First Bite

Devil’s in the details at Stella’s

Editor’s note: First Bite is a new concept in restaurant writing. 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. This is not a go-three-times, try-everything-on-the-menu report; rather, this is a quick snapshot of a single experience.

When I heard that Stella’s Cafe had moved to the Russian River Vineyards site, I was thrilled. I hadn’t much liked the former occupant, Topolos, but the grounds were almost reason enough to go there. And so it seemed that my dream had been answered when one of my favorite local restaurants moved in. Because I was–I mean I am, that is, I was–a big Stella’s fan.

What happened? I don’t know, but when I ate lunch there the other day, something was off—in some cases, quite literally. It’s still a very lovely location, with arbors and a (dry) water feature, flowering vines and arching trees, but the restaurant’s petticoats were showing. Here, a ladder was left up. There, some tools were scattered around. It was as if they rushed to open before the paint had dried, although it’s been months. As for the food, let’s just say it was uneven.

My lunch date, Jude, and I ordered plates to share. Served with red pepper aioli, the Dungeness crab-rock shrimp cakes ($13.95) were yummy, but the accompanying guacamole had the dank dark taste that indicates old avocados. The pork satay ($8.95) was bone-dry like some seriously desiccated moose pemmican and tasted overpoweringly of spice rub. The Thai-spiced Alaskan pea sprouts that accompanied them offered a good counterpoint, however. The roasted artichoke ($8.95) was covered in breadcrumbs that didn’t work at all. We scraped them off and found the artichoke underneath oily, but Jude assured me that artichokes are merely dip vehicles, and she thought that the accompanying lemon garlic aioli was mighty tasty. No complaints, thank goodness, about the Thai prawn salad ($13.95), its juicy marinated prawns dressed with spicy peanut sauce.

There’s still a lot to like, if not love, about Stella’s. Chef and owner Gregory Hallihan’s menus are eclectic, blending flavors from Asia, the Middle East, New Orleans and Europe. The wine list emphasizes young California wines with reasonable markups. The pours ($8–$10) are huge and the waitstaff could not have been more congenial and helpful, bringing us a small taste of the soup, righting our wobbly table (was unevenness the theme for the day?), going to the kitchen to answer questions about ingredients. The dining room looks sleek and inviting, with a fireplace for cold weather. But the real draw is the patio, where you can imagine you’re seated on the terrace of a Tuscan villa.

So what happened, and can I learn to love again? Maybe we can chalk up the flaws to growing pains or moving mishaps or a rough transition or simply an off day. Maybe Hallihan is putting more energy into Elmo’s Steakhouse, his brand-new venture just opened at Stella’s old digs? Quien sabe, but I miss the Stella’s I knew and loved, the inspired, every-detail-delightful Stella’s, and though I remain faithful, I am a little shaken. I’ll probably go back, but I’ll need to be wooed.

Stella’s Cafe, at the Russian River Vineyards, 5700 Gravenstein Hwy. N., Forestville.

Lunch, Monday and Wednesday–Saturday; dinner, Sunday–Monday; brunch, Sunday only. Closed Tuesday. Phone 707.887.1562.



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

White Flour Is Death

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Photograph by Elizabeth Seward
Twelfth Night: One of the many secrets of Reinhart’s breadmaking is to cut the dough into 12 pieces before finalizing.

I‘ve been baking bread at home, by hand, for about three years. My blueprint is a friend’s recipe, drawn for me in comic-book form, which is the same basic recipe from The Joy of Cooking. The adjustments I’ve made over time–adding more butter and honey, letting the dough rise for twice as long–have kept me satisfied with a simple, easy-to-make loaf of bread.

The comic-book recipe calls for all-purpose flour, but in the last year I’ve been trying out mixtures of whole-wheat flour. What could be better than whole wheat? However, the preparation problems I encountered, many of them minor, were compounded by the final result: a thick, unlively, flat loaf of bitter-tasting brick.

Peter Reinhart, award-wining author and former owner of Santa Rosa’s Brother Juniper’s bakery, has experienced the same problems, as outlined in the fascinating and engrossing prologue to his latest book, Whole Grain Breads: New Techniques, Extraordinary Flavor (Ten Speed Press; $35), which promises to finally unlock the secret to great-tasting, high-rising whole-grain bread.

With the low-carb craze thankfully in the dust, the food-fad pendulum has swung back into whole-grain territory; even Wonder Bread now makes a whole-grain loaf. But baking whole-grain bread comes with a huge challenge: getting the bread to rise to full-size. Bran fibers, found in whole-grain breads, are bullies of the playground—they love to get in the way of the gluten’s ability to trap gas and expand the dough.

Recipe #1: WW Bread:Reinhart’s solution comes from years of globetrotting study, and no one who has ever made bread will be surprised that it involves more time. It’s a two-day process called delayed fermentation, used throughout Whole Grain Breads. Reinhart is so exact in his scientific explanation of delayed fermentation, so seductive with his anecdote-laden pitch for the process, that I, as an amateur breadmaker interested in whole wheat, had no choice but to pick out a couple recipes, ready my tiny kitchen and give it a go.Recipe #1: Whole Wheat Sandwich Bread

As tempted as I was to try more complex recipes from Whole Grain Breads, the simplicity of basic whole wheat is the best arena in which to accurately compare Reinhart’s methods against my own. On day one, I prepare the two pre-doughs: the soaker and the biga. The soaker, designed to maximize flavor in the grains, has no yeast, while the biga, with yeast, is the backbone of the delayed-fermentation concept and the source of one of Reinhart’s excellent suggestions.

Although I have an avowed disinterest in using a KitchenAid, hand-kneading often means getting gooey dough stuck all over my hands. Initially, this resulted in my overadding flour to keep the dough off my palms, and I naturally wound up with bread drier than summertime dirt. Over time, I’ve developed my kneading technique to a point where almost no dough sticks to my hands, but even so, it’s more of a circumventive defense mechanism than a skilled, integral step in the breadmaking process; I didn’t feel like I was really, as they say, at one with the dough.

Reinhart’s solution is to get one’s hands wet before kneading, and keep them wet, which, frankly, sounds gross. I try it with the biga, and it works wonderfully. It’s so simple and perfect. Why hadn’t I thought of it before?

On day two, I separate each pre-dough into 12 sections with a pastry cutter, mix them with more flour, salt, yeast, honey and butter, and unleash the glorious wet knead again. The dough feels harder than usual, but hearty. I follow Reinhart’s instructions for forming a sandwich loaf, wait for it to rise, pop it in the oven and start cleaning up.After pulling the sandwich loaf out of the oven and letting it cool a bit, I slice it open with the serrated knife. Steam billows out of the body of the loaf, lightly grazing my cheeks on its way up. I drop a pat of butter in the center of the slice and watch it slide over the rugged texture of the piping hot bread, finally face to face with the results of my two-day journey as I pop it into my mouth.

And? It’s OK. It’s still a little dense for my tastes, with slight rise and even less spring, and it tastes slightly bland. Had I not been rigorously following Reinhart’s recipe, I would have added sugar to the yeast.

Naturally, I call Reinhart up to hash it out. I don’t usually call famous bread makers up to complain, but I do want to get to the bottom of my own failure. It turns out that Reinhart, who used 350 people to test the recipes for this book, is interested in my woes. He sympathetically enlists me as tester 351.

“It could be the age of your flour, it could be the brand of flour,” he guesses. “It must have sucked up a lot more of the moisture than I would have expected.” I used Bob’s Red Mill, made from red wheat, and Reinhart points out that red wheat sucks up more water than white wheat. He suggests that I add more water to the final dough, adjusting tablespoon by tablespoon so that it is soft and supple. “The hardest thing to teach anyone who’s making any of my breads,” he says, “is that the dough, in the end, is the final decision maker, not the recipe.” Also, he says, if the dough is soft, it won’t need sugar-fed yeast, because it will rise quicker than a hard dough anyway.

Reinhart analyzes with a scientist’s zeal those elements that affect bread: the weather, temperature of refrigeration, type of water and time of year. “Those are all subtle little things that make a difference in how the dough performs,” he says. “In a book, you don’t want to go crazy and say, ‘Here’s five variations for how to do it,’ but the fact is that there are five to 10 variations for how you can put the ingredients together, and any of them are legitimate.”

Recipe #2: Multigrain Pizza DoughTo hell with the wet knead. Though it was heavenly for the sandwich bread, the consistency of the pizza biga is much wetter and stickier already, and adding water to the knead exacerbates this already irritating quality to a flustering degree. The soaker is much simpler, and it’s where I add my grains—flaxseed, amaranth and rolled oats—hoping they won’t clash with the pizza toppings.

On day two, I once again mix the two pre-doughs by chopping them into twelfths with a pastry cutter, adding more salt, yeast, flour and olive oil before the final rise. The final dough has a much different feel with pre-fermented dough, and dry-kneading it is much easier than usual. I chop it into fifths, coat it in oil and wait for it to rise.

For my toppings, I use sauce, basil, roasted eggplant, Parmesan, artichoke hearts and the last cherry tomatoes from my withering September plants in the backyard, marinated in balsamic vinegar and splashed with a couple twists of black pepper. One of Reinhart’s tips for pizza cooking is to preheat the oven an hour in advance in order to wholly infuse the pizza stone with heat. But the night outside is hot already, and even with all the windows open, the kitchen is so dastardly hot that the cheese melts on the pie even before I put it in the oven.

The recipe calls for just five to eight minutes of baking, and since I usually bake pizza for 12 minutes, I opt for the high end of this scale. After eight minutes, the crust is softer than I’d like it to be, but I pull it out anyway. It’s delicious; the grains in the dough make the crust come to life, a rockiness that marries divinely to the mushiness of the toppings. The crust was so dense that I could only eat two slices before I was stuffed to the gills. I would have loved to cook the pizza longer, since I enjoy slightly crunchier crusts and seared cheese.”If you’re cooking a pizza for 12 minutes,” Reinhart warns, “then basically you’re killing the dough, because you’re drying it out.” The sugar in the yeast is an option, and he has a tip for crisping the crust. “Try putting your stone on the bottom shelf,” he says. “You’ll get more bottom heat, and the bottom should be crisper.”The golden rule for home pizza baking is to get the oven as hot as possible. Ideally, a pizza should be cooked at 600 degrees. (In Italy, Reinhart notes, pizzas are baked at around 800 degrees.) My own oven goes to 500, and Reinhart’s only goes to 550. Of course, it’s all back to science. “It’s amazing,” he says, “what that 50 degrees will do.”



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One Busy Dudek

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09.12.07

Far more people have heard Les Dudek’s playing than his name. Most recently, that would likely have been some of the incidental music he has written and played for such television shows as Extra, Friends and Access Hollywood, as well as for NBC, ABC, ESPN, etc. But his pedigree as a rock and roll sideman is even more impressive, including stints with artists as varied as Boz Scaggs, Stevie Nicks, Dave Mason and Cher. Especially attentive FM listeners may recall the two tracks from his mid-’70s solo albums that garnered significant airplay: “City Magic” and “Old Judge Jones.”

The tragic death of Duane Allman in October 1971 left a huge gap in his namesake band, and Dickey Betts invited Dudek to sit in on the sessions for the album that became Brothers and Sisters. That’s him doubling the quicksilver lead lines with Betts on “Ramblin’ Man” and strumming the acoustic intro to “Jessica,” the two key tracks from that landmark album.

But he wasn’t invited to join the Brothers, so Dudek came west, where he joined Scaggs’ touring band and appeared briefly on the mega-smash Silk Degrees album. Boz’s old boss, Steve Miller, also took a liking to the long-haired guitarist, and brought Dudek to contribute to his Fly Like an Eagle and Book of Dreams LPs.

Throughout all this, and everything that has followed, Dudek’s stylistic versatility–everything from sweet pop-rock tunes to lean, authentic blues—and tasteful understatement have served him well musically, even if they have not made him a household name. He’s a damn good singer, too.

Les Dudek samples touchstones from 40 years of personal musical history in a rare local club date at the Last Day Saloon on Friday, Sept. 13, at 8:30pm. Up-and-comers Holiday and the Adventure Pop Collective (tuba!) open. 120 Fifth St., Santa Rosa. $10&–$13. Phone 707.545.5876


After the Fox

09.12.07

Speaking of TV news, Garrison Keillor once said, “You could learn more about the world if you just drank gin out of the bottle.” This is particularly descriptive of the 60-second bursts of international conflict offered by the networks. The “if it bleeds, it leads” style brings on reliable emotions: horror, despair and gratitude for the relative peace of one’s living room.

The Hunting Party, writer and director Richard Shepard’s follow-up to his evil comedy The Matador, focuses on the personal suffering of an American reporter still in Sarajevo. Simon (Richard Gere) disgraced himself live on national TV and has disappeared into badly paid freelance work. Years pass and Simon’s former cameraman and partner, Duck (Terrence Howard), turns up with novice reporter Benjamin (Jesse Eisenberg) for a quick shot in Sarajevo to document the fifth anniversary of the end of the war.

Simon tracks Duck down. Though he has no money and a drinking problem, he also has a half-brained plan to interview the internationally wanted fugitive who helped engineer Balkan genocide. The killer (Ljubomir Kerekes), known as the Fox, is a Serbian nationalist hiding in the mountains, where he is protected by loyal, homicidal followers. The three journalists head off into the Serbian wilderness. Halfway up the mountains, Simon reveals the true scope of his mission. It isn’t just to get the Fox’s side of the story, but to drag him back to justice.

A few drinks are necessary to catch up with Simon, and with the movie. It’s an alcohol-rich story, and it plays all the drunken emotions from false bravado to weeping nostalgia to blurted-out, offensive lines of dialogue. Not that there’s anything wrong with that. There’s a long streak of movies that go with too much wine, from John Ford’s Westerns to The Big Lebowski. What’s less likable is the way The Hunting Party tries to link the drunken self-indulgence of a once slick reporter with the suffering of the people he’s covering.

Yet The Hunting Party has something: a deliberate rattiness, a deep lack of worry about committing offense. There hasn’t been a movie quite this raucous about the war between the press and the dark, conspiratorial side of U.S. policy since Oliver Stone’s Salvador.

The Hunting Party is a fictionalized adaptation of Scott K. Anderson’s “What I Did on My Summer Vacation” article for Esquire. The fictionalized stuff is obvious, such as the night meeting with some Dietrich of the Balkans who runs the local mafia; it’s Diane Kruger, and she gets to make a juicily-accented threat: “Nyot even Gyod can hyelp you.” The story of the U.N.’s haplessness rings true, and the true-life failures are novel, as when NATO published an 1-800 we-tip number you couldn’t dial from anywhere but the United States.

Just as Shepard brought out the caddish side of Pierce Brosnan that wasn’t often a part of Bond films, Shepherd also manages to wake up Richard Gere. Gere has been a placid, gray bore for years, so abstracted by his inner peace that you practically wanted to shake him. But he’s avid here. It’s a real change to see him behave as what they used to call a heel. Unfortunately, the genuinely exciting actor Terrence Howard (Hustle and Flow) slouches through the buddy role, idly picking at a guitar.

The upbeat finale of this wildly uneven movie looks like the perfect example of the kind of American simplemindedness Shepard is trying to denounce. (And the film’s title-card comment at the end about bin Laden is infuriatingly smug.) Shepard is obviously far smarter than the ordinary director, but his nerviness fails him. The film takes regular turns into the kind of cuteness that can make network news a worse central-nervous depressant than hard alcohol.

‘The Hunting Party’ opens everywhere Sept. 14.


New and upcoming film releases.

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News Briefs

09.12.08

Rehab Rumble

New residents were scheduled to move into Sausalito’s Alta Mira Hotel on Sept. 10, sparking opposition from neighbors and officials who said they weren’t notified about the change. Owners Michael and Ray Blatt are converting the hotel and adjacent homes into a drug and alcohol rehabilitation center, due to open with 18 beds this month; 30 more will follow. Monthly charges to stay there are expected to run $42,000&–$48,000. Under state law, facilities with six or fewer beds are licensed without local review. The Blatts obtained permits for eight contiguous sites, each with six beds. Together, they form a 48-unit rehab center, which neighbors charge is too large. The city of Sausalito has hired a San Francisco law firm to pursue legal opposition. “We just think this is a perversion of the law by the developer,” says Sausalito mayor Mike Kelly. About 200 people showed up at a Sept. 6 meeting sponsored by state Sen. Carole Migden. According to a spokeswoman, Migden has contacted the attorney general about stopping the project and is also drafting legislation to limit the number of rehab sites in one neighborhood.

Timber Plan Delayed

The Bohemian Club continues to pursue approval of a timber-management plan allowing logging of up to 1 million board-feet annually from the Bohemian Grove near Monte Rio. As reported in these pages July 4, club officials contend that their plan will reduce the hazardous fire danger. Opponents argue that it will have the opposite effect. The plan was tentatively scheduled for a meeting in August, but that has been pushed forward until mid or late October while officials review endangered species information. “It’s just taking time get the work done,” explains state employee Ron Pape, who’s overseeing the approval process. A Sept. 5 letter from State Assemblymember Patty Berg urges officials to deny the club’s application.

Red Tape Rescue

The County of Napa recently upped its budget from $60,000 to $140,000 for Maximus Inc., a consultancy firm assisting the county in its bid for more than $5 million in federal funds for damages sustained during the 2005 New Year’s Eve flooding. Maximus offers expertise in navigating the application and approval process. The County of Napa has already received some money, but is seeking $1.9 million for applications that are currently in the second appeal process, and another $3.9 million in which federal cost estimates were significantly lower than those by county engineer.


Arrogance of Ignorance

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Aug. 22 marked the 80th anniversary of the execution of Italian anarchists Nicola Sacco and Bartolomeo Vanzetti in Massachusetts on trumped-up murder charges. Their executions exposed the ugly face of the Red Scare era, during which thousands of immigrants and dissidents were persecuted and deported under draconian laws upheld by the Supreme Court. Today, the fate of Sacco and Vanzetti is a warning as to how far America’s obsession with fighting terrorism could yet go.

Where there are strong similarities between the Red Scare and our current “global war on terror,” the threat itself is quite different. That threat changed fundamentally with the crushing defeat of the allied Arab nationalist armies against Israel in 1967. In its aftermath, Palestinian activists took the recently developed tactic of airplane hijackings to a global level.

The People’s Front for the Liberation of Palestine (PFLP) began carrying out a dizzying array of high-profile hijackings, including five in 1970 that were eventually flown to the Jordanian desert where three of the planes were blown up before a crowd of international TV crews.These events were not 9-11-type actions. As traumatic as they were, these were media campaigns intended to focus world attention on the plight of an utterly desperate people without a home. If they succeeded in generating that attention, they failed miserably in the one thing that mattered most: gaining a Palestinian homeland.

For the first time since the modern era of nonstate terrorism began with the assassination of Russian czar Alexander II in 1881 by the People’s Will, those engaged in conflicts for national liberation had powerful weapons in addition to dynamite and guns at their disposal. Airplanes were now being used as both media spectacles and weapons.

Like the People’s Will 90 years before them, the PFLP engineered these hijackings because they believed that they had exhausted every other legal, nonviolent and violent (yes, war is legal) means to reach their objectives. Nearly 40 years later, we now know that holding world opinion hostage is alone insufficient to solve problems of injustice and violence.

Despite the end of the Cold War, hot wars have continued to rage over the control of oil, timber and minerals. Lucrative weapons sales, trade and debt have fueled fantastical alliances between democratic and authoritarian, even genocidal, states. Enormous wealth continues to concentrate into fewer and fewer hands while billions lack basic necessities like food and clean water. Environmental devastation only catches our attention when a village or major city is wiped off the map. These catastrophes grip world attention for a moment even as the suffering ebbs on for years, even decades, afterwards without relief.

America has been paying the price for its elusive search to insure itself against the resulting political instability. The Patriot Act, racial profiling and persecution of Muslim Americans; the invasions and occupations of Iraq and Afghanistan; the establishment of Guantanamo Bay, Abu Ghraib and secret CIA prisons; unrestrained presidential power, domestic spying, criminalization of dissent, alliances with Sunni resistance groups and the genocidal Sudanese government carry a costly premium most Americans are no longer willing to pay.

The price we are paying for America’s global war on terror, as costly as it is, is hardly unprecedented. Matthew Carr, author of the new book The Infernal Machine, explains that its rhetoric, its assumptions and many of its methods have been borrowed from previous counterterrorist crusades such as the Red Scare and McCarthyism.

What may at first appear to be an effective counterterrorism policy eventually proves illusory. Military historian Robert Asprey warned in his book, War in the Shadows, that in the history of empires “we find plentiful examples of the arrogance of ignorance compounded by arrogance of power, with resulting misery and frequently, loss of kingdom, and even empire.”

Even as America continues to scan the skies for more airplanes, on the ground our society is plagued by a seething, frustrated expectation. The Oklahoma City bombing, the Earth Liberation Front, the Unabomber, Army of God, Minutemen, Jesus “camps” and militias go hand-in-hand with evaporating voter turnout and party affiliation. Alienation is increasingly measured by exit polls warning of voter backlash to rising corporate power and widespread political corruption. For increasing number of Americans, all the options have been exhausted and desperation has begun to set in. And as that happens, the arrogance of ignorance makes for an explosive combination.

Robert Ovetz teaches political science at College of Marin. The Byrne Report returns next week.


Ill Communication

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09.29.07


When outside of the North Bay, being a Bohemian writer means constantly illuminating others with comparisons to the SF Weekly or other familiar alternative weeklies. So when I received an e-mail from the Beastie Boys’ management inviting me to participate in their latest promotional roundtable interview, I was skeptical but also intrigued. A new Beastie Boys album is an event, but this time they’re promoting The Mix-Up, their first album devoid of samples and consisting entirely of instrumentals, funky interludes previously only served up in small doses alongside more pleasing hip-hop tracks on their past discs.

I naturally started researching for what would surely be a White House&–style press conference. The three Jewish kids from New York who’ve been part of virtually every important musical movement in my lifetime, from early ’80s hardcore and rap music’s commercial ascension to the socially conscious, genre-bending, pseudo-DIY aesthetic of the “alternative” ’90s. The guys who went from hedonistic, frat-boy pranksters to the ultra-hip, China-boycotting Bob Geldofs of my generation. The group that persist as the best head-bobbing reminder of punk and rap’s closely knit origins–I mean, these guys made Paul’s Boutique, for God’s sake!

And so, armed with over a dozen well-constructed questions, I strolled into a hotel off Market Street ready. I felt confident–until I walked in the room.

Instead of a mob of journalists, just a few were seated at a tiny boardroom table. For all my self-assurance, I had planned on at least a little anonymity. After some pleasant chitchat with the others, in walked the Beastie Boys. Other than assorted crow’s feet, smile lines and gray hair, they still look quite youthful. I tried hard to bury my starstruck feelings as Mike D poured himself a glass from the same I pitcher I had just used!

As the interview got underway, it seemed more like a comedy routine than a press conference, with Michael “Mike D” Diamond, Adam “Ad-Rock” Horowitz and Adam “MCA” Yauch giving smart-alecky, bullshit answers to questions about the Rock and Roll Hall of Fame and other artists sampling their music. They were relaxed and talkative with the journalists and each other, joshing as if they were sitting on a brownstone stoop back east. Then it was my turn.

It seemed with the Tibetan Freedom Concerts and your work with Milarepa in the late ’90s that there was a momentum in this country in regards to human rights issues, especially in China. How do you feel that the state of it is today, a decade later?

(The longest pause in history. Crickets chirping.)

Ad-Rock (sullen): I don’t know. That’s an honest answer.

(Long pause)

Mike D (hesitant): I’m going to try it. Definitely it seems like . . . um . . . it’d be nice if human rights were focused on, especially in the consumer process that we all go through.

So have you guys gotten involved in things like fair trade?

Mike D: I don’t know if we’re more involved . . . although I do support it. (Long pause)

Ad-Rock: Dude, you killed the mood with that whole thing.With this comment, laughter returned to the room for a moment before MCA, the group’s resident Buddhist and creative force behind their Tibetan causes, expressed some disillusionment with his benefit work.

“The first year or two that we did the concerts, you’d call up the artists and ask them to play, and they were really enthusiastic about it,” he said. “Come the fifth year, they’d be like, ‘Oh no, here comes that call again.’ And in terms of the media, too, it started to get redundant. I think our culture so much just wants something new.”

Then it was right back to the tomfoolery, with the Beasties riffing whether or not eBay patronage is technically thrift store shopping, hassling a friend of their publicist who just wanted to sit in (“What exactly are your credentials?”) before embarking on a five-minute discussion on the Knicks’ chances this year. When talking of dream collaborations, they mentioned magician Criss “Mindfreak” Angel before feigning admiration for another popular artist. “I enjoy artists like Sting,” MCA deadpanned. “I mean, I don’t know his music, but his fashion sense . . .”

The activism question had been a chore for them, so I thought I’d ask about The Mix-Up, which hadn’t yet been discussed. This one couldn’t miss.

Some people affectionately refer to the new album as ‘porno music.’ What do you guys think of that?

MCA (immediately): Are you the Debbie Downer of this . . . (Laughter throughout the room.)

Ad-Rock: So, you go from human rights to porno?

Mike D: I think that we’re a very sexy group, and I’m glad that people want to celebrate us that way.

Are you guys trying to prove anything as musicians with this album?

MCA: Ouch.

Ad-Rock: Are we still on the pornography thing?

MCA: It just seemed like a good idea at the time, you know.

Ad-Rock: Yeah, I don’t think we’re good enough to try to prove anything like that.

MCA: We were just trying to make some shit that sounds cool to us and see if anyone else is feeling it.

(Long pause.)

Ad-Rock: But I like pornography.

MCA (to Ad-Rock): You’re a huge fan of the whole genre?

Ad-Rock: Yeah, it’s wide open, you know.

I guess I bummed the Beastie Boys out and insulted their musical talent. As a journalist, I felt wonderful. As a fan, not so great.

Later that night at UC Berkeley’s Greek Theatre, their triangular chemistry translated to the more familiar call-and-response in classics like “Shake Your Rump” and the party anthem “Brass Monkey,” a highlight for the mostly college-aged crowd. Like the Beastie’s best albums, their show was a seamless blend of hip-hop, punk and instrumental lounge-funk. Although The Mix-Up is a bold new step for the group, it was hard to ignore the mad rush for the restrooms and beer stands every time the men broke out their instruments. It’s no wonder they saw the need for the “gala” instrumental show at the much-smaller Warfield Theatre the night before.

As I sipped my first Beastie beer ever purchased with a real ID, wondering why anyone would invite journalists from all over the Bay Area just to dodge their questions for kicks, the closing number seemed to offer a clue. A familiar refrain was building and building until audience and band screamed at full volume, “Listen, all y’all, it’s a sabotage!” I guess the Beastie Boys never have stopped pulling pranks on people. And what an enjoyable prank it was.


Seeds of Wonder

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09.12.07

Wherever they are coming from, Jesca Hoop’s new album promises listeners the unexpected. Those unfamiliar with Jesca’s music will probably think, “Gee, this is pretty weird,” while North Bay folk who recall her days with Majesty’s Monkey five or six years ago may think “Wow, this is pretty normal.”

You put Kismet on for the first time and hear “Summetime” (no, not that “Summetime”), which begins with a chorus of Jescas performing the vocal equivalent of sun salutations. But then the chorus commences what can only be described as a gorgeous yodel, the drums come in, and then the song abruptly steps down from sun-kissed bliss into a brief foray into sultry and sticky territory. It’s at once very slick and very unusual.

Hoop’s voice changes shape from song to song—sometimes it has an innocent, girlish quality, while other times she’s diabolically seductive. And sometimes she just sings, such as “Love Is All We Have,” one of Kismet‘s quieter moments. “Seed of Wonder” is Kismet‘s highlight and is perhaps the best distillation of what makes Hoop’s songs so innovative. With nothing but a guitar, percussion and a mass of Hoop’s overdubbed vocals, “Seed of Wonder” treads on Americana folk ballad territory, hip-hop, and Kurt Weil cabaret. With a mess of changes and coming out of nowhere, it’s a song that’s eating its own tail, structurally; you can never figure out where it’s coming from or going to, and therein lies its appeal.

Tom Waits comparisons are going to be unavoidable for Hoop, considering her background, and “Money” is probably the song that will be singled out as most Waitsian, with its Rain Dogs guitar sound. The understated “Silverscreen” begins as a sweet little old-timey ditty, but shifts into territory with just the right edge of menace; it’s both pretty and creepy.

Listeners craving more wackadoo material may be initially crestfallen, but not all of Kismet’s more straightforward material is Kismet’s lush closer, “Love and Love Again” is flush with the swoon of a golden age Broadway tune.

The strongest and most distinctive unifying aspect of Kismet is Hoop’s vocal phrasing, which is not jazzy or improvisational so much as utterly in tune with her creative nerve center; she sustains notes when you expect no notes, and she bundles lyrics up in small spaces when you expect her to stretch them out. Words come out of her in a way that often defies prevailing logic, but, in the context of her music, sounds perfectly natural. You get the sense that no one could sing these songs but her.

It’s going to be interesting to see what audience responds most to Hoop. Though a good chunk of its material is wildly inventive, Kismet is not the kind of record that indie rock critics stumble over themselves to champion; meanwhile, some of Kismet‘s more straightforward songs would not be out of place on adult contemporary radio. Where does this place Hoop? Her talent and singularity are palpable on Kismet, and one can’t help but wonder what she has up her sleeve for the future.


A Changing Landscape

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Photograph by Edward Troxell
Case in Point : Biologist Brock Dolman underscores the tell-tale weeping black signs of SOD on his property.

By Patricia Lynn Henley

A few years ago, Michael Kelley realized that the hillsides on his 20-acre property near Rio Nido were covered with brown tan oak bushes and trees–dead ones or those that were quickly dying.

“They looked like they got spray-painted overnight,” Kelley recalls. “It was kind of creepy. They looked like they’d been hit with the evil witch’s magic wand.”

Two months ago, he made a routine hike around his place to see how things were doing. Two treasured oaks, which had appeared to be fine a month earlier, had succumbed to sudden oak death (SOD).

“It was our most amazing place. We called it the ‘lost world,'” Kelley says of the portion of his property that he and his wife always show to agile visitors able to make the 20-minute trek. “Now the two–not the tallest but the grandest–trees are suddenly dead.”

There’s not much Kelley can do but watch, wait and haul out the dead.

“We’re not kids anymore, and it’s tough going up these hills with chainsaws and taking trees down,” he sighs. “It’s a slow process, and I don’t think our progress is keeping up with the spread of the disease.”Kelley realizes that the land around him is undergoing a fundamental change. “We’re moving into a new look around here. I don’t know what it’s going to be, really.”

Kelley is one of nearly a hundred people who gathered in Occidental on Aug. 18 for a community meeting about SOD. They listened to experts explain what’s known about a disease that has killed more than 1 million trees in California since it was first detected in the early 1990s, and they aired their own worries and SOD-related problems.

Sudden oak death is fatal to tan oaks and coast live oaks, among other species. The microorganism that causes it can thrive on more than 105 host species and is often spread through water runoff from the California bay laurel. The disease has hit particularly hard in the North Bay’s redwood fog belt, especially after wet springs in 2005 and 2006 created prime conditions for the organism.

“It was kind of the perfect storm as far as spreading the pathogen. There have been tons of new infection, tons of new die-off as a result of those two wet springs,” says Katie Palmieri, spokeswoman for the California Oak Mortality Task Force.

Known as Phytophthora ramorum, the SOD organism is currently found in 14 coastal California counties. Its spores travel through water. The wet conditions of recent years haven’t prompted its discovery in new counties, but they did intensify its presence in existing locations, including Napa and Marin.

“In some areas, the infection rates are even higher than they were at the original infection time, which was large,” Palmieri says.She adds that everyone needs to be involved in stopping the spread of SOD, which was recently found inside Santa Rosa city limits. “There’s no magic fence that stops it from moving from one location to another.”

The disease has hit in a relatively small area of Oregon, where officials tried to eradicate the problem by extensive tree removal. “What they’ve found so far is that they’ve really knocked it back hard, but they still find it in the soil,” says Lisa Bell, Sonoma County’s SOD coordinator. “As of now, even the most radical eradication efforts haven’t worked.”Although Napa is infected, it has not been hit as hard as Marin and Sonoma counties. “So far, what we have found is that it tends to be on the west.

For those who are aware of the signs, the North Bay is undergoing a fundamental change. Just as Dutch elm disease altered the Eastern states, sudden oak death may be permanently revamping our local landscape, says Marin County forester Kent Julin.”We’re going to see a shift in the kind of forest that we have. It’s kind of like a slow-moving wildfire that will change the character of the forest.” In the process, it’s also raising the risk of actual fire.

“It has never been more dangerous than it is right now,” Julin adds. “We’re in a place where we have a lot of standing dead material in the forest. As that falls on the ground and decays, the fire danger diminishes, but right now we have standing dead trees with dead leaves on them that are highly flammable.”

On the 19,000 acres managed by the Marin Municipal Water District, there are areas of tan oaks with a 100 percent die-off rate, says spokesperson Carl Sanders. It’s not possible to remove them all, so the district is focusing on areas that pose the biggest safety risk.

“We’ve certainly lost a number of significant heritage live oaks around our facilities and roads that it’s been heartbreaking to have to remove,” Sanders says. “We’ve had to take down numerous trees that were 100 to 200 years old last year. It’s a shame to have to see these big old trees that have to be dropped.”

There are also a lot of dead trees a little farther north, says Bell. “The effects of those wet springs is what we’re probably seeing now in the field, which is a lot of mortality, especially in the West [Sonoma] County. But this pathogen is so new, the patterns are just being discovered.”

Intensive research is being done. Researchers have pinpointed the chemical Agrifos as a potential preventative treatment, but there is no cure.

Working to prevent infection in a single tree by using the chemical Agrifos is similar to using chemotherapy, says Brock Dolman, a biologist with the Occidental Arts and Ecology Center. “If you would like to save a charismatic individual tree, and it’s not already in an advanced stage of disease, it’s possible to apply this protocol and save an individual tree.”

But the problem is much larger than that. “We’re very much struggling with how do we manage the whole ecosystem, and we have some special trees that we don’t want to see die. How much do you do for one tree?”

Dolman lives on 80 acres in western Sonoma County as part of the 11-member Sowing Circle LLC. In the last month, they’ve spent almost $10,000 to have a professional arborist remove dead trees on their property.

“In the last two or three years, I’d say maybe 90 percent of the large tan oaks on our property have died,” Dolman says. He estimates that about 50 percent of their coast live oaks are showing advanced SOD symptoms.The spread of SOD shouldn’t really be a surprise to anyone, Dolman says, citing the extensive impact people have had on local woodlands in the last 100 to 200 years. “It doesn’t take much in a system that’s already weakened.”The Sowing Circle are considering using Agrifos to save some of the larger trees, and are experimenting with a special compost tea blend to add nutrients and other organisms to woodland soils in an effort to improve the overall forest health. Results have been mixed, but they keep trying.

“We’re witnessing more and more trees being infected and more and more trees dying,” Dolman says. “I think we’re all feeling deeply challenged by having to sit and watch basically an epidemic moving through this ecosystem.”

An SOD meeting is slated for Oct. 20 at Santa Rosa’s Finley Center; Phone 707.565.6070.

Forest Stewardship workshops with SOD information are scheduled Sept. 29 in the Mark West Creek watershed and Oct. 13 near Occidental. Phone 530.224.4902. Details about SOD are online at www.suddenoakdeath.org.


Black Stallion Winery

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09.12.07

Napa Valley’s newest winery is a short trot north of Napa on the Silverado Trail. Its stonework facade is reminiscent of Old California, olive trees line the drive, parking is amply provided and the entrance is framed with palm trees that have stately stood for the past several months, at least. Inside, guests may warm themselves by the massive fireplace or commiserate in the wine-club room, where members can look out windows at the rest of us.

The wraparound tasting bar, in the midst of the high-ceilinged hall, can host dozens at a time. The highlight, of course, is visible from the road, bookended by great wooden cellar doors: a striking statue of a black stallion rearing up on its hind legs, nose pointed skyward, its mane crackling electrically, its hindquarters, round as grapes, thrust in the general direction of Rutherford.

In Napa, if you build it, they will come. This place isn’t even on Napa’s most well-traveled road, but already tourists are decanting in droves from cars and limousines. Their kids run laps around the tasting bar, tugging on parents’ sleeves, demanding that things be bought. On a recent holiday weekend, the staff was too preoccupied to be especially attentive, but for a winery with a production of only 3,200 cases, its instant popularity is puzzling. (Perhaps it appeals to everyone who never had a pony. Personally, I came because the press release promised a “petting vineyard.”)

In times past, the property was the site of the Silverado Horseman’s Center. Hence, the theme. It’s owned by a pair of Midwest liquor-distribution barons who hired a capable winemaker and envision it to be a retail-destination winery.

Black Stallion’s Napa Valley wines (produced offsite for now) are quite good. A whiff of the 2004 Sauvignon Blanc ($18) suggested white peach and honeydew melon. It hits the palate full and round, leaving a bit astringent. The 2004 Carneros Chardonnay ($26) has a nutty pecan-pie aroma, is sweet and full and light on the butter, and flinty or steely toward the finish line. The 2005 “Painted Pony” Rosé ($18) is an extracted style, a dry, chewy pink wine, and I won’t argue with their own notes concerning the “hibiscus blossom and rose petal.”

The 2004 Syrah ($36) has appealing, sweet aromas of caramelized oak, raspberry drizzle and vodka, with a curious plasticity on the lips. The 2002 Cabernet Sauvignon ($45) has a complex aroma of red leather, cassis and county fair, supple on the tongue while having a sturdy tannic bite.

We purchased a bottle of the Pinot Grigio ($22). The tasting fee is understood in light of the crush of visitors and the small production. But the practice not to apply the fee ($20 for two) toward a wine purchase is shocking for us Sonoma folk, something akin to selling horsemeat. However, inquiring about the usual tasting-fee waiver and announcing our status as locals produced a fee waiver by our thoughtful if overwhelmed host. Try your luck, and remember–you didn’t hear it from this horse’s mouth.


Black Stallion Winery

Address: 4089 Silverado Trail, Napa

Phone: 707.253.1400

Hours: Open daily 10am to 5pm. Tasting fee $10, four tastes

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