All Together

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June 6-12, 2007

All Music Guide:

‘It’s a lonely place out there on the road when you’re doing it alone,” says singer and songwriter Grant-Lee Phillips. “Every so often, I like to go out with a couple of friends and do something collaborative.”

To that end, Phillips has teamed up over the years with such musical mavericks as British neo-psych troubadour Robyn Hitchcock and Neil Finn of Crowded House. In 2002, he toured with John Doe of X and Kristen Hirsch of the Throwing Muses under the moniker the Exile Follies.

“Those crazy pairings can make for an interesting night,” he says.

On June 12, Phillips brings his latest road show, the Various & Sundry Tour, to the North Bay. The tour features siblings Sean and Sara Watkins, two-thirds of the bluegrass string band Nickel Creek; singer and songwriter Glen Phillips of Toad the Wet Sprocket; and ace fiddler Luke Bulla. Grant-Lee Phillips frequently sits in with this loose-knit association at Largo, a popular West Hollywood cabaret.

The Various & Sundry gang, Phillips says, captures the spirit of those late-night sessions. “We approach this like a band–a mix of folk, pop and bluegrass–with everyone stepping up to the mic,” he says. “We’ve found a way to back each other up, pitching in as if we were on the back porch together. It’s unusual because you don’t usually find a group of singer-songwriters who have this kind of flexibility and who can find their place in an ensemble.”

Despite a recurring role on the high-profile Gilmore Girls TV show and an ABC News review that dubbed him “one of the most gifted songwriters of his generation,” Phillips is hardly a household name. Yet his solo work continues to mature, and his side projects are among the most vibrant on the Americana landscape.

Phillips grew up in Stockton, where he formed the Doors-inspired Shiva Burlesque with Jeff Clark, a school pal who shared a fondness for the neo-psych sounds of such paisley underground bands as Rain Parade and the Dream Syndicate. The band split after two strong albums having developed a fringy sound that the All Music Guide once described as too post-punk to be folk-rock and too folk-rock to be post-punk.

In 1992, Phillips and the Shiva Burlesque rhythm section reformed as Grant Lee Buffalo. The band’s debut album, Fuzzy, with its moody, cinematic mix of alt-rock and acoustic ballads, garnered rave reviews. The album earned Phillips a reputation for crafting thinking-man’s pop and drew attention to his soothing, wistful vocal style. In 1995, Rolling Stone critics voted him best male vocalist.

Grant Lee Buffalo toured with REM, Pearl Jam and the Smashing Pumpkins, and got lots of college-radio airplay, but the band never generated mainstream interest. After the release of the band’s 1999 neo-psych masterwork, Jubilee, which includes the wonderful Beatles-esque ballad “The Shallow End,” Phillips embarked on a solo career.

His 2001 solo sophomore effort Mobilize was praised by one reviewer as a work of “pure genius” on a par with REM, Radiohead and U2.

Hello mainstream success. Phillips’ third solo album, 2004’s Virginia Creeper, featured stark portraits of a mythic America, including an apparent homage to Jane Fonda (“Calamity Jane”). Critic Steve Leggett likened the album to Springsteen’s unplugged folk-classic Nebraska.

But those neo-psychedelic roots showed themselves again last year when Phillips released the intimate album Nineteeneighties, delivering wistful covers of songs by REM, New Order, the Pixies, the Cure and the Psychedelic Furs, among others. In contrast to his current collaborative project, Phillips’ new album, Strangelet, finds him playing nearly every instrument, from guitar and piano to bass and ukulele. It ranges from the reflective “Runaway” to the T. Rex&–inspired rocker “Johnny Guitar.” Peter Buck of REM adds guitar, and the Section Quartet provide strings.

The odd title refers to a hypothetical and potentially irrational subatomic particle that is believed to possess the power to consume an entire star. “I thought, ‘That’s kind of a wild concept,'” Phillips says. “I feel like music activates on a similar level. A lot of us grew up with some kind of physical music format, like cassette tapes, that we can get a physical grip on. But as time goes on, we’re getting accustomed to downloading it; it’s passing through the air, it’s an intangible thing.

“What it does to us physically and emotionally is difficult to put into words. But it’s a poetic marriage that I can get behind.”

Grant-Lee Phillips and the Various & Sundry Tour perform Tuesday, June 8, at the Mystic Theatre. 21 Petaluma Blvd. N., Petaluma. 8pm. $20. 707.765.2121.


Cold Comfort Farms

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June 6-12, 2007

Wine, in Marin? Recent years have seen stirrings in the undulating golden hills of Marin County. Noises made, some measure of excitement building. Its tapered peninsula wrapped in fog, awash with wealth and rent in two by the slow, sure action of tectonic plates, Marin also has what it takes for pretty decent Pinot Noir. Could Marin be the next Carneros, the next Santa Lucia Highlands? According to the best sources available, it may at the least become the next Marin.

Of course, no one can talk about Marin without trundling out the whole kit of stereotypes. Marinites will forever be wearing redwood tubs around their midsections, as surely as Bavarians cap their Kopf with pointy green hats. For a discomfiting time, pundits indulgently hypothesized that simmering in hot tubs may contribute to radical Islamist tendencies. For our purposes, we can assume that this wealthiest of counties surely consumes a fair portion of premium wine in or out of said sauna. That puts us back on topic, but to fully appreciate the story of grape-growing in Marin, we must travel to other dimensions of space and time. Namely, West Marin and historical Marin.

Motorists whiz by an old structure on Larkspur’s busy Magnolia Avenue without a thought. The boarded-up, empty brick facade of the place doesn’t look promising. But peek over the rustic fence, and there’s a bucolic scene. Horses graze on gently sloping grounds before a solid stone- and wood-sided building, proudly signed “Jean Escalle, 1881.” Escalle’s seems as improbably unchanged as an 1880s photograph, yet it’s well maintained. And in the old days, the now-forested hillside behind it was all planted with vineyards.

When Marin winemakers first stepped into the historic winery, they parted cobwebs to reveal a scene that had been frozen in time for nearly a century. Old equipment and fermenters were still in place, and says Marin winemaker Jonathan Pey, “on the old wood bar there was a tasting glass left from the last time it was used.” It’s in this one-of-a-kind space that Pey and others are hosting the third annual Marin County Pinot Noir Celebration, in which 14 wineries will pour June 8&–9.

Pey is a leading proponent of the fledgling Marin scene. He’s worked in Europe, Australia and California for big-name wineries (think Mondavi, among others). But living in San Anselmo, he and his wife, Susan, a leading wine buyer for restaurants, became fascinated with the lost history of Marin’s wine. They discovered, for instance, that a German immigrant named Hermann Zopf planted vines in San Rafael (now the site of Yardbirds hardware store) and built one of the North Bay’s first wine country destinations, Zopf’s Gardens, which soon became popular with San Francisco elite.

Jean Escalle delivered his 9,000 cases by horse and cart, and hosted lively vintage festivals and Bastille Day parties. A souvenir booklet from 1893 boasts that “there is a vineyard connected with almost every estate in the county . . . every dweller from Fairfax to Sausalito has his little vineyard.” Idyllic boosterism typical of the 19th century, perhaps. But what happened to Marin’s wine? It’s like a lot of pleasant places a few hours’ from the big city by boat and carriage in the 1800s. Viticulture just didn’t stand a chance. Prohibition nixed it, and after the Golden Gate Bridge was built, Marin’s biggest crop quickly became housing lots.

Perhaps the jinx was put on Marin’s nascent viticulture a century earlier. Mission San Rafael Arcängel was founded in 1817 as a sort of health club for natives who somehow failed to thrive under the tutelage of the Spanish friars at foggy Mission San Francisco de Asís. There they farmed grapes, among the usual suite of mission activities, until the mission was secularized. When the opportunistic General Mariano Vallejo took over, he employed Native Americans to dig up their vines and move them, replanting them on his property in Sonoma.

Present-day estimates of Marin’s acreage of vines vary greatly, but Pey says it’s just under 200. Read this paragraph on Napa’s Wine Train and you’ll have passed 200 acres in the interim. Sonoma County recently eclipsed its pre-Prohibition peak of some 40,000 acres.

It used to seem like a fair assumption that Marin County was too cold for wine grapes. That may be true, with notable exceptions, for such traditionally popular varietals as Cabernet Sauvignon. With the ascendancy of Pinot Noir, however, and the enthusiasm of recent generations of winemakers bent on crafting Burgundian-style wines, that’s not the whole story.

Marin County finds itself between two bodies of cold water, so, yes, the climate is cooler. The flip side of this, Pey explains, is that the San Pablo Bay and the Pacific Ocean also moderate the temperature in winter. Bud break begins earlier, extending the growing season. Because of the longer hang time, “The flavors develop before the sugar gets too high–just the opposite of Sonoma and Napa,” Pey says. This allows winemakers to make rich, flavorful wine that is under 14 percent alcohol.

Pey’s vineyard is just south of Petaluma, a few miles down a gravel road off of Chileno Valley Road. We pass by a rambling dairy operation and, in one barn, a winery run by the Corda dairy family, who planted grapes in lieu of cows around 1990. Up by the vineyard gate, cattle bound for Niman Ranch stand and lounge about in the grass. Their eventual destiny as all-natural burgers couldn’t seem further away, and they have a great view.

All around, the rolling hills of Marin and Sonoma are turning from green to gold. The vineyard sweeps up the slope. Pey has recently begun to convert to certified organic farming. While he rests easier knowing that his children can play in a vineyard free of chemicals, there are challenges, like weed control and botrytis rot. He cautions me not to trip in the one-foot holes in the vineyard floor, made by coyotes looking for rabbits. Coyotes? In Marin?

Originally planted in Merlot, much of the vineyard has been grafted over to Pinot Noir and Riesling. As much as Pinot is the star of Marin’s minor production, Pey seems particularly bedeviled by his Riesling. It looks so promising now in the spring, abundantly fruitful with clusters. But at the end of the season last year, botrytis ruined half of the crop. There are no organic options available for it.

Thanks to muscular zoning laws, West Marin has remained rural. The work of the Marin Agriculture Land Trust, among others, has helped to keep the east and west parts of the county worlds apart. But Pey doesn’t see grapes exactly carpeting these hills anytime soon. His best guess is that this appellation’s wine will continue to grow as a boutique phenomenon. The barriers are high; for example, Pey can only lease his vineyard. The main factors are as old as the West, land and water. Parcels are often ranches of 500 acres. Even 80-acre zoning means that small players cannot afford to get started. And the Marin dairy industry, which is so old that its first customer base was in a town called Yerba Buena, is struggling. Some families have planted grapes as a supplement, but Marin County grapes don’t fetch Napa County prices.

Over in Nicasio, about 20 acres were developed by the Chalone Wine Group, now in the possession of a giant spirits producer. Near Pt. Reyes Station, Mark Pasternak is another champion of Marin grapes, farming a number of properties including his own Devil’s Gulch Vineyard. Among the winemakers using fruit from the steep slopes of Devil’s Gulch is iconoclastic Bolinas winemaker Sean Thackrey, who gets medieval on it, literally using winemaking practices cribbed from ancient texts.

A friend with whom I sampled the Pey-Marin Pinot Noir remarked that it tasted just like an obscure bottle of Marin Pinot that someone at her restaurant had recently dug up from the cellar. In fact, Vision Cellars owner Mac McDonald makes his Chileno Valley Pinot from the very same vineyard. In Marin, there are even fewer vineyards than there are wineries; many of those who will be showcasing at the June celebration make wine from the same vineyards.

Even with their combined top-shelf wine industry experience, selling a few hundred cases of Marin wine is no cinch for the Peys. A high-end restaurant bought a few cases, for example. When the couple checked back some months later, they asked how the wine did. Oh, it was a big hit, sold out, but no, the restaurant won’t be buying more, because, since they sold out, they took it off their wine list. “In any other business, the fact that a product sold out would be taken as an incentive to sell more of it!” Pey laments.

Time will tell whether this unique appellation will sell itself. After all, even Jean Escalle had to bring it to them in a horse and cart.

Get your chance to move some of that product toward your tongue at the third annual event, a fundraiser to benefit MALT, which helps protect Marin County farmland by purchasing conservation easements. Marin County Pinot Noir Celebration at Escalle Winery, Friday&–Saturday, June 8&–9, from 5pm to 8pm. Producers include Brookside Cellars, Corda, Dutton-Goldfield, Kendric, Moon Hill, Orogeny, Pey-Marin, Point Reyes, Sean Thackrey, Stubbs, Thomas Fogarty, Vergari, Vision Cellars and Willowbrook Cellars. 771 Magnolia Ave., Larkspur. $40. 707.953.0923.

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Letters to the Editor

June 6-12, 2007

Arts Council update

neglected to research just how good the Arts Council of Sonoma County (ACSC) and the Sonoma County arts sectors are performing (“Turn Around,” May 23). The California Arts Council rated the ACSC with its highest rating in the state. Our new executive director and staff are working collaboratively with artists and arts organizations. A few of the exciting things going on include last year’s Sculpture Sonoma, the first countywide multivenue sculpture festival, which was a huge success. This fall we plan Performance Sonoma, a countywide performance and music festival including 12 arts organizations with a shared theme of Crossing Borders. Santa Rosa has created a downtown arts district; in Petaluma, Santa Rosa, Sebastopol and Rohnert Park, a 1 percent for public art program has been passed. We’re working with schools to bring artists, poets and other professionals to introduce arts more fully into the curriculum. With the Community Foundation, we bring new philanthropic support to the community. We gave out the first Emerging Artist Award with three $5,000 prizes. Perhaps you’ll write an article doing justice to the great work being done by all of our artists and arts organizations.

Michael Friedenberg, Board President, Arts Council of Sonoma County

Cops are people too

Do I believe in checks and balances? Yes. Do I think that paying attention to police in the way they conduct their duties is important? Yes. But the overall attitude of the people in (as well as the article itself) seems to be that police officers are an out-of-control group of homicidal racial profilers that need to be kept under control, with little or no perspective on the primarily good service they do (The Byrne Report, “The Right to Witness,” May 30).

I am well aware that there are instances of power abuses, misconduct and sometimes fatal mistakes made by police officers, and because of this I believe we need a greater dialogue between citizens and law enforcement. Few of us know the reality of trying to perform the job these men and women do. We have strong reactions to the tragedies we read about in the newspaper, but I think this is all the more reason to try to create unification within our communities in which we engage police in active communication, not objective criticism. Constructive criticism is good and even necessary; I know that CopWatch exists because these people want to help the community, but we must not forget that police officers are members of our community, and vital ones at that.

Devon Rumrill, Santa Rosa

Pushing the concept

In regards to the recent article about Petaluma teenage children overseeing the police doing their difficult job, I feel so much better now! The world-educated and savvy teenagers are keeping us safe from the rogue cops of Petaluma!

At their first call, a 7-Eleven, a guy of “color” (we all have color!) is caught buying a minor alcoholic beverages. After the perpetrator is cited by the police for facilitating the drunkenness of a minor, the CopWatch kids hand the perp a pamphlet advising him of his rights! So it’s OK by the CopWatch kids to buy booze for a minor and help out the criminal? Then a domestic dispute at the Lakeville Gardens apartment complex; again with the “color” thing! The police defused the situation, and maybe the people won’t beat each other up again and have to call the police again.

I mean, come on! Nobody wants police misconduct or abuse, but consider this: If you don’t want to tangle with the police, don’t commit crimes. What a concept!

Robert C. Harvey, Petaluma

Institutional value

Gretchen Giles’ review of the Kendall-Jackson-sponsored “Art of Terroir” at the Sonoma County Museum hit the nail on the head (Critic’s Choice, “Making Sense of the Place,” May 23, print edition). There is a lot more to Sonoma County than the making and selling of wine, and unless Santa Rosa and the surrounding community really come to value our museum and public arts organizations like the Arts Council of Sonoma County, this will be the result.

Shane and Sally Weare, Santa RosaDept. of Corrections

Who, what, where and when are laughingly thought to be the stock of the journalist’s trade. Whatever. When it comes to Mezzo Mezzo, the restaurant we love so much (, May 30), said affection didn’t quite stretch to all da faktz. To wit: Mezzo Mezzo is proud to operate Tuesday&–Sunday, fortunately does not tuck asparagus into its cannelloni dessert and can be found via Alexander Graham Bell’s finest at 415.459.0330. We apologize for the errors yet find ourselves strangely drawn to an asparagus dessert. With a lemon cream?

The Ed.
Avec Bib


See It Twice

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May 30-June 5, 2007

Irish filmmaker and musician John Carney knew he loved musicals, and he knew that he wanted to tackle the genre for his next project. His trouble was with the how. The auteur also astutely realized that the over-the-top, cheesecake style of the 1950s just wouldn’t fly on today’s movie screens. Thus, Carney gave himself the daunting task of modernizing the musical for the 21st century. With his simple yet effective film Once, Carney has crafted something that is better described as a postmodern musical; he has gone far enough away from the clichés of the genre to make something that is completely fresh, yet still undeniably cut from the same cloth.

Rocker Glen Hansard (last seen onscreen in 1991’s The Commitments, Hansard has been all over Europe with his successful band the Frames for the past 17 years) stars as the unnamed “guy,” a street musician in Dublin with a powerful set of tunes and an even more powerful sadness in his heart over a lost love. One day, he has a chance encounter with the unidentified “girl” (refreshingly portrayed by Hansard’s sometime real-life musical collaborator Markéta Irglová), a Czech immigrant who befriends the singer-songwriter and surprisingly turns out some quality performances at the piano herself. Together, the two push each other to re-ignite their respective cooled romances while collaborating on a small batch of tunes for a demo that our guy will take with him to London in one week’s time.

Once eschews the traditional musical format by giving the stars a legitimate reason to burst into song. They are writing an album, after all, and it is these tunes that form the soundtrack, the lyric book and the backbone of the entire piece. Hansard’s skillful compositions evoke a folksy Radiohead vibe, and Irglová’s contributions further elevate the material with lilting back-up vocals and powerful mood swings.

While real-world information on the nature of the two’s relationship is hard to come by, we do know that they are actually friends and they did actually craft an album’s worth of songs around the same time Once was being filmed, many of which were used for this film. Carney utilizes these parallels, as well as a straightforward documentary filming style, to create a film that is particularly authentic. Once is imbued with countless realistic touches that only a musician can know (the head nod and the car test, to name a few), and the seasoned artists bring true and honest performances of the sort that were missing from the canned soundstages and overdubbed renditions of cinema’s earlier musicals.

Once even deftly sidesteps the usual genre shortcoming of predictability, since songwriting is something that most people outside of the musically inclined know nothing about. It also helps that the process is an intrinsically fascinating one; just how one person’s musical rough draft becomes an effective collaborative effort is really quite intriguing, like watching the various layers being added to an elaborate wedding cake. The fevered weeklong writing and recording session the pair undertake also provides a natural and engaging story line that, coupled with the concise running time, keeps interest high for the duration of the picture.

But, as with most musicals, there is a leap of faith required to truly enjoy Once. Audiences will have to look past the schmaltz, admittedly present in both the tunes that emanate from the speakers and the story that unfolds onscreen. But at the end of the day, all any blatant heartstring pulling accomplishes is to give Once an extra push into the genre that it so daringly reinvents; the cheesiest part of this film is nothing compared to anything that came from Rodgers and Hammerstein, after all.

By successfully reworking the musical, a genre which would seem to have no place in today’s cynical world of modern cinema, Carney and company have accomplished a true feat. Once is a near perfect little package of a film, proving that, even in the height of summer blockbuster season, the simplest stories are often the best ones to tell.

‘Once’ opens on Friday, June 8, at the Rialto Lakeside Cinemas, 551 Summerfield Road, Santa Rosa. 707.525.4840.


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American Feast

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May 30-June 5, 2007


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

The first ever Pulitzer Prize for food writing (restaurant criticism, actually) was recently snagged by a sweetly grumpy culture-vulture who looks a little like an out-of-work former Viking–not the football kind but, rather, of the long, stringy red-hair and scraggly beard (without the horned helmet) variety. And he writes his “Counter Culture” column for what we here at the Boho lovingly refer to as an “alternative” publication.

The L.A. Weekly‘s Jonathan Gold is a brilliant writer, a true lover of all–or most–things food, and a total hoot. He’s also a first-rate journalist, which is high atop the list of qualities that separate him from the many run-at-the-fingertips blogazoids out there filling up the web waves with seriously questionable content. Glad they’re out there. Wish they had an editor–and some education (even home-schooled). But there are a host of other good reasons why this major prize and what we can learn from a Gold palate are so valuable to us all and represent such a seminal moment in a 30-year battle for the kinds of core cultural values all Americans might actually be able to communally embrace.

This is a warp-speed jump from frump–from the dull-as-dust home economics foisted on young bridal wannabe’s in a post&–World War II country longing for order, or a pot with two chickens at the very least. This acknowledges that well-constructed applied thinking–otherwise known as criticism–can be hugely engaging, personally moving and profoundly valuable (and hilariously funny), even when practiced on something as universal (and, to some, as mundane) as eating and drinking.

This is particularly true when the guy with the magic pen is a former classical music critic (and sometimes cellist) who knows his way around many forms and all levels of culture and doesn’t restrict himself to that sometimes isolating world at the top of the food chain otherwise painfully known as “fine dining.” Gold loves everything good and appears effortlessly deft at putting it all into context, telling a story and making real flavors and deep feelings come to mouth and mind, all the while surviving large quantities of alcoholic adventure.

He’s a cultural anthropologist rummaging through heaps and piles of immigrant paraphernalia until he hits a vein of something precious, dusts it off and passes it around. Like all good critics, he’s a devoted local and an industry booster, ever hopeful that the melding pot of the Southern California enclaves he inhabits will reveal wonders that will help form and change the way we live.

Gold’s been doing it for more than 20 years, paying more attention to the work and quality of his colleagues and editors (and food) than to the climb up some hierarchical ladder, once again giving us hope that experience and wisdom–knowing how to, among other things, avoid botulism rather than inject it–have real currency for an aging populace surrounded by this year’s hot-shots, short-cut artists and size 00 role models.

So what does this all mean to the rest of us? For starters, it’s helped to elevate a few things. Obviously, writing about food has come a long way since the hot topic was how to use decorated jello molds to accent your backyard barbecue. You’ve got your Michael Pollan’s Omnivore’s Dilemma, a book about what we eat, why and what it might mean; your Bill Buford’s Heat, one man’s adventures in another man’s kitchen, himself a famous chef; your biographies of Alice Waters by real biographers; your autobiographies in installments by Ruth Reichl, now editor-in-chief of Gourmet magazine; and your Proustian social history of foodism The United States of Arugula by Vanity Fair contributing editor David Kamp.

There’s even a well-regarded and wonderfully written new book by a guy who washed dishes all across the country, evocatively called Dishwasher: One Man’s Quest to Wash Dishes in All 50 States. I mean, we’re really starting to look into the nooks and crannies, powered by the dedication of first-rate writers, serious journalists, scientists, articulate farmers (see Wendell Berry on the agrarian life) and the occasional performance artists (otherwise known as wackos with energizing viewpoints). It’s all finally part of the greater conversation of American living.

Then there’s the food itself. I used to say that new cuisines were discovered in this country when an upper middle-class white guy with an expensive certificate from an aggressively marketed culinary school dipped into what was often called a ghetto and came back with a new ingredient list he then applied to refined Western European–basically French–cooking. I called it Assorted White Guy cuisine. You know: upscale Tex-Mex, upscale Indian or Greek, mangled Pan-Asian, to name a few.

These days, we’re actually taking a good look at and a hearty bite of those foods–if not traditionally made, then certainly more directly presented–by good cooks from the actual cultures of origin. Chefs from Mexico are cooking the foods of their region. Mateo Granados and his brilliant Yucatan tamale cart, which he also uses to cater all over Sonoma County, will soon open his own big-time restaurant nearby. This is very good news.

But this trajectory has also affected the place and value of the food in the mix. Why do we expect what we sometimes call “ethnic” spots to be so low-priced when we know that first-rate ingredients are not cheap? Sometimes it’s because the ingredients themselves are undervalued in the marketplace, such as less well-known cuts of meat or those veggies not traditionally found in the frozen-food section or, say, jicama, which is plentiful but doesn’t end up in Mom’s shopping cart too often. Sometimes it’s because the place has the whole family working, which can be great but loses its internal charm as the family hits the second or third generation and the grandkids want to go high-tech or would rather work at Starbucks than be under Grandma’s watchful eye.

And sometimes it’s all those formica tables and florescent lighting that Jonathan Gold tallies in the Southern California wilds of Gardena and Alhambra. The dollars are clearly not in the décor, no uniforms are by Ralph Lauren, there’s no graphic design by some cutting-edge firm or a website that sings and flips and barks and tweets while you’re desperately just trying to find the freakin’ phone number and cross street. The money goes to food. Just food, glorious food.

A century ago, some 70 percent of the folks who prepared and served us our food were what the Census Bureau considered immigrant, ethnic or other, using restaurant work as their way into our world. A hundred years later, a whole new 70 percent of the people preparing and serving our meals are still easily defined as immigrant, ethnic, other. In his writing, Gold captures the spirit of a system of cultural integration that seems to work and keeps our world vibrant, alive and thriving. No wonder his writing touches us. No wonder he’s won awards. No wonder he’s chosen to revel in and share with us what he finds and devours.

Makes you wonder why anyone would study or write about–or live for–anything else.

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

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Ask Sydney

May 30-June 5, 2007

Dear Sydney, I own a business with someone who is also a friend. I love my business and I also love my friend, but I don’t love my friend in business. I have high standards for how I like to communicate with people that I do business with and how I present myself in general. I believe my partner shares these values, but the way he presents at times is very upsetting to me. I just think things are smoothing out and then he will say or do something that stirs the whole thing up again. We have fought many times about these issues, and at this point I feel hesitant to bring anything up that could set us off. I don’t want to lose my business over this–we have been working on it for over four years–but working with him is still the most stressful part of what I do. I don’t know what to do with the fact that I wish he were just my friend and not my business partner. How do I survive without being in a constant state of stress?–Stressed Out

Dear Stress: Keep in mind that working with people, be it business partners, co-workers or your own employees, can be stressful and unpleasant at times. Like having roommates, working with others is a struggle to maintain good relationships, to communicate, to not be too demanding or needy and to be mutually respectful. And, as with roommates, sometimes things go smoothly, and sometimes things can crumble quickly. The only way to completely avoid these negative dynamics is to work alone. No working relationship will ever be flawless. Unless you both keep yourselves medicated to a point of complete emotional neutrality, you’re bound do disagree and bash heads occasionally.

Try to remember why you started working together in the first place. What skills does your friend have that are a benefit to your business? Think of it this way: If you were co-parenting a child, do you think you would always agree on everything? Always get along? Always feel the other person is trying his or her best? Of course not. In fact, sometimes you might feel like you could do it better on your own. You are co-parenting your business and have to deal with all of the ups and downs that go with this sort of arrangement. Try and keep your friendship separate from this as much as possible. Take the time to do “just friends” stuff together. Have fun outside the business, and that way, when you’re parenting the business together, you will be better able to remember what you like about each other.

Dear Sydney, I have noticed recently an increase in friends asking me to remind them of something they have agreed to do. The request can be as simple as carpooling to an event that we like to do, ’cause it saves gas and we like each others’ company. When they agree to drive, I’m asked to remind them to pick me up before they leave their house. Two other times, when requesting a reference for a position I’m applying for, the response has been “I’d be happy to write a reference, but I’m really, really busy; would you call me in a week and remind me to do it?” If someone asks me to do a favor for them, I’ve always felt part of agreeing to do it is remembering when to do it. Is this out of fashion?–Out of Fashion

Dear Fashionless: I can’t tell you the number of times I’ve had people tell me how tired they are, how overworked, how it has become necessary to pick and choose friends and activities because there just isn’t enough time to take care of them all. School is harder. Work is harder. Getting by is harder. And all of these exquisite gadgets that advertisers once presented as the greatest time savers of our lives (“By the 21st century, no one will have to work, because machines will do everything for us”) are speeding things up to such an extent that it has become almost impossible to catch up.

So, yes, you are out of fashion. Many are working beyond what is healthy and wise, and the mind can only keep up with so many obligations, so many arrangements and so many times. Give a call. Give a reminder. This is just one small way we can help each other. My mother, for instance, continues to call and remind me when it’s a family member’s birthday. Then I remember to call, and everyone feels happier. The more we help each other remember, the better off we will all be.

Dear Sydney, I was at my friend’s house and another good friend of mine, who doesn’t have a lot of money, left his side door open and smashed into the side of my new car. A bad move on his part, as I was not parked badly. The damage my friend did will cost about $600. He doesn’t have much money, but offered to barter me something worth $600, because he can’t afford to have his insurance premium go up. He seems willing to do this, but I feel conflicted because I know he has money troubles and even the barter will set him way back. He’s a starving artist, does much for the community, etc. Should I forget about the door and leave it dinged up or take the barter? The damage is cosmetic, but the value of my car has been reduced and I don’t have the money to fix it.–Conflicted

Dear Conflicted: The age-old “my friend did it” conundrum. Of course you want to spare your friend from having to come up with money he doesn’t have. It was an accident, and your car is just a car, a hunk of metal. How much does the perfection of your car mean to you? And how badly will your friend be set back by having to give you something that, I am presuming, you feel as if you could easily sell for 600 bucks in order to get your door fixed? If the door is that important to you, then take the barter. And good for you for being willing to barter in the first place; that alone takes a big heart. He dinged your door, and you are entitled to getting it fixed. However, if you think you can live with the ding, then refuse the barter and think of a way he could repay you that wouldn’t cost anything. Can he cook? Cars are impermanent boxes of metal that are currently in the process of destroying life on the planet as we would like to know it. Would you say the same about your friendship?

‘Ask Sydney’ is penned by a Sonoma County resident. There is no question too big, too small or too off-the-wall. Inquire at www.asksydney.com or write as*******@*on.net.

No question too big, too small or too off-the-wall.


First Bite

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As a lifelong Marinite, my only points of reference for Sicily are, unfortunately, The Godfather films. And Mezzo Mezzo, the San Rafael restaurant that opened in January, is a quiet, one-room establishment cozy enough to make me feel Michael Corleone was going to exit the bathroom and interrupt my pasta. Although it had a great turnout for a Tuesday night, with half the tables full of mostly couples presumably searching for a quiet evening, I was surprised. The quiet spot, on C Street between Fourth and Fifth, was only familiar to me by way of the adjacent billiards hall and the Mac shop full of pricey accessories.

After walking in and realizing how ideal such a forgotten location was for a quiet eatery, we were seated immediately. With such a literally foreign menu, we needed a few moments, so held ourselves over with the tavula di immiscata ($11), a plate of thinly sliced salami and three different cheeses, shrouded in pistachios, raisins and blueberries. It was the perfect dish to warm up for the main course. At our friendly waiter’s suggestion, we paired it with the Planeta Cometa ($45), a pure Sicilian white that we drank down like water.

When deciding on the main course, I was hard-pressed to find something light. The appetizer was more filling than I’d thought, and the dishes of steak, lamb and rabbit seemed too formidable for my stomach that night. I ordered the salmon Mezzo Mezzo ($20), served in a strong white wine sauce with scrumptious pistachios. The fillet had a strange texture but was perfectly moist and succulent, making me dream of fishing boats on the Mediterranean.

My friend ordered the quagghi co samorigghiu ($19), a grilled quail sitting in olive oil, mushrooms, artichokes and crisp lemon dressing. The sweet potatoes were a delicious touch and the meat was perfectly tender and juicy, but the resemblance to the bird’s shape was a little disturbing to my liberal American eyes. But, as they say, “when in Rome . . .” We concluded our meal with a cannoli Siciliana ($7), a crunchy treat stuffed with ricotta cheese, pistachios and orange rind.

Although the menu leans toward the heavy side, the inviting décor, delightful food presentation and quaint location make Mezzo Mezzo a worthy addition to San Rafael’s already eclectic downtown restaurant scene. Chef Davide La Rocca has successfully brought a little of his home country to Marin. Let’s hope San Rafael is ready for the trip.

Mezzo Mezzo, 1025 C St., San Rafael. Open for lunch and dinner, Tuesday–Monday. 415.459.0330



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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.

News Briefs

May 30-June 5, 2007

Shaping memories, hope

Sonoma State University sculpture professor Jann Nunn will be busy on campus this summer, crafting artwork designed to honor all who suffered and died in the Holocaust and other genocides. Two 40-foot-long railroad tracks will be embedded in the lawn on the east side of the campus, next to the Alumni Grove. The tracks will lead toward–but not quite reach–an eternally illuminated glass column representing hope for the future. The railroad “ties” along the tracks will be made of bricks inscribed with the names of holocaust victims; some of a slightly darker color will bear the names of the few who took action against the atrocities. The sculpture will be an important addition to the SSU landscape, says Dr. Elaine Leeder, dean of social sciences and a key member of the planning group. “It’s both for the past and the future; the past to honor those who died and the future in the hope that we will stop it from happening again.”

Here comes Wal-Mart

Employees are stocking shelves and getting ready to open the new 176,000-square-foot Wal-Mart supercenter east of Highway 29 in American Canyon, thanks to a judge’s recent decision that the city met all state environmental regulations when re-approving the project last month. Construction was stopped by court order in May 2005, resumed that August and stopped again last December. Only one plaintiff remains, says American Canyon city manager Richard Ramirez, and unless an appeal is filed by the end of June the store will open. “We hope we will be able to complete this important economic development project for the city.” Other projects–a shoe store, a gas station car wash, a fast food outlet and a hotel–were waiting on final approval of the Wal-Mart, which Ramirez says will “anchor” the new shopping center. “With the anchor comes the fleet.”

A fair share?

An initial budget for voter-approved disaster preparedness and flood prevention funds ($4.1 billion from Proposition 1-E) included money earmarked for Central Valley projects, with the rest to be awarded competitively statewide. Now another $20 million may be set aside for the North Bay. State Sen. Carole Migden, D-San Francisco, pushed the Senate Budget Subcommittee on Resources to prioritize Marin and Sonoma counties. “The incidences of flash flooding and riverine flooding in rivers from the Russian River to the Marin Headlands and northern bay are significant, and routinely threaten both public safety and property,” Migden argues. The revised funding plan goes before the full budget committee in early June.


Strong Time Feeling

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music & nightlife |

Uno: Hall excels at playing as part of a duo.

By Gabe Meline

In 1961, while his telephone was shut off for nonpayment, the out-of-work jazz guitarist Jim Hall received a note in his Greenwich Village mailbox. “Dear Jim,” it read, “I’d like to talk to you about music.” It was signed Sonny Rollins.

Rollins was already a major figure on the jazz scene, yet he hadn’t worked since 1959, the year he famously announced a temporary retirement. The saxophonist had spent two years in private contemplation–he’d sometimes rehearse alone at night on the Williamsburg Bridge, concentrating on his playing out of the public arena–but now those years were up, and they had led him to Hall. Hall quickly wrote a note back, his haste understandable.

Last week, in his Greenwich Village apartment just down the block from the note-trading of yesteryear, a 76-year-old Hall recalled the Rollins job with humble understatement.

“I think we did pretty well together,” Hall quips over the phone, his speaking voice thoughtful and sincere. “That job was a real challenge for me. I had to accompany Sonny–which was great fun, and my jaw would drop listening to him. But then I had to follow him!”

To watch old footage from this era, such as a stellar performance of the group on Ralph Gleason’s Jazz Casual right after recording Rollins’ landmark album The Bridge, no one would suspect Hall of being nervous; he plays just as fluidly and calmly as ever under a shower of Rollins’ constant curveballs. What he was actually doing most of the time, he now says, was listening. “When I worked with Sonny, I got the message pretty fast that he didn’t like to be led around,” Hall says. “So I would lay back for a second, and see where he was going.”

The term “lyricism” in jazz suffers from a glut of definitions; it can imply sensitive technique, it can mean melodic invention or it can signal tasteful restraint. Hall possesses all three. But what sets him far above many other jazz guitarists is his ability, honed with Rollins, to listen and respond musically to his collaborators. His lyricism is enhanced by a conversational approach to playing, which is why he has so repeatedly flourished in a duet setting. He appears with Dave Holland at the Raven Theater on June 9.

Hall’s attraction to duet recording began in 1959, when he first recorded with the peerlessly introspective pianist Bill Evans. Their resulting album, Undercurrent, and its 1966 sequel, Intermodulation, are timeless masterpieces of sensitive musical dialogue between two empathetic talents. “When we played the duets,” Hall reminisces, “it was as if Bill were inside my brain.”

The small touches, such as Evans soloing only with his right hand while Hall plays rhythm, show how Evans was “so tuned in to the texture and balance,” Hall says. “And obviously, Bill was just an amazing, beautiful player, and a great guy, too. People think of him as this tragic figure, hunched over the piano, but he really had a great sense of humor.”

Despite commercial acclaim for large-ensemble releases such as 1975’s Concierto, Hall has returned time and again to duets. “In larger groups, I find myself just standing there and smiling a lot,” he explains, “whereas in a duet, obviously you’re half of the ensemble, so everything you contribute plays a big role in what goes on.”

A bass player himself in his youth, Hall is especially pleased to be playing with bass virtuoso and Miles Davis alumnus Holland. “Dave plays really strong time feeling, and still he’s open to going in any direction,” he notes. “It can be straight blues, or it can be complete abstract music, just listening to each other and reacting in free-form.”

In accepting the NEA Jazz Masters Fellowship award in 2004, Hall delivered a speech emphasizing the peacemaking ability of music. “Something,” he declared, “that governments might emulate.” He maintains this is due to music’s universal reach, “a language that goes right past spoken languages,” he says. “But I feel that music has to do with humanity. It cuts through politics and governments, and it includes everybody who’s open. I feel very privileged to be a part of that.”

Jim Hall and Dave Holland perform on Saturday, June 9, at the Raven Theater as part of the June 1-10 Healdsburg Jazz Fest. 115 North St., Healdsburg. Pianist Taylor Eigsti and guitarist extraordinaire Julian Lage open the show. 7:30pm. $35-$50. 707.433.4644. www.healdsburgjazzfestival.org




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Tooned On

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May 30-June 5, 2007

Eight-foot-tall carnivorous bunny rabbits. Grape Nuts robots. The Magical Oven of the Forest. You won’t have viewed these sublimely surreal creations on the Charlotte’s Web DVD released this spring. Not that there’s anything wrong with a live-action remake of Charlotte, you understand; just that lately, wannabe kid classics like Dakota Fanning’s Charlotte and the already old Eragon just aren’t cutting it anymore. Wilbur can now do CGI back flips and Eragon‘s dragon looks darn cute, but does anyone ever get the feeling that, hellraising South Park-ians and aging Simpsons aside, animated entertainment just isn’t for adults anymore?

It’s a pity, really. Snarky pop-culture writers (not that I know any) often remind us that animation was originally a form of entertainment for adults. Even today, Pixar and its Disney-spawned ilk still offer a few layers of subtext for parents who accompany their children to Cars or Meet the Robinsons. But stoner VW buses voiced by George Carlin and middle-aged superheroes (even ones as cool as The Incredibles) are rather safe, predictable fare. What happened to the really wacky stuff? Isn’t there an alternative to the same old kiddie toons or South Park‘s wearying bodily-function jokes?

As usual, the Internet offers salvation.

Typically, one discovers Flash animation as a freshman in college. The term refers to Macromedia Flash, the software used by animation pioneers to create such memorable toons as The Ren & Stimpy Show, The Critic and the intro to The Rosie O’Donnell Show. However, in recent years, an ever-expanding Flash animation subculture has popped up on the Internet, discovered by bored college types and passed on to the world at large. You’ve probably been seeing glimpses of this subculture in the mainstream media for a while now without even realizing it.

By now, most people have received a taste of JibJab.com, an animation site run by brothers Gregg and Evan Spiridellis that specializes in satires of current politics. During the 2004 Bush/Kerry election, their musical satire “This Land” besieged e-mail inboxes, NBC Nightly News and The Tonight Show with its parody of the Woody Guthrie tune “This Land Is Your Land.” You remember this one: crude magazine cutouts of W. and Kerry singing the re-imagined song, each vowing that “this land will surely vote for me!” (Favorite lyric, Kerry to Bush: “You can’t say ‘nuclear’–that really scares me.”)

This little gem made the JibJab name famous. Thousands flocked there to see more animated political hijinks, including a cooking show in which a stoned Bill Clinton teaches viewers how to bake brownies.

At the end of 2006, JibJab did it again with “Nuckin’ Futs,” a musical recap of the year’s major events from Brangelina to Hezbollah. Sung to the tune of “Jingle Bells,” it stars a chorus of young children commenting on the year’s more notable disasters: “Abramhoff! Tom Delay! Freezers full of cash! My congressman IM’d me for a picture of my ass!”

The cartoon debuted on The Tonight Show and spread to a number of major news and entertainment channels, proving JibJab had come a long way since its days as a mere labor of love. The site now offers merchandise, including DVDs of all its episodes and is described on that paragon of wisdom Wikipedia.com as “a Daily Show for the over 40s.”

JibJab, however, is just the tip of the proverbial iceberg. The world of web animation is vast and offers animated comic relief for every taste, from the politically savvy to the merely hilarious. In the best traditions of animation, the Flash cult is often subversive and thought-provoking, holding up a wonderfully skewed mirror to pop culture.

On the political front, TheMeatrix.com is far and away the animation to beat, not merely funny and intelligent, but actually life-changing as well. A clever parody of The Matrix, “The Meatrix” follows heroes Leo, Moopheus and Chickity (a pig, cow and chicken, respectively) who take on the evil of corporate factory farms. I would never look at the PETA pamphlets in college when concerned vegans tried to educate me on the horrors of how we raise and process livestock. I feared the heartbreaking stories and bloody photographs.

“The Meatrix,” while still getting the facts across (cows raised in pens so small they can never turn around; chickens de-beaked; waste from factories flowing into our water supply), does so in a humorous, engaging way (“Ewww!” Leo says, taking the red pill and confronting the reality of how he’s been raised on his not-so-idyllic farm. “What’s that smell?”). The cartoon blood still makes a point, but without earning the automatic hatred of a defensive audience.

“The Meatrix” has won a good half-dozen awards from various animation festivals and environmental organizations, and rightfully so. I stopped drinking milk within a week, switched to soy and now avoid anything non-organic. And if I feel any base instinct to eat fast food, I just hit the play button and watch Leo wail on the Man’s ass for a while. This is web animation that might just solve the moral and social problems of our fast-food nation.


For those who like their humor blunt and biting, Johnathan Ian Mathers’ Neurotically Yours website (www.illwillpress.com), launched in 2002, offers no end of scathing social commentary and plenty of angry folksongs performed by a pissed-off squirrel named Foamy. Think South Park‘s Cartman is hardcore? Foamy’s hundred-plus cartoons, lovingly collected on the main site and at www.friendsoffoamy.com, have spawned cults and tackled every issue from the pretentiousness of Starbucks coffee cups to outsourced Indian tech support at Dell.

Possessing perpetually raised middle fingers and glaring eyes, Foamy, ironically animated without a mouth despite his verbose nature, seems intent on outdoing South Park both in the intentionally crude style of his animation and his more cogently stated tirades against society. The three “Tech Support” cartoons are some of the funniest animation ever concocted, bashing not only the sloppy practices of computer outsourcing (the techie’s lame computer solutions–“Disable the monitor so as not to see the problem!”–are eerily reminiscent of my last call to Dell), but expressing deepest sympathy for Indian workers earning a pittance to suffer customer abuse from “you American bastards!”

The Indian techie, we discover, is the sole member of the Smell Computer Company support team, working 24/7, 365 days a year and rudely shocked by a cattle-prod-wielding monkey if he doesn’t work to standard. “What is this ‘break?'” he asks Foamy when the squirrel wants to know when he sleeps. The laughter may kill anyone who has ever spent six hours trying to communicate with someone in customer support.

Monkeys with cattle prods sound weird? That ain’t nuthin’. Try entering animator Amy Winfrey’s bizarre little world. Winfrey, one of the most prolific and widely followed web animators (not only has she contributed animation to South Park, her animated short “The Bad Plant” won a silver medal from the Academy of Motion Picture Arts and Sciences Student Academy Awards), is the creator of the series Muffin Films, Big Bunny and Making Fiends, a triple threat for any serious follower of web animation. Her world is a strange combination of art-school chic and Edward Gorey, featuring clueless children in peril and a droll contempt for the overly cheerful that would make Lemony Snicket rejoice.

Muffinfilms.com hosts a series of shorts exploring our strange relationship with what the website calls “the baked god of baked goods: the muffin!” (Why do I get the feeling that Winfrey is a Frank Zappa fan?) In 12 shorts, the Muffin Films muffins rise from the dead, eat those who would eat them, make an ill-fated attempt to conquer earth and unleash a tide of grief upon a “muffinless” population. It’s strange, to say the least. But you won’t get this sort of thing anywhere but the web.

The weird fun continues in a more mainstream vein with Big-bunny.com, a truly twisted romp involving three young children who come upon a giant pink (and suspiciously pointy-toothed) bunny in the woods. “Hello, crunchy children!” the creature exclaims–and a nerd catchphrase is born. In between trying to get his new friends to sit on a “couch” made of French bread and dodging the suspicions of Suzy (the only one of the trio to question his frequent use of the word “delicious”), Big Bunny spins tales of the truly bizarre exploits of imaginary characters like the Turnip King and His Bastard Son and the Red, Red Squirrel (the only cartoon animal I know directly influenced by Vlad the Impaler). Any parent who has ever suffered through an episode of The Care Bears is long overdue for a shot of Winfrey’s twisted take on childhood fables. Her Gorey-esque animation style delightfully subverts everything we have come to expect from a cast of cute forest animals.

Of course, Making Fiends (www.makingfiends.com) is Winfrey’s biggest success. Soon to appear as a half-hour show on Nickelodeon, Fiends is a satire of childhood that can also be appreciated by thoughtful children of any age. Full of dark imagination, its animation resembling Gorey crossed with a washed-out version of South Park, Fiends follows the exploits of two little girls, evil genius Vendetta and good girl Charlotte.

Vendetta, the theme song tells us, “is always making fiends,” a series of unholy apparitions she usually sics on the oblivious Charlotte, who is incapable of being anything but cheerful. Winfrey should be commended simply for doing Charlotte’s voice–a high-pitched whine peppered with “Yippees!” and “Hoorays!” that is sure to drive anyone with an ounce of pathos completely insane.

Vendetta, constantly frustrated in her attempts to kill “that stupid girl,” reigns over her first-grade classroom with an iron fist, not to mention a giant hamster (“What a nice bear you have!” Charlotte exclaims), and is a truly inspired creation, winning our affection with her strange idiosyncrasies (she will only eat beef jerky, clams and fruit punch) and her defiant cackle. Vendetta’s voice, done by Aglaia Mortcheva, is something to cherish, her comic timing the center around which all of Fiends turns.

“Oh, Vendetta!” Charlotte exalts at one point, delighted at another of her friend’s strange gifts (a seemingly empty but suspiciously growling cage). “You have an imaginary friend, too!”

“I do not have an imaginary friend!” a frustrated Vendetta insists. “It’s an invisible fiend!”

If you like dark, subversive humor (and giant fleas “with knives!”), Making Fiends is something to make your own.

The list of Flash Animation sites on Wikipedia alone is enough to keep one exploring the subculture for a good long time. Other popular animations include Weebl and Bob, featuring egg-shaped characters similar to South Park‘s Terrance and Phillip (if the Canadian duo were British, unintelligible and obsessed with pie) and a host of edgy titles from the now defunct Bullseye Art site (find their original titles on Wikipedia under “Bullseye Art,” and proceed with caution when approaching their new site www.magicbutter.com, as they’ve gotten a bit sick in their old age), including the exploits of Rat Chicken, who wears a grotesque rodent mask in order to avoid getting axed by Farmer Joe, and the gangsta exploits on Ms. Muffy and the Muff Mob, an unholy combination of Eminem and Strawberry Shortcake, featuring expletive-dropping little girls wearing giant muffin hats. Want to see a magical oven snort the shortcake equivalent of crack? This one’s for you.

However, the crown jewel of current web animation, and a phenomenon sure to live on forever in the history of pop, is Strong Bad Email (www.homestarrunner.com). Strong Bad, a wannabe evil mastermind, eternally clad in his red Mexican wrestler’s mask and boxing gloves, was originally intended to play sidekick to creators Mark Chapman and Craig Zobel’s first Flash character, the dopey but athletic Home Star Runner. However, once “the Brothers Chaps” started a segment on their website featuring the gruff-voiced Strong Bad answering real-life e-mails from fans, nothing was ever the same again.

While half the pleasure of Strong Bad comes from watching him make fun of his correspondent’s grammar, the real name of the game on Strong Bad Email is pop culture. Favorite fan episodes include our intrepid e-mail answerer suffering as his hopelessly primitive computer succumbs to 4 million computer viruses at once (even his Edgar the Virus Hunter program can’t help him); pondering, in a downright profound send up of the genre, what his anime alter ego would look like; writing a children’s book called No Two Children Are Not on Fire; and, of course, drawing a dragon he christens Trogdor the Burninator, who soon gets his own death metal theme song and a music video replete with burning thatch-roofed cottages. These, of course, are only the episodes that can be explained with human language.

The humor on Strong Bad is similar to Napoleon Dynamite if it was crossed with “The Far Side” and made a bunch more references to ’80s hair bands. A huge cast of supporting characters populate the Strong Bad universe, many with their own cartoon shows available at the click of a mouse. The animation is unique. Only Strong Bad himself bears any resemblance to a human being. His brother Strong Sad sports elephant feet and a head reminiscent of the Pillsbury Doughboy. His pet, the Cheat, looks like a Swiss cheese with flippers. One would think, given the surrealistic nature of the animation, that the show would be replete with drug references, but this is a world of silliness not smut, its innocent-but-warped humor making it a breath of fresh air next to popular, foul-mouthed animation like Family Guy.

It is also far more imaginative. The Brothers Chaps don’t stop with cartoons but have expanded to make online video games. Peasant’s Quest (featuring Trogdor) is a fully functional takeoff on the primitive, pixilated games of the ’80s, where players type in commands in order to make their character move. Live-action rock videos featuring the Brothers in drag as members of the hair band Limozeen sneak into Strong Bad e-mails and have even resulted in an online coloring book (in the recent episode “Coloring.”). I’m not ashamed to say I wasted an entire evening exploring this feature, coloring in strung-out-looking rock gods and their groupies with virtual crayons sporting names like “leather black” and “tight shiny purple.”

Perhaps this childlike creativity is why so many other geek artists have been drawn to the show. Early on, the band They Might Be Giants contributed music to a video about the depressive Strong Sad called “Experimental Film.” Buffy the Vampire Slayer creator Joss Whedon has been spotted wearing his Strong Bad T-shirt (the Brothers, who refuse to run any sort of advertising on the website, pay for their business by selling tons of original merchandise) and has included references to Trogdor and Strong Bad on both Buffy and Angel.

In the geek world, putting a Strong Bad bumper sticker on your car may get you into trouble as other fans recognize you and begin to honk. Blockbuster clerks hop up and down at the sight of any clothing sporting the be-masked mastermind, and the entire male population of my first writing group once broke into a spontaneous and completely accurate recital of the “Techno” episode when I innocently asked, “Hey, do you guys know about Strong Bad?”

The bottom line is, some things have to be seen to be believed. Not everyone is going to go gaga over Strong Bad, have an epiphany over Foamy or decide to move to the forest with Big Bunny. But thanks to the slow prevailing of underground art in our creatively starved world, now they at least have the option. There’s a revolution goin’ on, people! As Strong Bad would say, “Everybody to the limit!”


Museums and gallery notes.

Reviews of new book releases.

Reviews and previews of new plays, operas and symphony performances.

Reviews and previews of new dance performances and events.

All Together

June 6-12, 2007All Music Guide: 'It's a lonely place out there on the road when you're doing it alone," says singer and songwriter Grant-Lee Phillips. "Every so often, I like to go out with a couple of friends and do something collaborative."To that end, Phillips has teamed up over the years with such musical mavericks as British neo-psych...

Cold Comfort Farms

June 6-12, 2007Wine, in Marin? Recent years have seen stirrings in the undulating golden hills of Marin County. Noises made, some measure of excitement building. Its tapered peninsula wrapped in fog, awash with wealth and rent in two by the slow, sure action of tectonic plates, Marin also has what it takes for pretty decent Pinot Noir. Could Marin...

Letters to the Editor

June 6-12, 2007Arts Council update neglected to research just how good the Arts Council of Sonoma County (ACSC) and the Sonoma County arts sectors are performing ("Turn Around," May 23). The California Arts Council rated the ACSC with its highest rating in the state. Our new executive director and staff are working collaboratively with artists and arts organizations. A...

See It Twice

May 30-June 5, 2007Irish filmmaker and musician John Carney knew he loved musicals, and he knew that he wanted to tackle the genre for his next project. His trouble was with the how. The auteur also astutely realized that the over-the-top, cheesecake style of the 1950s just wouldn't fly on today's movie screens. Thus, Carney gave himself the daunting...

American Feast

May 30-June 5, 2007Splitting his time between Guerneville and Manhattan, acclaimed consultant Clark Wolf graces these pages with the occasional diatribe from the periodic local.The first ever Pulitzer Prize for food writing (restaurant criticism, actually) was recently snagged by a sweetly grumpy culture-vulture who looks a little like an out-of-work former Viking--not the football kind but, rather, of the...

Ask Sydney

May 30-June 5, 2007 Dear Sydney, I own a business with someone who is also a friend. I love my business and I also love my friend, but I don't love my friend in business. I have high standards for how I like to communicate with people that I do business with and how I present myself in general. I...

First Bite

News Briefs

May 30-June 5, 2007 Shaping memories, hope Sonoma State University sculpture professor Jann Nunn will be busy on campus this summer, crafting artwork designed to honor all who suffered and died in the Holocaust and other genocides. Two 40-foot-long railroad tracks will be embedded in the lawn on the east side of the campus, next to the Alumni Grove. The...

Strong Time Feeling

music & nightlife | Uno: Hall excels at playing...

Tooned On

May 30-June 5, 2007Eight-foot-tall carnivorous bunny rabbits. Grape Nuts robots. The Magical Oven of the Forest. You won't have viewed these sublimely surreal creations on the Charlotte's Web DVD released this spring. Not that there's anything wrong with a live-action remake of Charlotte, you understand; just that lately, wannabe kid classics like Dakota Fanning's Charlotte and the already old...
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