-opening (a corporate CEO justifies paying his employees poorly by saying, “Unless you have losers, you can’t have winners”); and some are heartbreaking (actress Julie Marie Lewis brings down the house with the pained and powerful song “Just a Housewife”).

If all of this doesn’t sound like much of a show, I’m describing it poorly. Working rocks! Literally. The cast is backed up with an onstage band lead by musical director Mark Nichols. From the opening multivoice anthem “All the Livelong Day” to the emotional show-closing number “Something to Point To,” the sensational cast are in fine voice and magnificently nail the conflicting, manic-depressive nuances of being a working person in modern-day America.

Also excellent, though structurally knotty and intellectually challenging, is The Talented Mr. Ripley, based on Patricia Highsmith’s novel about a sociopath attempting to insert himself into a life that is not his. Think of it as The Importance of Being Ripley, a wicked variation on those classic British comedies in which someone is mistaken for someone else and plays along to hilarious if unbelievable effect.

In this case, Tom Ripley, a charming, chameleon-like psychotic, nicely played by an outstanding Scott Raker, is utterly convincing as the imposter, but unlike the more innocent comedies on which it is based, this drama takes the improbable set up and takes it not to hilarity and playful absurdism, but to deception, treachery and murder.

“If I wasn’t meant to overcome every obstacle in my path, why is it all so easy?” Ripley asks. It’s a good question.

After being mistaken for an old school chum of rich, young Dickie Greenleaf (Tyler Seiple), Tom is sent to Europe by Dickie’s worried parents, who charge Tom with convincing their son to come home to America. Once he’s made the connection, convincing Dickie that he’s an old friend, Tom sets his sights on another goal: becoming Dickie Greenleaf. The play, which is told in dreamy nonlinear fashion–partly inside the twisted brain of Tom Ripley and partly outside–is well-directed by Joseph DeLorenzo, and is aided by a flexible cast who play all of the other characters.

Especially fine is Kate Thomsen as Marge, Dickie’s assertive girlfriend, whom Ripley immediately sees as one of those aforementioned “obstacles.” She is alternately frightened and suspicious of Ripley, and assertive and strong as she tries to build a life with Dickie, even as he falls under Ripley’s spell. Michael Propster also shines as one of Dickie’s real school chums, instantly suspicious of Ripley. Propster imbues his performance with palpable danger, cramming deep threat into the oft-repeated line, “Tom, I don’t remember you at all.”

Because of the play’s dreamlike structure, blending Tom’s imaginative version of reality with actual events, skipping back and forth in time, The Talented Mr. Ripley is not an easy play to watch. You have to keep your wits about you, because like the entertainingly evil Tom Ripley, keeping your wits about you pays off enormously in the end.

All SRT performances take place on the SRJC campus, 1501 Mendocino Ave., Santa Rosa. ‘Working’ runs through Aug. 10 at Newman Auditorium. July 8 and 15 at 7:30pm; also July 15 and Aug. 8 at 2pm; July 24-25, Aug. 2-3 and 8 at 8pm. $8-$15. ‘The Talented Mr. Ripley’ runs through Aug. 8 at the Burbank Auditorium. July 14, 24-25 and Aug. 2-3 and 8 at 8pm; July 15 at 7:30pm; also July 15, 25 and Aug. 8 at 2pm. $8-$20. 707.527.4343. www.summerrep.com.


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The Byrne Report

July 4-10, 2007

Last week, I was talking by cell phone to Leslie Angeline, a Santa Rosa resident who was on the ninth day of a hunger strike in Washington, D.C. She refused food until Sen. Joe Lieberman of Connecticut met with her about his call to bomb Iran. (She has since been hospitalized without meeting Lieberman.) Angeline is supported by Codepink, a women’s peace group. I asked her if she knew of the United States Institute of Peace, a quasi-governmental agency created by Congress in 1984 to pursue nonviolent alternatives to war. She did not, but said it was worth looking into, on the off-chance that the U. S. cares about peace.

It turns out that the “peace” institute is a congressionally funded think tank staffed by neoconservative “thinkers” who supported the seizure of Iraq’s oil fields and are now swiveling their sights toward Iran. Under the guise of promoting peace, the institute facilitates war and occupation on an operating budget of $23 million.

The chairman of the board of directors is J. Robinson West, who is also the chairman of PFC Energy, based in Washington, D.C. According to its website, “PFC Energy has been a trusted advisor to energy companies and governments across the globe [since] 1984.” In other words, it lobbies politicians on behalf of Big Energy.

Check it out: Secretary of Defense Robert Gates sits on the board of the “nonpartisan” Institute for Peace; he headed the CIA under G. H. W. Bush. Another board member, Charles Horner, hails from the ultramilitarist Hudson Institute. Former Chevron board member Condoleezza Rice administers the institute’s endowment fund. The institute is a nonprofit corporation, which allows it to solicit donations. Chevron Corp. gave $10 million toward a $100 million building to be constructed on the Mall. The Annenberg Foundation donated $1 million. War contractor (and Sen. Dianne Feinstein’s husband) Richard C. Blum gave $100,000.

The building will be named after George P. Schultz, who is a board member of Bechtel, a major defense contractor. Schultz, a Cold Warrior, advised Bush-Cheney to advance the doctrine of preventative (first strike) nuclear warfare. The public education center at the George P. Schultz Great Hall will be named the Chevron Theater–which is, after all, what the peace institute is: theater.

The president of the institute since 1993 is Richard H. Solomon, formerly a senior staff member of the National Security Council. Solomon made his bones working for the RAND Corporation, the think tank that designed the Vietnam War. The institute’s CEO, Patricia Thomson, learned her trade while working at IBM Business Consulting, where she serviced the departments of Homeland Security, Justice and Defense. Vice president Charles E. Nelson emerged from RAND and the National War College. The institute retains Rudolph Giuliani’s law firm, Bracewell & Giuliani LLP.

Institute of Peace staffers organized James Baker’s Iraq Study Group, a collection of neocon brainiacs who figured out that their war on Iraq is unwinnable. The Study Group was composed of executives from PFC Energy, RAND, Bechtel and Citigroup as well as armchair soldiers from the Heritage Foundation, Hoover Institution, American Enterprise Institute and the Hudson Institute. To lead the study, the peace institute partnered with the Center for Strategic and International Studies, a nonprofit organization run by executives from the Carlyle Group, the Coca-Cola Company, Merrill Lynch & Co., Exxon Mobile Corp, Lehman Brothers, Morgan Stanley, Time Inc. and alleged war criminal Henry Alfred Kissinger.

The institute supports seven Iraq “specialists.” The most notable is Iraq Foundation founder Rend Francke, an Iraqi expatriate who, along with the infamous Ahmed Chalabi, abetted Bush-Cheney-Powell-Rice-Rumsfeld as they bullied and lied their way into invading Iraq in 2003. Francke later became the representative to the United States for the puppet government in Baghdad. Other Iraq specialists (many of them former military officers) learned the art of war inside the National Security Council, National Defense University and the Office of Secretary of Defense. The institute’s specialists for Africa trained at the World Bank, RAND, the State Department Bureau of Intelligence and Research, and the Defense Intelligence Agency.

The institute spends tens of millions of tax dollars researching symptomatic problems, such as, “Why suicide bombers?” It does not study the root causes of terrorism, such as America’s arming of the Israeli Weltanschauung, or our habit of brutally invading Third World countries to snatch their natural resources. Institute fellow Jill Shankleman has written a book praising oil companies for advancing what she calls their “social responsibilities” in developing countries. Shankleman, not surprisingly, “has extensive experience as a consultant for the petroleum industry,” according to the institute’s website. No wonder that the institute heavily lobbied the Iraqi congress to pass the hydrocarbon law that privatizes Iraqi oil fields for Big Energy.

It’s enough to make you puke. Or go on a hunger strike.

or


Sheets of Sound

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July 4-10, 2007

Last month, when greeted at New York’s Birdland by absolute strangers visiting from California, David Murray was unassuming and subdued; he offered a smile, an extended hand, a cool “Hey, nice to see you,” as if greeting old friends. Later, onstage, the tenor saxophonist introduced his first number with equally calm understatement, but once he began playing, a total transformation occurred: fingertips vibrating across the keys, eyes rolled into the back of the head, body slightly convulsing. It was like watching someone in the electric chair backed by a rhythm section.

Indeed, through the whole performance, the 52-year-old Murray played as if each breath were his last, sometimes to literal extremes, with minute-long passages of circular breathing techniques fueling his frenzied flights into the improvised unknown. No melody or moment remained immune to the aggressive skill at hand; at the end of a particularly uproarious bass clarinet solo, the bell of the horn accidentally fell to the stage. Murray picked it up, put it to his mouth, and shouted the rest of his solo to the audience.

Murray’s newest release is Sacred Ground. It is his 83rd album, and it’s among his best. Lured by the disparate styles of Coleman Hawkins and Albert Ayler, Murray made a conscious decision to avoid the shadow of John Coltrane early in his career, but on Sacred Ground, he has settled halfway between the two, a crazy neighbor taking up residence on Coltrane’s block. The vocalist Cassandra Wilson appears on two of the album’s cuts, singing the lyrics of the poet Ishmael Reed, but Murray’s soaring sheets of sound still steal the show.

Sacred Ground‘s centerpiece is “Banished,” a one-chord rumination inspired by the expulsion of thousands of American blacks from their homes between 1890 and 1930. Its feeling is reminiscent of Coltrane’s “Alabama,” and eerily so when played live at Birdland, where Coltrane’s original was recorded. The quartet hung on an F minor figure while Murray transfixed himself into his horn, blowing a sorrowful moan from unfathomable depths. At song’s end, the calm, casual demeanor returned, the eyes opened back up, and Murray was Murray again. Hey, nice to see you.


Timber!

July 4-10, 2007

On the east bank of the Russian River slightly northeast of Monte Rio lie 2,700 acres of prime forestland. Portions of the property are home to old-growth redwoods, those rare survivors of extensive clear-cut logging that slashed through this region in the late 1800s and early 1900s. Some of these ancient giants have been growing here for a thousand years or more. They stand proudly among what’s known as second-growth redwoods, trees that have thrust their branches skyward relatively undisturbed for more than a hundred years. The steep hillsides also hold towering Douglas firs as well as tanoaks and other less lofty flora.

This green area known as the Bohemian Grove will be the focus of intense national and international attention starting July 13, when it hosts the Bohemian Club’s annual summer encampment. The somewhat boozy all-male gathering of world and business leaders relaxing privately together in the woods always raises concern because of its elite and secretive nature. But while it’s good not to miss the forest for the trees, in this case it’s equally important not to miss seeing the trees because of the activities of the people.

After eight decades of a hands-off policy, the San Francisco-based Bohemian Club began logging its Russian River land in the 1980s, taking out about 500,000 board-feet each year, for a cumulative total estimated at 10 million to 11 million board-feet of timber. For the past year, the club has pursued state approval for what’s known as a nonindustrial timber management plan (NTMP), giving permanent permission to cut down more than 1 million board-feet annually without a lot of additional review.

Like anything associated with the Bohemian Club, the NTMP application has generated controversy. The related files at the California Department of Forestry (CDF) office in Santa Rosa are more than five inches thick, stuffed with letters of support and opposition, and filled with conflicting advice and reports.

Club officials say expanded logging is needed to sharply reduce the fire risk and to restore a forest that was deeply disturbed by clear-cutting more than a century ago. The money from the timber sold, they say, will be used to pay the costs of shoring up access roads and clearing away underbrush, tanoaks and other potential fuel sources.

Opponents argue that the plan will increase rather than decrease the fire danger, destroying habitat on the land and in the two streams that cross the property. They charge that the club is treating its relatively pristine property like an industrial tree farm.

These conflicting viewpoints are based on differing visions of what an undisturbed forest in this area once looked like, and the steps needed to preserve and protect this increasingly rare stretch of riverside forest.

Sustainable Harvest?

“They call forestry a science, but there’s a heck of a lot of art in it,” laughs Ron Pape, a CDF employee who’s worked in forestry for more than 30 years. He’s responsible for leading what’s officially known as the second review process for the Bohemian Club’s NTMP application.

“The rural-urban interface is a real sensitive issue in general,” Pape notes in a phone conversation from his Santa Rosa office. “I think because of where this is and who this is, the [Bohemian Club’s] NTMP is probably drawing a little more lightning.”

Prior to the early 1970s, Pape says, landowners could file a single piece of paper with the state and start cutting down trees the next day. They could log extensively, including next to rivers or creeks, without regard to erosion, sediment or the loss of wildlife habitat.

That has changed. According a 2003 CDF report, they have to file a timber harvest plan (THP) and do environmental impact reviews, a process that can cost roughly $6,000 to $40,000 for each THP. The plan lasts for three years, but can be extended for another two. Any additional logging requires the extensive review process of another THP.

However, small landowners with less than 2,500 acres of forestland can choose to file for an NTMP. Getting one approved costs 25 percent to 50 percent more than a THP but it’s a single-shot deal; there is no expiration date. Once an NTMP is officially in place, it’s no longer necessary to file a THP for each logging operation allowed by the plan, just what’s known as an operations notice. The Bohemian Club property totals 2,700 acres, but it’s applying for an NTMP on the 2,470 acres that are heavily forested.

The CDF estimates that there are more than 300,000 private non-industrial forest owners in California. They collectively hold about 3.2 million acres of trees, with another 4.2 million acres belonging to commercial companies. Started 17 years ago, NTMPs give a break to owners of smaller properties, cutting the red tape and overall costs for those who aren’t harvesting trees on a commercial basis. In exchange, the state gets a promise to avoid clear-cutting and to abide by a timber plan tailored for that specific property.

An NTMP is intended to yield a sustainable harvest, where the number of trees removed is less than the predicted annual growth. The reviews required by state and federal forestry, fish, wildlife and water resources officials cover such aspects as erosion, water quality, sediment control, stream crossings, wildlife habitat and access roads.

It sounds straightforward, but critics say the CDF is too harvest-oriented, and that once an NTMP is approved there’s not enough oversight or accountability, or any way to incorporate new methods and the evolving knowledge about forest ecology and preservation. The Bohemian Grove NTMP approval process has prompted a range of opinions on the impact of proposed logging, such as whether the fire danger will be increased or decreased by methods like opening up the overhead canopy to allow more light and space into the forest.

“It’s not clear-cut,” Pape says. “You’ve got scientists on one side who support the opening up of the stand, and you’ve got scientists on the other side. Whatever one side says, you’ve got somebody on the other side [saying something different]. It’s battling scientists and experts.”

Save the Grove

The Bohemian Club’s NTMP is based on the concept that at some ideal point in history, North Coast redwood forests had widely spaced trees, open canopies, multi-age trees and a clean understory, says Don C. Erman, emeritus professor of biology at UC Davis. He disagrees with that image.

“Such a picture is surely the condition that will prevail under the proposed plan, but it has little basis in science as the natural condition,” Erman asserts in a letter sent to the CDF on April 25. “The description of this early condition sounds quite similar to the myths used to claim that the Sierra Nevada forests looked the same way before intensive logging. Such a picture also implies that larger, older trees are a fire hazard, when all evidence suggests that these aged trees are the most fire-resistant.”

In a phone conversation from his Davis office, Erman says that what particularly bothers him is the way fire danger is being used as a threat or weapon.

“There’s a certain amount of ‘the sky is falling, everything’s going to burn down’ as a means for driving otherwise reasonable people to say, ‘Oh my gosh, I’ve got to get rid of everything that might burn.’ I don’t think this approach is good, particularly in the redwood region.”

Approving the Bohemian Club’s proposed NTMP, he believes, will create a developed harvest area with a permanent road system, fewer large (and slower growing) old trees and the use of herbicides to control undergrowth, instead of the tall stately trees and ample wildlife habitat that current exist.

Also opposing the proposed NTMP is Philip W. Rundel, distinguished professor of biology at UCLA. Having studied both Sierra and coast redwoods, Rundel asserts that the Bohemian Grove NTMP appears designed to maximize the logging of redwood and Douglas fir trees.

“This is not meant to maintain natural resources and ecosystems,” Rundel charges in a phone conversation. He adds that the idea that these forests were historically open is based on looking at a very narrow period of time, which isn’t accurate or backed by scientific evidence. Cool redwood forests, even those containing other trees, don’t burn easily.

“If their goal was really to reduce the flammability, they wouldn’t cut any large trees. Large trees don’t burn in redwood forests,” Rundel explains. “As long as you keep that humidity in there, it’s not very flammable. But open it up to the light and put cut branches on the ground and it’s going to burn really well.”

In a letter to the CDF, Rundel argues that the NTMP overestimates the annual timber yield by including the old growth redwoods in the main encampment as part of the total annual growth. Since that area won’t be logged, Rundel says, this inflates the amount of logging allowed in other places. “The areas where they’re actually logging will not be sustainable. They can only say it’s sustainable if they count the areas they’re not cutting.”

Log the Grove

Bohemian Grove logging will be carefully managed and completely sustainable, claims registered professional forester Nick Kent, who’s creating the NTMP for the Bohemian Club. The proposed timber yield isn’t based on a percentage of growth as Rundel assumes, Kent explains, but was created using a computer modeling program called Cooperative Redwood Yield Project’s Timber Output, or CRYPTOS.

“The old growth area is treated independently,” Kent explains. “Each area that harvests and grows is independent of other areas. We’re not lumping it all together and determining a percent of inventory [to decide] how much we’re cutting. We’re cutting less than what will be growing over time. We will be checking those figures every 10 years. We’ll be monitoring to be sure we’re getting the growth modeled by CRYPTOS.”

The computer program is a modern forest-industry tool, but in this case, Kent says, it’s being used for preservation and restoration, not maximizing output. Right now, Kent adds, the grove is an extremely dense second-growth forest, with the majority of the large trees dating back to the heavy clear-cutting of a little over a century ago.

“What you’ve got is a dense overstory with very little regeneration of younger trees. There’s not enough light reaching the forest floor to get a regeneration of trees,” he says. “It’s not a natural condition.”

Critics argue that many of the century-plus second-growth trees are acquiring old-growth characteristics that make them perfect for habitat and forest restoration, and they should be saved. Under the NTMP, true old-growth trees with diameters of 40 or more inches and specific old-growth characteristics will not be harvested. However, larger second-growth trees could be cut to let in light and reduce the fire fuel.

But the allegation that the NTMP will maximize timber output is completely false, Kent says.

“I’ve never been told [by the Bohemian Club that] we need to harvest trees to generate money. They’ve told me that all the money that’s coming off the forest [is] going back into the road system and reducing the fire hazard. They really want to protect their forest.”

He adds that the NTMP is the club’s direct response to realizing there’s a high and continuing fire danger on the property. Bohemian Club general manager Matt Oggero says the club is doing what’s best for the grove and the entire region to maintain the forest while reducing the risk of catastrophic fires, such as the one that hit the Sierras recently.

“The experts that we’ve consulted–and we have some of the biggest names, the best experts in the country–contend that the best way to manage the forest is to eliminate overcrowding which can lead to serious crown fires that can be devastating not only for loss of property but for loss of life,” Oggero stresses. “We want to see the grove continue and flourish, and we think this is the best way to do that. Be assured that we’re not talking about clear-cutting in any way, shape or form. This is selective logging.”

One of the Grove’s consultants is Tom Bonnicksen, professor emeritus of forest science at Texas A&M University. He’s a staunch supporter of President Bush’s Healthy Forest Initiative, which calls for allowing increased logging on federal lands, then using the timber money to pay the costs for thinning fire-prone areas. Environmentalists counter that this gives timber companies an excuse to overcut national forestlands.

Bonnicksen says he created a conceptual plan for the Bohemian Grove based on his 35 years of experience and his understanding of the area’s historical condition.

“This is not your typical foggy redwood forest as you would find on the coast,” Bonnicksen explains by telephone from his Florida home. “This is a redwood-fir forest with tanoaks. If anyone is picturing this as a wet redwood forest, they don’t know what they’re dealing with.”

He says he’s not familiar with the specifics of the Bohemian Grove NTMP, but that critics who assert that selective logging heightens the fire risk are “saying the same old things. They’re using information from limited sources and generalizing from it in ways that are inconsistent with science.”

It’s important, Bonnicksen adds, to use history as a guide in managing forestlands. This, to him, means creating a more open forest. “You can’t have big tress if they’re all crowded together. Nor can you have a big harvest of corn if they’re all crowded together. You’re not going to get big trees if they’re overcrowded in the forest. There is a way to manage the forest to protect the big old trees that you have and to provide room for new ones to grow. It’s ultimately philosophical.”

‘It’s political, says Richard Coates, executive director of the Cazadero-based Forest Unlimited and the owner of 40 acres of timberland between Cazadero and Fort Ross. Forest Unlimited’s mission, Coates says, is “to preserve, enhance and protect the forests of Sonoma County.” In the past 15 years, he’s read hundreds of timber plans and NTMPs. The Bohemian Grove proposal, he claims, will increase the fire danger. “When you want catastrophic fire, what you do is cut as much of the redwoods as you can.”

Coates claims he’s not opposed to timber harvests per se, but asserts that while individual CDF employees are dedicated and hard-working, the department itself and the entire review process is skewed in favor of landowners and industrial interests.

“It’s a systemic problem that the landowners are allowed to purchase the opinions of people like the foresters and geologists and so on. That sets up a conflict of interest,” Coates says. “The real problem is at the political level. The whole agency is tied up politically, because there’s a lot of money involved. It’s a classic case where the industry has captured the regulators.”

On the contrary, argues San Mateo-based professional forester and Bohemian Club member Ralph Osterling, the high profile of the Bohemian Club has caused unreasonable delays in the standard NTMP process. In an April 18 letter to the CDF, Osterling argues that this effectively prevents “the property owner and their RPF [registered professional forester] from implementing legal and sound management practices, all of which are clearly within the forest practice rules. These rules apply equally to all property owners, yet it appears that this proposed NTMP is being singled out for added scrutiny by others.”

Political Party

The Bohemian Club has certainly been scrutinized over the years. The nonprofit, nonpartisan group was founded in 1872 for socializing and enjoying the arts. Mark Twain, Bret Harte and Jack London were among the early members.

Held the last three weeks of July, the annual summer encampments by members and their guests began in 1899. The club acquired its 2,700 acres near Monte Rio over a period of several decades in the early 1900s, buying up properties that were considered relatively worthless after they were extensively logged.

Over the years, the membership-by-invitation-only club has attracted the nation’s wealthiest and most powerful men, as well as well-founded criticism and far-fetched conspiracy theories prompted by its exclusionary and secretive ways. Club members say they simply want privacy as they relax with their peers in the forest. Opponents of the annual summer encampments allege that it’s an elite gathering where friendships are formed between powerful men, who later negotiate with each other over lucrative government contracts and decisions that shape this country’s future.

In a 2005 radio interview, Ralph Nader argued that no one in the government serving as a judge or on active military duty should attend this “exclusive, corporate-dominated, no-trespass confab. You can be sure that inside this grove they’re not planning the salvation of Africa or abolition of poverty, universal healthcare, a living wage for people working to support their families on measly wages like Wal-Mart.

“What are they doing? They’re getting to know each other, to reacquaint themselves from last year and to see each other in uninhibited poses that develops a kind of personal cement that further tightens the ruling cliques.”

The annual summer encampment has continued despite repeated protests. The property’s extensive forest was left untouched until, in the 1980s, citing concerns about the dense amount of potential fuel on the property, the club began logging operations under the guidance of professional forester Edward Tunheim. But the Bohemian Club and Tunheim parted ways in 2004, and club leaders hired Kent to create an NTMP allowing them to remove timber more rapidly and use the proceeds to remove fire-feeding tanoaks and brush. Tunheim declined to comment.

Kent says Tunheim brought out 500,000 board-feet annually from less acreage, and that the proposed NTMP will better manage the forest by cutting 1 million board-feet a year from a larger area, as well as creating what’s known as shaded fuel breaks around the old growth to protect it from crown fires. The forest is mostly Douglas fir, Kent says, with redwood scattered throughout. Logging will be on a 20-year cycle, giving a relatively long interval between harvests. Stands of tanoaks will be removed and replanted with conifers, mostly redwoods.

“We will be monitoring those areas for brush control and regeneration,” Kent explains. “If we need to replant those areas, we will. We’re not just walking away. We’re monitoring those areas.”

Speaking for the Trees

John Hooper’s great-grandfather, grandfather and uncles were all Bohemian Grove members, and as a kid he visited the grove with his grandfather. An organic farmer and avid hiker, Hopper was thrilled to become a member in 1999 and immediately started exploring the property’s backcountry. He wasn’t thrilled, however, when he saw the impacts of ongoing logging.

In 2001, Hooper raised concerns about a specific group of large trees marked for harvest, and club officials held things up until they could be sure no old growth was being inadvertently cut. But Hooper continued to come across logging-related damage.

“I’d go out on hikes, and a place that I loved had been logged the year before. It just got to be no fun.”

Yet his ongoing questions were virtually ignored, he says. In July 2004, he discovered a remote little valley in a steep area along Kitchen Creek, home to several acres of large, majestic trees. Many were more than 40 or 50 inches in diameter, yet still splashed with blue spray paint as a sign that they would soon be cut down and turned into timber.

“When I saw the old growth trees marked, I just thought it was a mix-up,” Hooper remembers. Once again he approached the club leaders, but this time, he says, “they pretty much ignored me.”

In December 2004, discouraged and having been accused of “un-Bohemian” behavior, Hooper resigned his Bohemian Club membership but not his determination to fight for the property’s preservation. He alleges that the original NTMP didn’t disclose the existence of nine stands of magnificent redwoods on the property, that the logging will create a younger, smaller forest, and that important habitat will be lost. He charges that the property is being mismanaged and that the majority of Bohemian Club members don’t understand what’s really going on.

“This NTMP is proposing to double or triple the logging,” Hooper charges. “Even with the modest level of logging that was going on in the last 20 years, a lot of damage was done.”

Not true says Launce E. Gamble, a club member for 28 years and a property owner who’s managed his own timberlands in Napa County. He says he’s walked the Bohemian Grove property after it was logged and was pleased at how well the process was managed and how little damage was done.

“It’s very environmentally correct. It’s selectively done,” he says by telephone from his San Francisco office. “It’s a parklike atmosphere, and they have worked very hard to reduce the fuel loads all through the place, particularly up on the ridge tops.”

He dismisses the concerns of professors Erman and Rundel. “Oftentimes, experts tend to not have a lot of practical experience. While they’re entitled to their opinion, I would say they’re wrong. By managing the property as it is being managed, it offers the community a buffer, not only for wildlife enhancement but the loss through fire.”

Largest & Oldest

Wildlife habitat is one of Stacy Martinelli’s chief concerns. Just as water-resource specialists and geologists have done in the past year, Martinelli, a staffer with the California Department of Fish and Game, Bay-Delta Region, has visited the property and reviewed the NTMP. She’s mapped out about 20 acres of old growth stands that weren’t listed in the original plan, and she’s recommending they be preserved from logging. The Bohemian Grove, she says, has a “higher component of large old trees than most [NTMPs] in Sonoma County,” and she believes a tentative agreement has been reached to protect the specified 20 acres.

“Most of our concern at this point is keeping the largest and oldest trees on the landscape and providing some recruitment for those trees, letting them develop over time,” Martinelli explains. “When these trees fall down, leaving hiding and nesting places, there will be big trees to replace them.”

When an NTMP application is filed, a first review is done on paper. Then representatives of interested agencies visit the site for what’s called a pre-harvest inspection. The next step is the second review, a back-and-forth between the agencies and the landowners’ forester to create a final NTMP document.

Because this NTMP has been delayed, the California Water Resources Department is working directly with Kent and the Bohemian Club to fix existing roads and stream crossings on the property this summer, before the rainy season. A National Marine Fisheries biologist recently filed a 46-page review, reporting that after logging resumed in the grove in the 1980s the road system roughly doubled. More roads are planned, but the federal report asserts that the total road miles should be reduced, and that “Instead of converting the site through industrial silviculture and adding to existing disturbances, the Bohemian Grove should be protected and enhanced.”

The next (and possibly final) second review session for the Bohemian Grove NTMP will be held in August. It’s open to the public, but it’s not a public meeting; questions must be addressed to the government officials, not to the representatives of the landowner. Kent will have about 10 days to reply to the second review recommendations and then, because of a recent court decision, the public will have 30 days to review the final NTMP document.

Stacey Martinelli hopes people will pay attention. “Essentially, the public will not have the opportunity to comment on timber-harvesting activities in the Bohemian Grove ever again. This is it.”

And Hooper still hopes Bohemian Club members will take a more in-depth look at what’s being proposed and save more of the tall, beautiful trees on their property.

“They’ve already done irreparable harm,” he says of the logging operations. He adds wistfully, “When you get into those really old trees, you’re walking into a cathedral.”


Letters to the Editor

July 4-10, 2007

Kickin’ and carin’

Just when I was feeling like the left side of the continent and its journalists were about to fall off into the Pacific, Michael Shapiro’s (June 27) kicked me hard in the stomach and made me care again.

Thank you, Bohemian, for making it a feature story; it was easy to mail to friends and family in middle America.

(And sorry for cleaning out one of your newsstands, next time you do a feature this good, put your name at the top and national ads on the back.)

Steve Klausner, Glen Ellen

Our bad evil government

Thank you for which not only brought the shocking story of Jeppesen’s complicity to a larger audience, but also gave the backstory on Claudio Gatti, the ACLU’s suit, and the Torture Outsourcing Prevention Act (June 27). I was astonished to learn that there are other companies around the country who also profit from the CIA’s program of extraordinary rendition. Jeppesen should be ashamed of their involvement.

Rachel Baker, San Jose

Not too old to rock ‘n’ roll

Regarding (June 13), I don’t know if Karl Byrn happened to catch Ian Hunter at the Raven a couple months back with the Charms and the Zombies, but Ian Hunter straight-up embodies rock and roll no matter how old he is or gets, and no matter what his lyrics or content. Some performers look the part or try to look the part, but this guy is the real deal and is a bona fide living contribution to the genre. Anyone who loves rock and roll should catch this guy if they can. I took my wife, who had never heard of him or Mott the Hoople (as I’m sure many thirty-somethings and younger haven’t), and she was blown away, as was the entire audience. Thanks for the information about Mary Weiss. I look forward to hearing her as well.

Jason Schwartz, Santa Rosa

Secret No More

On a recent Saturday afternoon, my husband and I took a long walk beside a robust, densely forested stream, richly populated with avian and aquatic life. Among the birds we saw were blue night herons, a mating pair of Bullock’s orioles, a wild turkey, snowy egrets, and two large mallard families with a total of 19 ducklings. There was sun and a cool breeze, and, except for a few cyclists, we had the path to ourselves. A three-minute walk from the end of the path, at the end of our journey, we stopped for coffee and to browse at our favorite used bookstore.

No, we didn’t drive hours to get to this riparian oasis. Instead, we’d spent a relaxing afternoon practically in our own backyard, along the Prince Greenway Creek Walk, apparently Santa Rosa’s best kept secret. At the end of the day, we felt rejuvenated and somewhat perplexed that more people were not taking advantage of this verdant piece of wild nature hidden in the heart of downtown Santa Rosa.

Janet Barocco and Richard Heinberg, Santa Rosa

United he stands

Regarding (Briefs, June 20), I think it noteworthy that United Market, a local chain here in Marin since the mid-1950s, has always bagged groceries in customers’ canvas bags first, second in customers’ paper bags and third in new paper bags. They have only recently offered plastic because of customer demand, but unless one asks for the plastic, they will use paper. This has impressed me for years, as Albertsons, Safeway, Cala and others default to plastic. (Actually, Mollie Stone’s and Trader Joe’s also make paper the first choice.)

I think United Market deserves accolades for this, as it is less expensive to use plastic, so using paper represents a higher cost for them. Their fresh produce and fish are also first-rate.

David Pittle, San Rafael


Under the Covers

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July 4-10, 2007

Music producer Hal Willner kicked the tribute album craze into high gear in 1988 with Stay Awake: Various Interpretations of Music from Vintage Disney Films, the follow-up to his underappreciated tribute to jazz great Charles Mingus. The disc featured Tom Waits, Bonnie Raitt, Betty Carter, Suzanne Vega and others delivering radical renditions of Disney music classics. Waits’ dirge spin on “Heigh Ho (The Seven Dwarf’s Marching Song)” was so extreme that Disney attorneys tried to stop its release, arguing that Waits had changed the lyrics. He hadn’t. But his growling vocals, surreal soundscapes and unrelenting hammer beats helped launch a two-decade-long flood of tribute projects, most under the public’s radar, that have devolved into a recent string tribute to Godsmack.

God save us.

After a string of critically acclaimed tribute discs, Willner announced a few years ago that he’d had enough of the tribute craze. But he bounced back last year to offer the esoteric Rogue’s Gallery: Pirate Ballads, Sea Songs and Chanteys, allowing Richard Thompson, Nick Cave and Loudon Wainwright III, among others, to unleash their inner pirates.

Now a half-dozen new tribute CDs suggest that the tribute CD as a genre is here to stay, and it’s a mixed bag at best.

Instant Karma: The Amnesty International Campaign to Save Darfur is getting a lot of mainstream attention, due to a big-name lineup, use of John Lennon’s songbook and the chance to contribute to starving refugees fleeing the genocide in Sudan. U2, R.E.M., Christina Aguilera, Los Lonely Boys, Avril Lavigne, Jackson Browne and the Black Eyed Peas are among those who have hopped on board.

Musically speaking, there is unfortunately little to recommend this disc. It probably seemed like a stroke of genius pairing rock progeny Jakob Dylan and Dhani Harrison (“Gimme Some Truth”), but the song is just too big for these neophytes. And who conceived of joining Aerosmith and Sierra Leone’s Refugee All Stars? Even the quirky art band the Flaming Lips go down in flames on their unlikely cover of “(Just Like) Starting Over.” The few highlights include Green Day (“Working Class Hero”), Corinne Bailey Rae (“I’m Losing You”) and Regina Spektor (“Real Love”).

Far more entertaining is The Sandinista! Project: A Tribute to the Clash. This two-CD love song to one of the most ambitious triple-album sets of the 1980s reaches artistically and more often than not hits the mark. Members of the Mekons and many of the insurgent-country artists that populate the feisty Bloodshot label roster make up the core of this project. The Smithereens, Camper Van Beethoven, former Clash collaborator Mikey Dread and Paisley Underground demi-god Steve Wynn also all get in their licks. The results are uneven, just like the original recording, but well worth checking out.

Endless Highway: The Music of the Band arrives on the 30th anniversary of Martin Scorsese’s documentary The Last Waltz, which chronicled the Band’s farewell concert in San Francisco. The CD’s lineup includes the Allman Brothers Band, Guster, Roseanne Cash, Death Cab for Cutie, Jack Johnson, My Morning Jacket, Jackie Greene and Jakob Dylan. Given that the Band’s idiosyncratic music was cloaked in an almost mystical aura, almost the holy grail of Americana repertory, these artists manage to pull off one of the year’s best tribute discs.

Two other new releases underscore the pitfalls of sounding either too much like a really good cover band–or a really bad one. The Smithereens often infuse their production with Beatles-esque flourishes, so it must have seemed like a good idea to release an album of Beatles covers. Meet the Smithereens is a track-by-track rendering of the Fab Four’s 1964 debut album, and it sounds, well, just like the Beatles. If you own the original, pass on this vanity project.

Freeway Jam: To Beck and Back is a tribute to British axe slinger Jeff Beck by guitar shredders, including Steve Morse, John Scofield, Eric Johnson, Mike Stern, Warren Haynes, Greg Howe and Walter Trout. But in their hands, Beck’s freewheeling rock instrumentals sound tepid, uninspired, like these players don’t want to one-up their guitar hero.

Still a laidback approach can work. Your Songs: The Music of Elton John teams jazz heavyweights Pietro Tonolo (sax), Gil Goldstein (piano and accordion), Steve Swallow (bass) and Paul Motian (drums) on a pleasant set of dinner jazz that never equals the sum of its parts but still takes these songs into new terrain while giving the listener a fresh appreciation for great songwriting.

And ain’t that what tribute albums are all about?


Show Me the Music

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July 4-10, 2007

Live music is appealing because it is live. Recorded and preprogrammed music infiltrates many segments of our everyday lives, from shopping at the grocery store to watching commercials on television to hearing a cell phone ring. Most of the music we listen to for pleasure is recorded, which has its own advantages: you can revisit it the way a child obsessively re-reads a favorite picture book, and every time, the song can be counted on to open up a little world but hopefully surrender new details as well.

But live music is ephemeral, infused with a dangerous energy. Even for the most polished musicians, there are a number of elements that can’t be completely controlled when performing live, and the tension of that balancing act–poise and confidence in the face of the unknown–is what makes a good show magical.

That’s why it’s disconcerting to me that, of the last five times I’ve seen bands play live, three of them performed under a veil of images projected onstage. While movie or slide projectors can do the honors, the convenience and versatility of an Apple laptop computer is de rigueur.

This may be more of an indication of the sort of shows I frequent (smaller bands playing largely instrumental music in small venues) than a nationwide trend, but it’s gotten to the point where the sight of a large white screen hanging at the rear of a stage serves as a tip-off to grab a chair and get comfortable. Sometimes the visuals are abstract blobs of color and squiggly lines intersecting; sometimes they’re snippets of oddball found footage cleverly edited together. Once, a band projected images of themselves frolicking outdoors à la A Hard Day’s Night, which, if you’re not the Beatles or Madonna, is pretty lame.

But almost always, the visuals serve to siphon, rather than saturate, the intensity of the band’s performance. Though musicians may incorporate light shows out of artsy, multimedia aspirations, which can pay off, the gesture runs the risk of coming across as the performers shrugging their shoulders or reaching for a crutch. “Sorry we’re so boring. We brought something interesting for you to look at instead.”

Perhaps I am an unqualified judge. While I claim to despise television, if I’m at a bar with a TV up on a shelf above the Long Island iced tea glasses, I will ignore my companions and stare, glassy-eyed, at the close-captioned antics of Chevy Chase in Fletch Lives flickering on the screen. People of my generation are conditioned to obey media–a childhood invested with thousands of hours of watching cartoons and M*A*S*H reruns can’t easily be unlearned. But I don’t go to bars to watch TV, and I don’t stand around way past my bedtime to see a band lurking shyly behind a chopped-up silent movie.

But concerts come in all sizes and dynamics, and it’s possible that fans in the $90 nosebleed seats checking out Justin Timberlake’s FutureSex/LoveShow tour appreciate the giant projections of a gospel choir framing the tiny fedora-wearing dot dancing onstage acres away.

But in smaller venues, the intimacy is what matters. Part of the joy of a live show is watching musicians pluck, strike, kick, slam, coo, writhe, scowl, frown, smile, hammer and do whatever it takes to make music happen. Eyes aimed at fancypants visuals miss these nuances, and perhaps their ears miss out as well.

Mr. Bir Toujour’s old band the Rum Diary deeply associated themselves with their visuals–they even had a projectionist as a band member for a while. And they projected good footage, too: lost family vacation reels from the 1960s; science education films; Godfrey Reggio’s epic Koyaanisqatsi. The footage complemented the cinematic scope of their music, but it got to the point where, when the projector malfunctioned, the band didn’t perform as well. In fact, their most dynamic shows were the ones where they skipped the projector altogether.

When touring in support of their album 2002 Murray Street, Sonic Youth, who often incorporate projections into their concert setup, tied a cheap digital camera to a mic stand and pointed it toward the audience. Hence, we were treated to real-time projections of ourselves superimposed on a flesh-and-blood Sonic Youth. Whether this was employed to make a point or simply because it was easy for the band to set up was never established, but the mirror image of the crowd didn’t upstage the band. It was a great show.


News Briefs

July 4-10, 2007

We, the jury

The citizen-volunteers responsible for independently reviewing local government agencies recently finalized their 2006-’07 efforts in Marin, Napa and Sonoma counties. These Grand Jury reports cover everything from fingerprinting school volunteers to wastewater usage, open-space planning, services for an increasingly aging population and more.

The Marin County Grand Jury provides thumbs-up reports on the county treasurer’s office, underpublicized local vocational education efforts and the county’s disability retirement process. It issued wake-up calls about potential costs for retired county employees and the growing senior population in general. Statewide, 10 percent of residents are 65 or older; in Marin County it’s 14 percent, which is projected to rise to 17 percent by 2030. The Grand Jury also reviews four charter schools and lists potential challenges at the College of Marin, as well as recommending that the county delay its plans for a $71 million Health and Wellness Center in the Canal District in order to do more in-depth review and planning.

In Napa, the 2006-’07 Grand Jury report reviews improvements to the county’s child-welfare system, recommending hiring more bilingual staff members and citing an “urgent” need for respite babysitting for foster parents. The group also suggests that the Napa County Sheriff’s office should control the county jail to allow more accountability and cross-training; finds that the Hope Center for the homeless in downtown Napa is inadequately funded; provides a fairly favorable review of the Napa Sanitation District; and found no truth in rumors about mishandling of student funds at St. Helena’s Robert Louis Stevenson Middle School.

Perhaps one of the more controversial recommendations is the Sonoma County Grand Jury’s suggestion that local schools should fingerprint all volunteers. Some applaud the increased security, but others say it isn’t practical. The grand jury report also reviews four law enforcement-related citizen deaths between August and December 2005, and decides they were followed by thorough, detailed investigations.

In other topics, the grand jury says more oversight is needed on the number and legal status of local billboards; there’s no overall plan for managing groundwater, surface water and wastewater disposal; all county employees, not just first-responders, should be trained in emergency procedures; and Santa Rosa Junior College may put too much emphasis on diversity in its hiring practices. The report also recommends hiring more correctional officers and creating a comprehensive long-range plan for the open-space district

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Yucatán Dreams

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July 4-10, 2007

The first time I see Mateo Granados, it’s at the Santa Rosa farmers market early on an Wednesday evening. He’s tucked away in a booth along the strip, cranking out tamales.

He immediately catches my eye. While the other vendors at the event are dressed in rumpled jeans and T-shirts, Granados is dolled up in pristine chef’s whites.

I’ve strolled past the typical food concessions–the enormous turkey legs, sausage sandwiches and fresh-baked pastries. Yet Granados’ menu board is provocative for parking-lot cuisine, tempting with Yucatán tamales stuffed with slow-roasted suckling pig, Rosie organic chicken, CK Lamb, roasted local vegetables and Bodega Bay goat cheese.

I’m not even that hungry, but I can’t resist. I pay my $5 for a tamale, grab my paper plate and retreat to a secluded stretch of sidewalk. I take my first bite and wow! The fillings are intensely seasoned and the silky masa torpedo is capped with spicy pickled onions and roasted tomato-habañero sauce for a distinctively non-Sonoran experience. This isn’t ordinary street food–this is art.

I cozy up back to the booth and try to get the chef’s attention. As busy as Granados is with his banana-leaf-steamed tamales, he chats with me about his inspiration. The banana leaves are better than cornhusks for dense, moist masa, he explains, and he chops the meat instead of shredding it for better texture and flavor. There’s no lard; he uses olive oil instead.

The recipe is his grandmother’s. Born to a ranching and farming family in Oxkutcab (a village known as “the orchard” of the Yucatán), elaborate meals were an ordinary part of Granados’ everyday life growing up. He loves making tamales, he says, and is proud that he almost always sells out at events like this. Yet he’s a little bored today. His idea of cooking is so much bigger than savory stuffed masa bundles. Rather, he’s focused on what he believes should be the next major culinary statement for northern California: modern Yucatán cuisine.

Intrigued, I ask for some of his time later, when he’s better able to talk, and he cheerfully agrees.

Back home at my computer, I do a quick Google. A Food & Wine article pops up, all about a Sonoma group called the Moonlighter’s Society. That’s where “wine scientists” gather after hours at different vineyards to experiment with their unique visions. Last year, the magazine profiled Granados as one of the would-be vintners, detailing how, as he monkeyed with a garage-brand Syrah, he fed his cohorts succulent braised lamb prepared out of a tiny 1930s Airstream trailer parked amid the grapes.

Granados teaches cooking classes at Relish Culinary School in Healdsburg, and his name often pops up as the official caterer for high-end Sonoma events and private parties.

A little more digging finds a background at some of the Bay Area’s best restaurants. His résumé includes stints chefing at Charlie Palmer’s Dry Creek Kitchen in Healdsburg, as well as at Manka’s Inverness Lodge and San Francisco restaurants Masas, 42 Degrees, Alain Rondelli and Rubicon.

So why is Granados now pushing tamales at festivals and farm markets, preaching the word of modern Yucatán cuisine to passersby on the street?

Comida Natural

The state of Yucatán is located on the Gulf of Mexico, west of Cancun and north of Belize. Before the arrival of the Spanish, the Yucatán was home to the Mayan civilization. Due to its isolated location, much of its culinary influence came from visiting Europeans, Cubans and Caribbeans.

Therefore, authentic Yucatán cooking is a tumble of Mayan corn, chocolate, honey, venison, wild turkey, squash, cucumbers, chiles and tomatoes alongside Spanish spices, pork and Seville oranges next to Dutch cheeses–all served atop Mexican tortillas. The results are such traditional foods as frijol con puerco (chunks of pork with black beans, rice, radish, cilantro and onion) and papadzules (chopped hard-boiled egg rolled in a tortilla with pumpkin-seed sauce).

It’s a rich, creative cuisine, Granados tells me when we meet for coffee at the Cafe Newsstand in Healdsburg a week after our farmers market introduction. But, he adds, it’s also a cuisine so steeped in tradition that very little has changed over the centuries. As his great grandmother made chicharrones (essentially, pork rinds) in a large kettle in her backyard, so does his mother today. And as his great grandfather prepared his cochinita pibil (pig marinated in bitter orange, flavored with annatto seed and cooked in a banana leaf), so does his father still. (When he suggested his father try a different cochinita recipe, utilizing a pig’s succulent cheek, tongue, ear and brain, the idea was shot down.) There’s also lots of lard, frying oil and grease.

Granados’ restless curiosity soon led him from Oxkutcab to San Francisco, where, in 1989, the young chef quickly found a foothold, training under such great chefs as Julian Serrano of Masa’s and Alain Rondelli. He learned quickly, made good money and important contacts. He says it was a thrilling “rock and roll lifestyle.” Yet he found himself reflecting on his Mayan roots, and wondering: Why did it feel like something was missing?

He set out to define his own culinary style, borrowing his employers’ kitchens after hours to experiment. He began synthesizing classic cooking with Latin American flavors and local ingredients. He liked big flavors, dramatic spicing, wine-electric pairings and a healthy emphasis. He called it “comida natural,” and played with substituting olive oil for the lard in his tamales. He utilized every part of a rabbit for other dishes, cooking it for eight hours and making gravy from its bones, because bones are the terroir of an animal, he says.

He took traditional foods like empanadas and gave them a contemporary, California twist by stuffing the little turnovers with salted cod, draping them in poblano cream sauce and decorating them with jicama citrus salad. For the Mexican mainstay of suckling pig, he used premium organic pork from Black Sheep Farm in Occidental, pairing it with handmade longanisa sausage ravioli, lettuce from Sonoma’s La Bonne Terre and cinnamon-cured red onions.

The ensuing after-hours “family meals” he served to the restaurant staff were outrageously popular, Granados laughs, but never appeared on any menus.

Finally, at the end of 2004, he abandoned a well-paying, high-profile position as executive chef at Dry Creek Kitchen to take a chance on his own. He set up his tamale stand, established Mateo Granados Catering and started planning a restaurant.

As we talk, Granados jots notes on a pad of paper. He’s been planning a catering menu for the past week, he explains, and as we chatted, some ideas suddenly popped. Almost frantically, he starts rhapsodizing about what he might prepare. Dried-shark empanada. A liquid tamale, cooked like a crème brûlée. Pumpkin seed crackers. Spinach doused in cold water, then dropped into hot oil so it explodes and pushes the grease out, all with a big Syrah or Zinfandel to kick up the spice. He’s so excited now he’s almost biting his hand.

Between the chef’s thick accent, his mile-a-minute cadence and speedy skipping from topic to topic, I can’t keep up. To truly understand, I’ve got to see him in action.

Missing Link Madness

A month later, I’m standing in the dining room of the small clubhouse at Healdsburg’s Tayman Park golf course. It’s 5pm, the start of a Missing Link dinner, a monthly, invitation-only event that Granados has hosted over this past year. Limited to 60 “insiders” per dinner, each multicourse feast showcases this chef’s northern Mexican cuisine, fine wines from Sonoma and cooking exhibitions.

Granados is whirling about the tiny kitchen, elbow to elbow with four associates in a frenetic ballet of cooking. His assistants, room manager and servers for the evening are volunteers who have worked with him in his other ventures. They’ve come in after toiling long days in San Francisco, and certainly will be first in line for jobs when he opens his new restaurant.

Guests are crowding into the cottage-style lodge room, nibbling on cheesy rabbit croquettes, extraordinarily tart chili-cinnamon baby carrots and fresh-popped popcorn drizzled in olive oil. As Granados checks on the splayed carcasses of pheasant being stuffed with homemade longanisa (sausage) that will be our entrée, a server trots up to the pass-through and calls for more lemons. It seems the chef’s dangerously sharp and delicious Meyer martini with pomelo rosa pulp is a huge hit.

Granados, who started working on this party at noon, is rumpled in a long-sleeved white shirt and ragged black jeans. Because the kitchen is so small, a prep area has been set up in a tent outside; the door between kitchen and tent is held open by a cleverly tied apron.

Everything, from the White Crane Springs Ranch cream of spinach and fried quail-egg appetizer, to the dessert of baked yucca-root dumpling in citrus marmalade, is being crafted from scratch. The kitchen refrigerator is too small (and too full of beer) to have anything prepared beforehand. And besides, fresh is the Yucatán way, Granados says, cracking what seems like hundreds of eggs into an enormous metal bowl.

An assistant is in the tent, pressing masa in a tortilladora, then placing the little rounds on a long table lined with plastic bags. They’re about ready to be stuffed with salt cod and grilled on the comal (a cast-iron cooking plate ordinarily used to cook tortillas), but the sun is setting and no one has thought to light the tent. Another assistant scurries out with a miniature kerosene lantern and she works in the glow of a virtual flashlight.

Inside, the crowd is growing a little restless. It’s almost 7pm, and despite the live music playing by the fireplace and the seductive powers of Granados’ hot margaritas muddled with jalapeño, habañero and cilantro, these guests are ready to get this dinner going.

Yet Granados is still working on the puffed Spanish rice that accompanies the pheasant, too often distracted by guests coming up to the pass-through and asking him to explain every step of his labors. He does so happily, carefully folding whipped egg white into the giant kernel paella rice so that the casserole will aerate and fluff in its ramekins. Several female guests push themselves over the pass-through to kiss his cheek; he accommodates while keeping an eye on the crispy bird coming out of the oven behind him, juicing more lemons, blending crema and lime for the empanada sauce, and explaining to a guest sticking his finger in the rice bowl that the rice is properly “bubbled” when it springs back as it’s poked.

A tray of wine glasses falls in the corner, someone has forgotten to turn on the range fan and the room smells of poultry smoke, and I speak to one beaming guest after another who gushes that this is the best dinner party they’ve ever been to.

Half an hour later, we’re sitting at our tables, sipping lovely Pinot Blanc and Grenache provided by Mendocino winemaker Robert Perkins and his Skylark Wine Company. We’re digging into our exquisite spinach and quail egg starter, and I peek at Granados, still whirling like a dervish in the kitchen. He looks intense, tired and very, very happy.

Not Lazy in Your Mouth

Several weeks later, I run into Granados at the Santa Rosa Original Farmers Market on Maple Street. He is no longer doing the Fourth Street fair. He is not doing tamales, either, as a prior vendor already had that dish in his contract. Instead, he arrives early each Saturday morning and visits neighboring market booths. Whatever is freshest and most interesting goes into his menu.

Today, he is crafting a Spanish tortilla of Full Circle Bread, crumbed queso fresco and tomato habañero sauce. Plus, he’s got Yucatán-style huevos rancheros with thick tostada chips instead of tortillas, creamy black bean purée and salsa. A tortilla is too soft, the chef explains. Food needs textures. You don’t want it to be lazy in your mouth.

Working with only a portable camp range, he’s also prepared salted cod hash with a fried Triple T duck egg, Two Rock Valley cheese, capers, habañero tomato salsa and a salad of frisée, lamb’s ear, pickled onion and radish. The dish is exquisitely salty, sour, crispy and soft, and even more mind-blowing since I’m eating it off a disposable plate in the middle of a parking lot.

I sip an agua fresca that blends Love Farm’s strawberries and Dragonfly Floral’s rose petals; on other days it might be a drink of Gayle Sullivan’s Dry Creek peaches with Armenian cucumber, or Tierra Vegetables’ watermelon with fresh mint and lime from White Crane Springs Ranch.

This is crazy, I say. When will his restaurant open so we all can eat like this every day?

The problem with passion is that banks don’t take it as collateral. In September of 2005, it was reported that Granados had just signed a lease for his new restaurant. It was tentatively called Cafe de la Cocino, and was scheduled to open last spring in Healdsburg.

But starting a business is expensive, from the $4,000 charged to credit cards to get his farmers market booths and permits, to the $8,000 for a website and marketing materials for his catering company, to the cost of the catering truck and its $1,200 signage–hit by a graffiti tagger the same night it was painted. He needs a proper Wolf range to serve the farmers markets, and the Missing Link dinners, while very successful, don’t make enough money (he puts too much into the meals, he admits, because he doesn’t know how else to do a party).

In fact, the Missing Link dinners have gone on hiatus while Granados concentrates on catering and putting a little money in the bank.

People look at his résumé and connections, he says, and figure he’s a celebrity chef, so everything should be easy. But he’s the first to admit he doesn’t take well to being told what to do (by bosses or controlling investors).

So his cafe is on hold, and meanwhile, so is our opportunity to eat such innovative dishes as a Liberty duck tamale with spicy chocolate mole sauce and deep chocolate goat milk ice cream.

At 42, Granados is working very patiently toward what he believes should be the next major culinary statement for northern California: modern Yucatán cuisine. He’s got the recipes, the talent and the willpower. He’s got the customers, lining up for his food at the Healdsburg and Sebastopol farmers markets.

The only thing missing is his restaurant.

Mateo Granados Catering. 707.433.2338. www.mateogranados.com.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

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

Recipes for food that you can actually make.

Back in Black

July 4-10, 2007The grammatically exuberant group Against Me!, one of the most exhilarating live bands I have ever seen, release a major label debut next week, and rarely has a punk rock band so fully demagnetized the admiration of their fans in one simple act. The Gainesville band dedicated 2004's tour DVD We're Never Going Home to the unsuccessful...

Summer Repertory Theater’s ‘Working’ and ‘The Talented Mr. Ripley’

July 4-10, 2007'Work is an essential part of being alive."So states one of the 16 eloquent, funny, loquacious, reserved, conflicted, happy, miserable and/or completely satisfied characters in Studs Terkel's Working. This rarely produced 1978 musical by Broadway mastermind Stephen Schwartz (Godspell, Wicked) is a glorious, unexpectedly powerful celebration of the American working stiff, based on Terkel's award-winning oral history...

The Byrne Report

July 4-10, 2007Last week, I was talking by cell phone to Leslie Angeline, a Santa Rosa resident who was on the ninth day of a hunger strike in Washington, D.C. She refused food until Sen. Joe Lieberman of Connecticut met with her about his call to bomb Iran. (She has since been hospitalized without meeting Lieberman.) Angeline is supported...

Sheets of Sound

July 4-10, 2007Last month, when greeted at New York's Birdland by absolute strangers visiting from California, David Murray was unassuming and subdued; he offered a smile, an extended hand, a cool "Hey, nice to see you," as if greeting old friends. Later, onstage, the tenor saxophonist introduced his first number with equally calm understatement, but once he began playing,...

Timber!

July 4-10, 2007On the east bank of the Russian River slightly northeast of Monte Rio lie 2,700 acres of prime forestland. Portions of the property are home to old-growth redwoods, those rare survivors of extensive clear-cut logging that slashed through this region in the late 1800s and early 1900s. Some of these ancient giants have been growing here for...

Letters to the Editor

July 4-10, 2007Kickin' and carin'Just when I was feeling like the left side of the continent and its journalists were about to fall off into the Pacific, Michael Shapiro's (June 27) kicked me hard in the stomach and made me care again. Thank you, Bohemian, for making it a feature story; it was easy to mail to friends...

Under the Covers

July 4-10, 2007Music producer Hal Willner kicked the tribute album craze into high gear in 1988 with Stay Awake: Various Interpretations of Music from Vintage Disney Films, the follow-up to his underappreciated tribute to jazz great Charles Mingus. The disc featured Tom Waits, Bonnie Raitt, Betty Carter, Suzanne Vega and others delivering radical renditions of Disney music classics. Waits'...

Show Me the Music

July 4-10, 2007Live music is appealing because it is live. Recorded and preprogrammed music infiltrates many segments of our everyday lives, from shopping at the grocery store to watching commercials on television to hearing a cell phone ring. Most of the music we listen to for pleasure is recorded, which has its own advantages: you can revisit it the...

News Briefs

July 4-10, 2007 We, the juryThe citizen-volunteers responsible for independently reviewing local government agencies recently finalized their 2006-'07 efforts in Marin, Napa and Sonoma counties. These Grand Jury reports cover everything from fingerprinting school volunteers to wastewater usage, open-space planning, services for an increasingly aging population and more.The Marin County Grand Jury provides thumbs-up reports on the county treasurer's office,...

Yucatán Dreams

July 4-10, 2007The first time I see Mateo Granados, it's at the Santa Rosa farmers market early on an Wednesday evening. He's tucked away in a booth along the strip, cranking out tamales. He immediately catches my eye. While the other vendors at the event are dressed in rumpled jeans and T-shirts, Granados is dolled up in pristine chef's...
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