Green Zone: Eco-News for Sonoma, Marin and Napa

08.22.07

I set off for San Francisco early on Thursday morning. My mission: to ride on the back of a Vectrix scooter. With a top speed of 62 mph, this scooter is rumored—OK, rumored by its PR firm—to be the best of its kind. With an estimated 10-year battery life, a patented braking system (DAaRT™) that redirects energy back into the battery pack, rapid acceleration, an engine that is quick to charge (plugs into any standard 110/220 volt power outlet and charges in just two hours) and a body that is easy to drive, the Vectrix is virtually silent, with a streamlined design that looks as cool as it is (said to be) practical and comfortable. To make this little Thursday-morning media event all the more tempting, alternative-fuel consultant Chelsea Sexton and Plug in America cofounder Marc Geller are scheduled to speak.

I figure this is a great chance to go for a scooter ride and learn a little bit more about this new electric-vehicle craze that seems to be sweeping the North Bay, where the once obligatory Volvo station wagon is being replaced by the Toyota Prius and the Highlander Hybrid, and scooters are becoming an increasingly familiar sight on the roadways.

I arrive at the event a good half-hour before the scheduled speakers, which gives me time to acclimate to the fog and sign up for my ride on a Vectrix. The Vectrix is indeed as silent as they say; the sound of teeth chattering can be heard despite the scooters whizzing about the parking lot.

When it’s my turn, I climb on the back of a glistening model and go whizzing around in a tight circle, taking the turns with such speed and agility that, if it weren’t for the fact that the scooter wasn’t making any noise or spewing any fumes, I might as well be on the back of a motorcycle. This thing is slick, and I beg for an extra spin around the ring.

“That was great!” I say, as I pull off my helmet. “How much are they?!” I’m in love, and I’m ready to buy. The promotional material I’ve already read claims that the Vectrix is “clean, affordable and fun to drive.” Well, the clean and fun-to-drive parts are true. “Eleven thousand dollars,” a shivering Vectrix promoter informs me as he takes my helmet back.

Maybe it’s just the cold and maybe I just need a cup of coffee, but my exuberance begins to fade. Eleven thousand dollars for a scooter is not “affordable” in my book, and I’m beginning to wonder why the speakers have yet to appear and start speaking. I look around for someone who might be able to explain what’s going on with the keynotes, and see that those in charge have rushed to gather around a stunning news anchor in tight jeans who has only just arrived with her van and crew.

At this point everyone begins to look very important and inflated while I sit, alone and cold on a folding chair, wishing that I could wear such tight jeans without looking like a jerk. Thirty minutes tick by, during which time no one speaks to anyone who isn’t holding a camera or a microphone, and I discover that I have dog crap on my shoe. It’s definitely time to go home.

As I drive back to Sonoma County, it occurs to me that I have just put 70 miles on my car in order to ride an electric scooter for three minutes. The irony, so perfectly represented by the tang of dog crap on my sneaker, does not elude me.

I decide to put in a call to Moto Meccanica, a motorcycle and scooter shop in Santa Rosa, to see if they know anything about Vectrix. Moto Meccanica doesn’t do electric, but they do cheerfully direct me to Revolution Moto, who might. I put in a call to Revolution owner Roy Gattinella to see if he has any electric scooters for sale, and to ask him if he’s heard of the Vectrix. Roy has heard of the Vectrix and considered carrying it at one time, but according to his standards, electric scooters are not a good enough option.

“Using an automobile to run small errands is like sailing a cruise ship to go water skiing,” Roy says. While he eagerly awaits alternatives to the gas-run scooter, the electric scooter just isn’t it. Roy says you have to look at the “manufacturing footprint.” These scooters are being made almost entirely out of plastic, they run on nickel metal hydride batteries that are incredibly toxic for the earth from the moment the nickel is strip-mined to their inevitable disposal, and we have no idea how long the product will last.

“Show me a scooter that runs on hydrogen or on solar, and I’ll be all over it,” Roy says. In the meantime, he feels more comfortable sticking to old technology that is still great technology, scooters that run off of “a sip” of gasoline, and are built to last.

As for me, I’m left wondering, if no scooter is perfect, then who are the real eco-warriors when it comes to transportation? Some say it’s the bicyclists. But what about those of us who don’t appreciate having to equate going somewhere with exercise? Find out more in upcoming columns when I take on the public transit system.

For more information on the Vectrix go to www.vectrixusa.com. For a scooter that sips rather than guzzles, visit Revolution Moto at www.revolutionmoto.com; Moto Meccanica at www.motomeccanica.com.


His Floating World

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08.22.07

The great thing about tenure is that I can’t be dismissed summarily,” laughs Sonoma State University professor Michael Schwager. The director of SSU’s prestigious art gallery, Schwager is making a nervous joke about his job’s future because his exhibition space is preparing to hang a series of works by Hawaii-based painter Masami Teraoka that are, well, genital-friendly. And blood-friendly. And breast-friendly. And bestiality-friendly. And sure, the-Pope-as-monster-friendly.

A career retrospective, the show—titled “Drawing on the Parts: The Art of Masami Teraoka”—presents Teraoka’s work in its intended and unabashed form, wonderfully contrasted with ancient Japanese prints that the painter has, in the past, taken for inspiration.

“Drawing on the Parts” is a rare collaboration between one of Teraoka’s most avid supporters, the Palo Alto&–based collector Brian Pawlowski, his San Francisco gallerist Catharine Clark and Schwager. (By coincidence, Schwager and Clark each bought a piece of Teraoka’s work decades ago as their first-ever fine-art purchases.) Now they are teaming up to bring this world-class artist and his very modern vision to the North Bay in an unprecedented exhibition of the type normally reserved for urban museums.

Japanese-born, Teraoka emigrated to L.A. in the early ’60s to attend the Otis College of Art and Design, where he completed both his undergraduate and MFA degrees. With almost no English skills, the artist was startled and invigorated by his new California home and quickly became immersed in what has come to be known as the “second wave” of pop art that emanated in part from the pastel shock of SoCal culture.

Influenced by the traditional wood-print style that marks Japan’s Edo period—a time roughly traced from 1615&–1868, one of calm and prosperity in Japan, when the wealthy merchant class was demoted from power but freed to enjoy what was termed a “floating world” of arts and culture unique to themselves while the Shogun ruled—Teraoka made it his own. Much of the art emanating from that time was as deeply erotic as it was concerned with narrative and storytelling. Bohemian and underground, full of allusions and in-jokes, the culture’s beloved woodblock prints marking that time, known as “ukiyo-e,” are well-known to most children growing up in Japan.

Drawing upon this “floating world” tradition and its arts, Teraoka set about systematically taking ukiyo-e styles out of the realm of the Shoguns and onto the beaches of L.A., using recurring images as individual shorthand. Ancient text, a script known as “jojuri” that is tantamount to Middle English, accompanies the images in cartouches placed throughout, sketching out jokes that Teraoka admits even he can’t often remember. Tissues, an old-fashioned visual reference to carnal pleasure, and condoms, a new-fashioned reference to sex as death, abound. Octopi pleasure women eight different ways while jumping catfish presage disaster.

Looking to the world around him, Teraoka fashioned huge, stylized panels featuring geisha and samurai eating McDonald’s hamburgers and Baskin-Robbins ice cream. He envisioned L.A.’s iconic La Brea tar pits under the shadow of Mt. Fujiyama. He made his geishas titian-haired, blue-eyed girls and gave them condoms to grapple. His samurai sport professional diving equipment and Timex watches. His Japanese women wear Brazilian thong bathing suits and impatiently repel men’s attempt at succor. His blonde-haired Western geishas greedily slurp down labia-shaped sushi. He himself often appears in the works, bemused and clownish, the butt of all cultural jokes.

“It’s never simply copying; there is such a wonderful satirical cultural criticism—the Westernization of Japan,” Schwager says. “Japan has embraced Western culture, and it isn’t always pretty.”

And then, in the ’80s, a friend’s child was tragically transfused with HIV-positive blood, and Teraoka changed his focus. As AIDS raged throughout the art world, the artist slowly moved away from the ukiyo-e style that had made his name and began to learn about and investigate the traditions of Western art, particularly the religious work of the European Renaissance.

Moving from watercolors on paper to oils on canvas, Teraoka has since produced nightmarish, brilliantly conceived triptychs and panels based on old master paintings but ideologically concerned with AIDS, corruption in the Catholic Church, women’s subjugation both in the West and Middle East (one series deals with the role of the burka), the Jesus myth replete with stigmata, and—ceaselessly—with the mysteries and joys of female sexuality. Reminiscent of the lurid scenes of Hieronymus Bosch, these hugely narrative multiframe paintings are political, incisive, fiercely topical and yet retain an ineffable, compelling beauty.

“We get really extreme reactions. I’m used to it, because a lot of the other artists we show here invite that response. That’s what art should do. If you’re pleasing everybody, maybe you’re not working hard enough,” says Teraoka’s chief gallerist, Catharine Clark. “I’ve had clients who are Catholic who might be offended by some of the content that critiques the church, and I have others who say, ‘This is the conversation that needs to be happening.’ I love that art can inspire that kind of conversation. There’s still a pervasive opinion that the role of artists is entertainment, and the purpose is to uplift; I don’t necessarily think that’s an artist’s job. Not all of it is pretty or easy to digest, but then, neither is the news. Masami is almost like a sponge; he takes everything in, and it all gets into the work.”

Acknowledging that Teraoka’s current work can be controversial, Schwager says, “I don’t do anything just to fill the space, but I don’t know if we’ve ever pushed the envelope this far. Art has always played a role one way or another in stretching boundaries and making visible what people sometimes just think or image. This will be a potent combination.

“For the county, for our audiences, for people who really want to see challenging work—and a lot of the work is super-inviting and beautiful—this is going to be a great pleasure.”

‘Drawing on the Past: The Art of Masami Teraoka’ runs Sept. 6&–Oct. 14, opening with a public reception on Thursday, Sept. 6, from 4pm to 6pm. Teraoka appears in discussion with writer Alison Bing on Saturday, Sept. 29, at 2pm. A sushi-filled reception precedes. All events free. Art Gallery, SSU, 1801 E. Cotati Ave., Rohnert Park. 707.664.2295.


Brewing Beer in Barrels

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08.22.07


Sometimes I wish I were an oak barrel. They lead lives of luxury, housed for all their years in rustic wine country cottages, some with million-dollar views of the hills and the vines and the goats over on the neighbor’s estate—and they’re constantly full to the brim with fine wine. When one vintage goes to bottle, why, another is bound to arrive. It’s paradise.

But what if your owner gives you away to a brewery? It happens—more and more frequently, it seems—and what a shock it must be to find yourself suddenly filled to the quarter hoop with bitter beer. Yet the brews getting this royal oak treatment are blessed with a whole lot of love, and months or years in a barrel can make a pretty remarkable brew.

“We’ve been barrel-aging our beers this way since 2001,” says Vinnie Cilurzo, owner and brewmaster at Russian River Brewing Co. “Back then, it was just a side-hobby brew, but over time it got more popular. When we moved from Korbel to our downtown location, we started to make barrel-aging standard process.”

Cilurzo uses oak barrels for several of his Belgian brews, such as Temptation ale, Supplication ale and Beatification ale. The barrel-aging lasts a year to two years or more, and currently four beers on the list spend some time in oak. The Beatification blonde ale sits for 23 months in La Folie barrels, while the other barrel beers hang out for about a year in their respective oak casks.

The Depuration blonde ale gets a year in a French oak Chardonnay barrel with an addition of white wine grapes; ditto for the Temptation golden ale, minus the fruit; and the Supplication brown ale spends a year in French oak Pinot Noir barrels with a slog of sour cherries tossed in for the duration. During the barrel time, a complexity, a thickness of flavor and a depth of character arrives in the body of each beer.

Barrel-aging beer is an old tradition in Belgium. Going hand in hand with this technique is the concept of sour beer, which Russian River is also pursuing. The barrel does not cause sourness; the Brettanomyces yeast used in fermentation does, but Cilurzo just happens to age three of his four sour beers in the old wine barrels. It’s a double whammy, making for some of the most unusual beer in the North Bay. And be warned: This sour-beer business is no subtle nuance for tasting geeks to dance around with their delicate naming games; the beer’s tartness surpasses lemonade.

At present, Russian River Brewing Company is increasing its barrel-aging operation. While Cilurzo, formerly a winemaker, now owns 60 barrels, he plans to acquire another 300 or more within months and put them into the production process at his new location on Santa Rosa Avenue, to open in early 2008. Every barrel will be deployed into the sour-beer line, though this expansion won’t hit shelves until 2009, he says.

“It’s literally like making wine. It’s funny. I left the wine business to make beer, mainly because I liked the quick turnaround. You could have a batch of beer in 20 days. It’s kind of ironic that I’ve come full-circle and am now making beers that take two years,” he chuckles.

Some oak barrels never taste wine, getting dunked on day one into the Appalachian whiskey trade. American law states that whiskey barrels cannot be used twice, a stipulation that drives many American barrels overseas for a second bout of action in the Scotch industry. But for others, it’s Miller time. Around the nation, more and more brewers of “extreme” beers have taken to aging their barley wines, stouts and old ales in retired bourbon and whiskey barrels, which can impart a severe yet very appealing bite of hard alcohol to the brew.

“Our first foray into barrel aging was in 1997 for our 10th anniversary,” said Mark Ruedrich, president and brewmaster at Ft. Bragg’s North Coast Brewing Co. “That one was a Belgian dubbel.”

But today, the company’s barrel experiments are growing more frequent. As we speak, the brewery pub is pouring a mighty version of its Old Rasputin Russian imperial stout, aged for 13 months in Kentucky bourbon casks as an ode to the big award-winning stout’s 10th year of production.

Old Rasputin, in her pure form, is a hoppy, muscled-up, black-bodied titan of a beer, with an ABV of 9 percent and scents of toasted wood, dark chocolate and molasses in the finish. The bourbon barrel makes Old Rasputin X even better. The cask adds a heavy, sweet aroma and an appealing softness to the flavor. Vanilla melts with the bitterness and the toasted barley, and, tasted beside the original Old Rasputin, this stout is an entirely different drink. The ABV has increased, too, mostly via evaporation, to 11.6 percent by volume. This baby’s hot. It’s only available at the brewery, so go get it while it’s there.

North Coast has also given its potent Old Stock ale the barrel treatment. Due for release in several months, the experiment will furnish two special versions of this super-beer—one aged in bourbon barrels, and the other in brandy barrels. Ruedrich has been doing some experimental tasting in the brewery’s cellar, and he reports that the brandy has imparted a sherry-like flavor to the beer that, he assures, is “just remarkable.”

Ruedrich has also siphoned a sampling of his famed Brother Thelonius Belgian-style ale into 10 former Syrah barrels. He says he does not quite know what to expect. Meanwhile, some new space at the brewery has opened up, says Ruedrich, and he plans to boost his barrel production from 50 to 100.

Down south in the yellow hills of Paso Robles, Pinot Noir and Merlot aren’t the only things making people shout. Firestone Walker Brewing Co. has been fermenting—actually fermenting—beers in new oak for over 10 years, since the company’s founding in 1996.

“This brewery comes from a winemaking family,” says brewer Matt Brynildson. “We’re really comfortable with the use of barrels.”

The barrels are of new oak, which only mingles with the beer for two weeks or so during primary fermentation. This intercourse produces a mild toffee-and-vanilla flavor in three year-round beers: their Double Barrel ale, the Firestone pale ale and the Walker’s Reserve, the latter an espresso-like chocolaty porter. However, for the brewery’s 10th anniversary last year, management decided to push the barrel concept a step further.

“We kept our backs to the barrel-aging process for a long time,” says Brynildson, “but when our anniversary was coming up, we decided to make a high-gravity beer, fermented in oak and aged in oak. It did well for us, and we’ve decided that now each year we’re going to do an oak-aged release.”

Last year’s special release was not just barrel-fermented and barrel-aged, says Brynildson, it was also a blend of seven different beers. Just like winemaking. And they were whoppers. A triple IPA, an imperial brown ale, a robust porter, a hemp ale and a Russian imperial stout of 14-percent ABV all contributed to the soup. Brynildson describes the blend’s flavor as “almost over-oaked, intensely vanilla and bordering on coconut.” The 500 cases are all gone now but for a few bottles being passed around on Internet trading sites for hundreds of dollars each, but the next super-oaked blend is due out in October.

Like many other breweries in the barrel business, Firestone is boosting its barrel production over time. It makes one wonder: What’s happening to beer? You know, that light yellow crap, the king of the Rockies or whatever they call it? Cilurzo believes that increasingly, more Americans prefer new and exotic foods and drinks, and that barrel-aged beer flows right along with the trend.

“Consumers are willing to experiment and try something totally funky and unique, and, compared to fine wine, these beers are a very affordable luxury. It’s 10 to 12 bucks for a 375 milliliter bottle, but it comes out to be a lot cheaper than an equivalent $50 or $60 bottle of wine.”

For North Coast’s Ruedrich, barrel-treated beers represent a greater change in the very understanding of beer.

“Barrel-aged beer represents a development in our understanding of beer. For a lot of people, beer was always the light watery stuff in a can. That changed, and now it’s changing some more as people discover that beer can improve over long periods of time. Aging them in barrels is just a further development in our understanding of what is beer. Really—what is beer?”

Like a fine wine, the answer keeps getting better with time.

Russian River Brewing Co., 725 Fourth St., Santa Rosa. 707.545. 2337. North Coast Brewing Co., 455 N. Main St., Ft. Bragg. 707.964.2739. Firestone Walker Brewing Co., 1400 Ramada Drive, Paso Robles. 805.238.2556. Also look for barrel-aged specimens from El Toro Brewing Company in Morgan Hill and a few high-alcohol oaked oddities from Drake’s Brewing Company in San Leandro.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

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

Recipes for food that you can actually make.

Cost of the Iraq War

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Photograph by David Abbott
Priorities: Activist Joy Derry camps out in front of Palm Drive Hospital protesting monies spent on war that could have been spent on healthcare.

By David Abbott

MoveOn members in communities around the Bay Area gathered together for a series of press conferences Aug. 16 in an effort to bring the public’s attention to the staggering amount of local taxpayer dollars being funneled into the war in Iraq. The events coincided with the release of the online activist site’s report titled “War at Home,” highlighting the costs of the war for each congressional district, including the Sixth, encompassing Sonoma and Marin counties, Lynn Woolsey’s home district. Costs to St. Helena’s Mike Thompson’s First District were also calculated.

Lydia Karcher organized the event that took place on a sunny Sonoma County afternoon, when approximately 35 MoveOn members gathered in front of Woolsey’s Santa Rosa office to bring the message of public frustration to the Congresswoman. Others met in Pt. Reyes Station, San Rafael, Benicia and throughout the state.

“This is a good turnout,” Karcher said as she surveyed the gathering. “Thirty-five people signed up, and I figured that if we had 10 it would be OK.”

MoveOn’s report estimates the current cost of the war to the state of California overall to be $57.77 billion, with the Sixth District alone kicking in some $1.33 billion. Among the domestic ills that could have been addressed with these tax dollars are healthcare for an estimated 545,599 adults or 495,519 kids; Head Start program funding for 157,656 preschoolers currently not served by that program; the employment of 20,041 new elementary school teachers; the institution of 204,006 scholarships to make college more affordable; renewable electricity for 2,367,038 homes; or 3,977 affordable housing units for low-income renters.

In Mike Thompson’s First District, the local cost of the war is roughly $875 million, a sum that could have instead hired 16,279 public safety officers or supported 11,696 new port container inspectors for California’s busy international waterways.

Many of those gathered at the MoveOn event believe that the total cost of the war exceeds the Bush administration’s estimated $456 billion, and there was speculation about where the funding has really gone.

As she presented an oversized check representing the Sixth District’s lost $1.33 billion to Woolsey aide Emmie Morgan, Karcher enumerated the issues frustrating Americans against the war.

“Bridges are falling and people are dying,” she said. “We need to get out of this war to save ourselves.”

Woolsey was not in town, but Morgan read a statement issued by the Congresswoman: “It is only through the power of the grassroots, when citizens like yourselves hold their elected officials accountable on this issue, that we will have any chance of bringing our troops home safely,” the statement assured.

“You obviously know where I stand on the issue—with all of you,” Woolsey soothed the throng through the voice of her aide, to the accompaniment of the rumble of trucks, supportive honks and peace signs offered by passing motorists.

Ari Camarota heard about the event at a “drinking liberally” gathering in Santa Rosa the previous Monday. Camarota acts as a self-styled “performing arts liaison” for Woolsey.

“This is something that needs to be done,” he said. “We should have been in the streets in 2000. This is what we get for sitting around.”

Of the protest in Sebastopol, “I was really pleased with the turnout,” said Marty Roberts about the 30 or so supporters who rallied at Palm Drive Hospital. “It was a true community effort.”

Roberts praised Palm Drive for allowing the event to take place on its property. Of course, such largesse also focused attention on the healthcare crisis that could be addressed with but a fraction of the dollars wasted on the war.

Twenty-six year old Paul Schiefer spoke before the crowd in front of Palm Drive, representing the generation that will pay the highest price in blood and treasure for the war.

“We are incredibly fortunate to live in a democracy where it is possible to have our voice heard,” he said. “However, if we chose not to participate in our political dialogue, we also have no right to complain about the direction our country is going. This is our moment to shape the future that we will soon inherit. We need to accept the responsibility of being the future leaders of this country and start making our collective voice heard.”

Susan Santiago estimated the crowd gathered in Point Reyes Station to be about 20. Santiago read a list of the names of Californians killed in the war.

“I can’t express in words the horrors I see in this country,” she said.

The series of events were intended to raise awareness of the costs of war to local representatives in preparation for decisions that should be made in September when the fabled “Petraeus Report” is set to be released.

The research contained in the report was performed by the National Priorities Project (NPP), a 501(c)(3) organization in Northampton, MA, that purports to “analyze and clarify federal data so that people can understand . . . how their tax dollars are spent.”

More information is available at MoveOn.org and on the NPP website at http://nationalpriorities.org.


Quiet on the Set

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August 15-21, 2007


Holding her right hand against her portable headset, Stacy Stanzl, 20, listens intently to the instructions being relayed to her and then yells out, “Rolling!” Clad in jeans and a green T-shirt, the San Francisco State University student is standing in front of what appears to be a half-completed wine shop, with walls of racks just waiting to be filled with bottles. At the sound of Stanzl’s voice, the handful of people near her stop talking and working. They don’t want to make any noise that could interfere with filming on the set next door.

This isn’t Hollywood. It’s Sonoma.

At college, Stanzl studies film. This summer, she’s back in her hometown, on the set of the feature film Bottle Shock. She worked in the production company’s office from late May to early August, answering phones and running errands. That was a paid position. Now she’s an intern, putting in 12- to 14-hour days, six days a week. She’s earning school credit and a résumé listing, but no money. She loves every minute.

“It makes more sense than making people lattes in San Francisco for $9 an hour,” Stanzl explains with a huge grin after the “Cut” command has been forwarded and she can talk again. “It’s much more relevant to what I want to do.”

She steps outside. Four gleaming white air-conditioned travel trailers with colorful “Star Wagons” logos are lined up in the rear parking lot of this 9,200-square-foot office and warehouse space in eastside Sonoma. Humming softly nearby is a portable generator. A Hollywood Caterers truck offers refreshments.

This is the headquarters of Shocking Bottles LLC, the production company formed to turn the Bottle Shock manuscript by entertainment-lawyer-turned-writer Ross Schwartz into a feature-length film. The movie is a light-hearted look at what’s considered the birth of the California wine business in 1976, when Napa vintages emerged triumphant from a blind tasting against their highly regarded French counterparts. It’s a romantic tale woven around actual events and focusing on the father-and-son duo of Jim and Bo Barrett of Chateau Montelena winery, which produced the winning Chardonnay.

In 2005, Marc and Brenda Lhormer, promoters of the Sonoma Valley Film Festival, read the Bottle Shock screenplay and loved it. They recruited director Randall Miller and his writing/producing partner Jody Savin. Also on board are producers J. Todd Harris and Marc Toberoff. After rewrites to the script, Miller’s film industry connections attracted a strong cast headed by English actor Alan Rickman. The long list of Rickman’s credits includes playing Professor Snape in the Harry Potter movies and the villain in Die Hard.

Operating on a shoestring budget (the producers won’t disclose the actual amount), Bottle Shock began a 30-day filming schedule on Aug. 1 in the Napa and Sonoma valleys. That’s how Stanzl came to be a set intern at the Sonoma warehouse site, equipped with a headset and unbridled enthusiasm.

“It’s the most amazing thing ever to happen in Sonoma since the Bear Flag Revolt,” Stanzl asserts, her voice filled with both humor and awe.

It’s hot on the indoor set. Really hot. Large circular lights close to two feet in diameter blaze overhead, creating perfect camera conditions but making people sweat. The air conditioning rumbles loudly. Once everything and everyone is in place, the order goes out to turn off the air conditioning. It takes a few moments before the noise dies away. Then filming begins.

Merely using plywood, paint and attention to detail, this corner of a former wine-label warehouse has been converted into an airport lounge circa 1976. Or at least the center area and three sides give that impression, with bright orange walls, a light yellow ceiling, rows of black chairs and a gray counter area displaying TWA and American Airlines logos. Visible through the “windows” is an image of a plane awaiting boarding. The fourth side of the room is dark, filled with equipment and technicians all supporting the illusion being created for the cameras.

Colorful polyester patterns of the ’70s are everywhere as volunteer extras pretend they’re waiting for a flight. The cameras focus on Rickman, portraying an English wine shop owner who was the chief architect of the tasting, and Chris Pine (The Princess Diaries 2, Just My Luck, Blind Dating) as Bo Barrett.

In today’s scene, Rickman’s character discovers he’s only allowed to carry one bottle of wine onboard his international flight to Paris. Worried that the vintages chosen for the tasting mustn’t be bumped or shaken in the cargo area, Rickman and Pine recruit other passengers to carry the extra bottles.

With a click of a slate showing the scene and take numbers, filming begins.

Rickman’s distinctive, well-modulated voice carries easily as he steps up to the TWA counter. “I’ll be traveling on flight 349 to Paris this morning,” he says smoothly. His voice carries authority and assurance.

With an exceedingly plastic smile, the woman behind the counter explains that he can’t take his 26 wine bottles on board. Rickman and Pine address the crowd. When Pine announces that his family owns a Napa winery, a voice asks, “Is your last name Gallo?”

There’s a minor hitch in the smooth-flowing scene, and a crewmember conveys the director’s order: “Back to one.” Wearing a floppy beige hat, a volunteer extra who was standing at the counter when the scene started doesn’t appear to understand the cue, and begins wandering off the set. A crewmember steps out, gently guiding her back to her starting spot. The main actors and the director don’t even seem to notice the mistake.

The scene is run several times, with a makeup artist patting the sweat off the actors between takes. It’s shortly before noon. Most people in the room began their workday between 6am and 8am, and will keep at it until 8:30pm or 9pm. A total of 60 extras and six principal actors showed up at staggered times this morning, were prepared by the wardrobe and makeup crews, then waited until called to the set.

Sonoma residents Bob Ogle and his wife Lucy Weiger are in the crowded airport scene. “We don’t call ourselves extras,” Ogle explains with a laugh. “We’re ‘background artists.'” A salesman, he took a day off to get his first experience on a movie set. His wife came dressed in a 1970s outfit that she’s owned for 30 years, but he had to be fitted into a suit by the wardrobe people. “The funny thing was trying on the clothes and remembering why I hated the ’70s,” Ogle laughs again. “All that polyester.”

The lights and sound technology fascinate Ogle, but the big draw is making a feature film with an outstanding cast. “I was blown away that Alan Rickman is starring. I walked on the set and there he was. Just hearing his voice, you think of Harry Potter and everything. It’s pretty fun–a memorable day.”

Taking it all in stride is David Hinkley, looking very ’70s in a brown corduroy coat with light-colored elbow patches. “I’m just a local actor who used to do a lot of theater in Sonoma County,” he says. “I got all the leads when I was young and pretty. Now I mostly do character roles.”

Today, he’s an unpaid extra, but in a featured spot. “I had to smoke 10 cigarettes and they got a close-up.”

There’s no way to know if the shot will be included in the final movie, but he doesn’t care. “I’d play a rock just to be in a scene with Alan Rickman and Chris Pine. Those guys are amazing.”

There’s been some controversy about Bottle Shock. It’s in production while another, higher budget film based on George Taber’s original book, The Judgment of Paris, is still being written. But this isn’t a contest or a race. The other movie will be focused on the larger picture. Bottle Shock is a fictionalized story about the Barretts, the self-proclaimed “hicks from the sticks” who shook up the wine establishment.

The script takes a few liberties, including the wine-intern love interest played by Rachael Taylor (Transformers, See No Evil). The mainstream media has made much of the fact that in one playful scene, when stranded by the side of the road, she flashes her breasts to get a passing motorist to stop and help. There was no such woman in 1976, but Taylor’s character adds spice to the story line.

Some shooting is being done in Calistoga and the Napa Valley, including at the Chateau Montelena winery, but in many scenes, Sonoma Valley locations substitute for Paris and Calistoga in the 1970s. Director Miller is thrilled by the local conditions.

“I haven’t seen an afternoon when I haven’t been amazed by the light,” he explains. “It’s very cinematic. People live here and they appreciate it, but they don’t realize how beautiful it really is.”

Before he read the script, Miller wasn’t familiar with the wine competition that’s come to be known as the Judgment of Paris, but he thinks it makes an incredible story element. It was a time when all kinds of people were involved in the fledgling California wine industry. “It’s a story about people,” Miller says. “Some of them were screwy, some were regular guys and they managed to create something wonderful.”

The story, Miller says, attracted an A-list of cast members to work for scale on this independent movie. In addition to Rickman, Pine and Taylor, the movie features Bill Pullman (Independence Day, Zero Effect, Lost Highway), Freddy Rodriguez (Grindhouse, Six Feet Under, and soon to join the TV series Ugly Betty) and Eliza Dushku (City by the Sea, Bring It On, Buffy the Vampire Slayer).

The movie’s 30-day shooting schedule is dictated in part by the limited budget, but it also makes it feasible for these accomplished actors to participate.

“It’s like coming to do an off-Broadway play for a short period of time,” Miller explains. “People want to do an artistic endeavor.”

Lori Laube and Jenifer Coté of Santa Rosa-based American Eagle Casting are charged with filling more than 450 roles for Bottle Shock. “We’ll use a lot of people more than once,” Laube explains. And they’re not just casting people, they’re also rounding up authentic-looking cars and other vehicles.

She’s happily amazed by the number of people volunteering to be in the crowd scenes (details at www.americaneaglestudios.com). “Some of them are here 12 and 14 hours a day. I can’t speak highly enough of the caliber of people we’re getting locally.”

Usually, their company works on documentaries, short films, commercials and print shoots; they’re currently recruiting models for a tourism catalogue. Laube is delighted to be working on a feature film, hoping it will attract other productions to this area. Casting work is demanding but fun, she says.

“You have to be highly organized, you have to have a lot of patience, and you have to be able to talk people into working for free.”

For some, it’s not a hard sell. Daria Taylor is part of the airport crowd scene. She saw an announcement about the project on the Internet just five months after she and her husband moved from Australia to California. They live in San Jose, but she thinks it’s worth the drive. “My husband thinks I’m crazy,” she says happily. To be on the Sonoma set by 8am, she departed San Jose about 6am. She’ll put in a 12- to 14-hour day, mostly standing around waiting, then drive back home, all for no pay.

“It’s not arduous. It’s a bit hot [on the indoor set] but nothing too extreme. This will be a good story to make the people back home jealous,” she smiles. “This is the day I got to stand next to Alan Rickman.”


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Wine Tasting

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The vinosphere has steadily warmed over recent years, and a thick haze of easygoing, consumer-friendliness has settled in. No one can tell you what’s a good wine. Don’t be bossed around; your palate is the boss. Rare indeed is the place where, as the unwary wine sampler, flattered into believing you have the lead, you are led kicking and screaming by the tongue to what you will like. And you will like it.

Locals is a high-concept tasting room in the sleepy pit stop of Geyserville. They offer over 60 wines from nine wineries in varietal flights. You can compare the 2005 and 2006 Hawley Viogner ($22), for instance, noting how one changes from cat pee to spring blossoms with a little time in the glass, while the latter starts out like sharp cheese on a water cracker.

The trouble started with the Zinfandel. At Locals, said our host, what’s important is your palate. Faced with 10 Zins to choose from, I merely suggested that I was looking for a certain extracted style. “Words, those are just words. Words are funny things,” I was admonished. “I’ll get a feeling for your palate,” our host instructed. “Then I’ll choose what you’ll like.” It sounds so reasonable and service-oriented. It’s all about you, and finding what you like. I felt like an EST seminar initiate, at once violated and enlightened. Words are just words. Do visitors ever resist this approach? “They try, but they’re up against the best.”

A young couple on their first wine country experience suggested that they preferred a green taste in a Cabernet, but were told, “Anything green in a red wine is always bad.” So nix the 2005 Hawley Pinot ($32) with its bacon and green spice. I prefer the strawberry conserve flavors and just-after-the-rain earthy aroma of the 2002 Peterson Anderson Valley Pinot Noir ($35), but I held my tongue. Maybe anything just-after-the-rain is always bad.

I got into trouble again at the end. We decided not to make a purchase that day. “That’s too . . . bad,” the host said. The word “bad” dropped like a heavy magnum on the floor. My friend came out from hiding behind a table of hip merchandise and we fled to recover with a bottle of Meeker from next door.

I’ve brought two people on two different occasions to Geyserville and each time, Locals brought them down. I say, give it a chance for the variety, it’s a great concept, but both erupted in vitriol after walking out the door.

Locals Tasting Room, corner of Geyserville Avenue and Highway 128, Geyserville. Tasting is free. 707.857.4900.

East Bay Vintner’s Alliance Urban Wine Experience

The Bay Area’s most exciting new wine scene is plugged into industrial-scale waste water systems. East Bay winemakers are fashioning excellent wines in warehouses down by the waterfront. In Berkeley, A Donkey and Goat Winery goes micro-Burgundian with its oak puncheon fermenters. Emeryville’s Periscope Cellars is in a former WW II submarine repair facility. Get out of the wine country, and get a rare chance to check out 15 member wineries at the East Bay Vintner’s Alliance 2nd Annual Urban Wine Experience. It’s held at Rosenblum Cellars, the godfather of the scene, in retired military buildings, on Saturday, Aug. 18, from 3pm to 6pm. 2900 Main St., Alameda. $35-$45. www.eastbayvintners.com.



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‘Daydream’ Come True

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August 15-21, 2007

Last month, just before Sonic Youth began their Berkeley Community Theater concert with the familiar jangly strums of their anti-anthem “Teenage Riot,” an awe-inspired concertgoer yelled out “Thank you!” This interjection was right on considering the renown Daydream Nation has gained since its original 1988 release. And here it was, live in its entirety in a strange convergence of two art forms, the LP and the communal concert, like a rock snob’s dream set list realized.

After the last track, singer-guitarist Thurston Moore joked, “Now we’re going to play Sticky Fingers.” But there’s truth to every joke and Daydream has indeed taken its place among classic records by the Beatles and Stones, but also with followers of Radiohead and Nirvana, who’ve been noticeably influenced by its potent amalgam of hushed guitar shimmer and tasteful yet driving feedback freakouts.

The Community Theater’s high school-like setting proved fitting beyond the record’s opening song, symbolizing the affinity still felt by throngs of Converse-wearing indie kids. In fact, when Lee Ranaldo slipped “2006” into his spewing of years to “leave all behind you” at the end of “Hey Joni,” it didn’t feel gimmicky at all. A few years before the alternative nation emerged, Sonic Youth proved they could write great melodies if they wanted to and brought us universal, proto-slacker truths like the admission, “It takes a teenage riot to get me out of bed right now,” from “Teenage Riot,” and the realization “I’ve got to change my mind before it burns out,” from the shimmering, gorgeously layered “Candle,” breathtakingly performed in front of a curtain bearing the famous Gerhard Richter album cover painting.

Released in June, the two-CD Daydream Nation (Deluxe Edition) is a near-worthy second choice for those who missed the Berkeley show. The first disc presents the album, remastered with the group’s supervision and an eternal badge of honor for hipsters with a taste for the subversive yet conventionally rocking. Daydream is still perfectly paced, aided by the revolving singing lineup of deadpan Moore and spoken wordsmiths Kim Gordon and Lee Ranaldo, a contrast that worked exceptionally in its live context.

The real treat, though, is the second disc, which features live versions of each track from the original 1988 tour. A decidedly less polished set of performances than the recent show, we hear these future classics in their rough, skeletal infancy. Rounding out the set are covers of the Beatles (“Within You, Without You”) and early supporter Neil Young, whose “Computer Age” is given a bouncy post-punk treatment. In 2007, these covers don’t seem as ironic as perhaps intended, since Sonic Youth can boast their own timeless album. One listen can still illuminate what all the fuss is about.


News Briefs

August 15-21, 2007

Speak for the trees

Sudden oak death (SOD) is now inside Santa Rosa city limits, making it extremely timely that an SOD informational meeting is being held in Occidental on Saturday, Aug. 18. Scientists believe the devastating disease is caused by a water-borne pathogen. This region experienced extremely wet springs in 2005 and 2006, setting up what experts believe were prime conditions for spreading SOD. “It was kind of the perfect storm as far as the pathogen,” notes Katie Palmeri, of the California Oak Mortality Task Force. “There have been tons of new infections, tons of new die-off.” The North Bay’s coastal fog belt has been hit hard. Providing details about the disease, including current heightened fire risk and other concerns, the workshop will be held from 1pm to 4pm, at the Occidental Fire Department, 3821 Bohemian Hwy.

Detained, deported

Sausalito resident Duane Martinez was one of six rappelling down China’s Great Wall on Aug. 6, unveiling a 450-foot-square banner proclaiming “One World, One Dream, Free Tibet 2008” in English and Chinese. The protest was held one year and one day before the opening of the 2008 Beijing Olympics, which Tibet independence advocates charge is being used to legitimize China’s illegal occupation of that country. “We’re appealing to the international community to shine the light of scrutiny on China in the coming year. The Olympic dream of Tibetans is freedom by August 2008,” says Rinzin Dorjee, deputy director of Students for a Free Tibet. The Great Wall protesters were detained by the Chinese police for two days, then deported to Hong Kong together with two other Free Tibet activists.

Back to paper

After several years using electronic machines, Napa County voters may be returning to traditional paper ballots. On Aug. 3, Secretary of State Debra Bowen released the results of two months of study by University of California experts, showing that the systems could be easily compromised. Bowen “de-certified” the use of Diebold, Hart and Sequoia voting machines except for one per polling venue to satisfy federal accessibility requirements. Bowen’s decision affects about 9 million voters, more than half of the registered voters statewide, says Napa County Clerk John Tuteur. Napa has been using the touchscreen Sequoia machines since March 2003 and according to Tuteur, they work well. The more than 20 counties affected by the de-certification could file a lawsuit. But, says Tuteur, “if it’s not overturned by the courts, we will comply.”


Body and Soul

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August 15-21, 2007

As a guitarist, I’ve always been absurdly undemanding of my instrument. My first guitar was a warped-neck beater handed down to me by my dad; my second was bought for $100, and slung around my neck with a scrap of rope; my current working guitar was fished out of a dumpster and given to me, thoughtfully, by my mother-in-law. After some toolbox tinkering, it plays beautifully.

None of this, it should be noted, exempts me from absolute awe and wonder at the luthier’s craft. Guitar-making is a fine and precise skill that resides miles above my common comprehension. Drilling some screws into a busted neck to fix a dumpstered axe is one thing, but building one from scratch? I’d be disqualified before I even began, which makes the return of the long-running Healdsburg Guitar Festival all the more welcome.

Now in its 10th year, the festival recently moved to Santa Rosa in order to accommodate the works of over 130 world-renowned guitar makers from as far away as Japan, South Africa, Australia and Italy. But the festival’s appeal isn’t limited to guitarists, says organizer Chris Herrod. “Anybody who’s interested in arts and crafts–and in fine workmanship–will really love to see these instruments,” he says, “and the guitar builders are very open to questions. It’s really just a whole world to discover.”

Within the world of woodworking, guitar makers are a highly respected bunch. “They’re dealing with an element that other woodworkers do not,” Herrod says. “Namely, sound.” One of the goals of the acoustic-guitar builder is to make an instrument that’s light, so it resonates, but is also strong enough to support the pressure of the strings. Herrod describes the skill as “a portion of experience, a portion of science and a portion of intuition.”

Kathy Wingert, a luthier from Long Beach, has been coming to the Healdsburg Guitar Festival since 2001. Most of her colleagues are men, a fact that Wingert brushes aside as unimportant. “Somebody said to me once, ‘You know, they’re only paying attention to you because you’re a woman,'” she remembers. “I said, ‘I don’t care as long as they get a beautiful guitar.'”

Wingert cites the festival as a hallmark of the openness and sharing that raises the level of everyone’s work in the luthier community. Along with hundreds of guitars, the weekend also offers concerts, workshops, demonstrations and seminars on guitar-making, although something tells me Wingert’s sound advice to beginning luthiers is applicable on a universal scale. “Find somebody who will tell you what you’re doing right and find somebody who will tell you what you’re doing wrong,” she cautions. “And then stop doing things wrong.”

The Healdsburg Guitar Festival runs Friday-Sunday, Aug. 17-19, at the Wells Fargo Center, 50 Mark West Springs Road, Santa Rosa. 11am to 6pm. $12-$22. Special Saturday-night concert with Martin Young, Alan Thornhill and Michael Chapdelaine at 8pm (separate admission). 800.477.4437. www.festivalofguitars.com.


The Child in All of Us

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August 15-21, 2007

In an age when original cooking shows air on television 24 hours a day, seven days a week, the life work of a former file clerk sticks to our national culinary consciousness like spun sugar. While her television contemporaries Dione Lucas, Justin Wilson and Graham Kerr are primarily Wikipedia footnotes, Julia Child’s voice, humor and wisdom remain not only instantly recognizable but utterly relevant.

Julia died on Aug. 13, 2004, two days shy of her 92nd birthday. Festivities commemorating the anniversary of her birth this year include “Celebrate Julia!” cooking classes at Sur la Table locations nationwide; food bloggers collaborating to collect Julia-related posts at the blog Champaign Taste; and far-flung restaurants across the country independently serving Julia Child-inspired menus. (The scope of these gestures pale in comparison to that of Warner Farm in Sunderland, Mass., which last year created a corn maze in her image.)

But in your own home, the most rewarding way to remember Julia is to kick back on the sofa and watch all three DVD volumes of her groundbreaking television show, The French Chef, which WGBH in Boston produced from 1963 to 1973.

Julia’s defining moment occurred in 1961, with the publication of Mastering the Art of French Cooking, the exhaustive volume that she, Simone Beck and Louisette Bertholle compiled to make authentic French cooking accessible to average American home cooks. Even though battered copies of the book can easily be found at thrift stores and used book sales, the volume has been in print continuously since its debut 46 years ago.

But it was through The French Chef that Julia Child became forever fixed on our pop-culture radar. The show aired in repeats on a handful of PBS affiliates until 1987, which means there’s a whole generation out there more familiar with Dan Aykroyd’s immortal 1978 Saturday Night Live spoof, with his spot-on warbling Julia voice and gallons of fake blood, than with the actual show itself.

For those of us included in this bracket–or those who haven’t seen a full episode of The French Chef in decades–seeing a grainy, black-and-white Julia presiding over her television kitchen is like discovering a long-lost Rosetta stone; everything clicks, and you fall in love with cooking, and with this hunched-over woman, all over again.

During its 10-year run, The French Chef placed Julia in a number of studio kitchens outfitted with the sort of cabinetry and major appliances that homeowners of today dream of replacing: electric stovetops with push-button controls; conventional ovens barely large enough to hold a turkey; and a puttery old Sunbeam electric mixer that Julia herself confesses is perhaps on its last legs. This could either be a case of WGBH’s budget or of Julia acting on her instinct to keep it real; if home cooks in 1967 had an electric mixer, it probably was a Sunbeam.

Though she’s a bit stiff at the outset of the first episode, “Boeuf Bourguignon,” Julia soon enough eases into a relaxed flow as she discusses stew-worthy cuts of beef. She handles the various hunks of uncooked meat lovingly but heartily, as if playfully smacking someone’s butt. (Throughout The French Chef, she was a voracious handler of raw ingredients.)

Many of today’s most popular cooking shows are heavily edited, with close-up shots of beautiful food and eerily amplified cooking sounds–pouring, sizzling, chopping–spliced into the proceedings to act as sensory triggers for the viewer. Mise en place (the tidy little glass bowls of minced parsley and premeasured vanilla extract that some unseen intern assembled offstage) sits at the ready in open, airy kitchens bathed in diffused light.

For very basic reasons of production limitations, The French Chef had no such frippery. Instead, Julia relied on sheer force of personality and the occasional outlandish stunt to hook her viewers–which is perhaps why large, dead animals played a starring role in the most memorable episodes of The French Chef. On “Roast Suckling Pig,” Julia handles the pale-skinned piglet with a glint of mischievousness, as if she knew and even hoped that her somewhat macabre positioning of the inanimate porcine would cause some viewers to wince. And so what if they did? Pork comes from pigs, and pigs have little ears and snouts and cloven hooves. A gigantic live lobster, a flayed mess of tripe, a halibut the size of a saucer sled–she proffered all of these ingredients-as-props to remind us that this is food, take it or leave it.

Impeccable food styling was not The French Chef‘s strong point. While handsome and loglike, the yule log cake she crafts on “Bûche du Nöel” is likewise a bit homely. What happens on the show happens in real time, and dazzling moments arose from the most minor incidents. When a small cake twig droops as she applies chocolate buttercream to her cake log, Julia presses on, musing, “That would probably happen in a forest.”

The knowledge and passion stirred by her discovery of her life’s calling (Julia didn’t start cooking seriously until her late thirties) were still fresh with her in these shows, allowing her to straddle the chasm between home cooks and professional chefs with poise and assurance; she was one of us, only better. Julia made mistakes like we all do, but she knew how to fix them.

Julia’s flubs on The French Chef are our Easter eggs. While they don’t happen as often as modern folklore would have it (it was pommes Anna, and not a raw chicken, that she breezily plopped back into the pan after a failed attempt to flip it), they are a delight to watch. Julia kneads dough and somehow manages to fling her bench knife across the kitchen in the process; she messily dribbles crêpe batter on the stovetop; she unceremoniously–and repeatedly–wipes crumbs onto the studio kitchen’s floor. I do not envy the man or woman whose job it was to clean up after the shoot.

Even when sticking with familiar, workaday ingredients, Julia brought together the exotic and the commonplace. “The Hollandaise Family” is much more riveting than a solid half-hour of a middle-aged woman making two variations of the same sauce should be. She transforms unassuming egg yolks and globs of butter into silky, sunny yellow hollandaise and béarnaise sauces, making kitchen magic happen right before our eyes.

I learned to make hollandaise as a student at the Culinary Institute of America, where the school-sanctified method at the time was to whisk the egg yolks in a bowl over a saucepan of simmering water before whisking in a seemingly never-ending thin stream of clarified butter. It was a horrifying and tedious procedure that our chef-instructors related to us as if it were a ghost story, a process we should regard with awe and fear.

But in “The Hollandaise Family,” Julia voices her disdain for double boilers. “I think you have more confidence in yourself as a cook when you do things directly in the professional manner rather than using subterfuges,” she muses while plopping little blobs of softened, unclarified butter into her copper saucepan of frothy yolks. She makes it look so fun and easy, because guess what? It is. A 10-year-old could make a smashing eggs Benedict after watching that episode.

“Cooking’s just a series of the same old thing; sometimes there’s chocolate and sometimes there’s fish in it, but the principles are all the same,” she once said. That’s why Julia’s popularity and appeal endures. She was not there to impress and intimidate, but to demystify and reassure.

It’s impossible not to wonder if, in 50 years, any of today’s food-media superstars will command comparable admiration. Despite their talent, or any innovations of cookery or public relations, everyone else is inevitably following in Julia Child’s footsteps, because she was the first.

Television is an ideal medium for culinary education; the setting is intimate, and the energy of smaller, kitchenlike spaces translates so fluidly to our own humble homes. Ideally, cooking shows are educational and entertaining, though the latter seems to carry less and less priority in the eyes of network programmers. Edification does not have to be synonymous with boredom, as the sprightly activities of a 6-foot-2-inch woman with liver-spotted hands on The French Chef so readily remind us. Find these shows and relish them. Bon appétit, as Julia would say.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

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

Recipes for food that you can actually make.

Green Zone: Eco-News for Sonoma, Marin and Napa

08.22.07I set off for San Francisco early on Thursday morning. My mission: to ride on the back of a Vectrix scooter. With a top speed of 62 mph, this scooter is rumored—OK, rumored by its PR firm—to be the best of its kind. With an estimated 10-year battery life, a patented braking system (DAaRT™) that redirects energy back into...

His Floating World

08.22.07The great thing about tenure is that I can't be dismissed summarily," laughs Sonoma State University professor Michael Schwager. The director of SSU's prestigious art gallery, Schwager is making a nervous joke about his job's future because his exhibition space is preparing to hang a series of works by Hawaii-based painter Masami Teraoka that are, well, genital-friendly. And blood-friendly....

Brewing Beer in Barrels

08.22.07Sometimes I wish I were an oak barrel. They lead lives of luxury, housed for all their years in rustic wine country cottages, some with million-dollar views of the hills and the vines and the goats over on the neighbor's estate—and they're constantly full to the brim with fine wine. When one vintage goes to bottle, why, another is...

Cost of the Iraq War

Photograph by David Abbott Priorities: Activist Joy Derry camps out in...

Quiet on the Set

August 15-21, 2007Holding her right hand against her portable headset, Stacy Stanzl, 20, listens intently to the instructions being relayed to her and then yells out, "Rolling!" Clad in jeans and a green T-shirt, the San Francisco State University student is standing in front of what appears to be a half-completed wine shop, with walls of racks just waiting...

Wine Tasting

‘Daydream’ Come True

August 15-21, 2007 Last month, just before Sonic Youth began their Berkeley Community Theater concert with the familiar jangly strums of their anti-anthem "Teenage Riot," an awe-inspired concertgoer yelled out "Thank you!" This interjection was right on considering the renown Daydream Nation has gained since its original 1988 release. And here it was, live in its entirety in a strange...

News Briefs

August 15-21, 2007 Speak for the trees Sudden oak death (SOD) is now inside Santa Rosa city limits, making it extremely timely that an SOD informational meeting is being held in Occidental on Saturday, Aug. 18. Scientists believe the devastating disease is caused by a water-borne pathogen. This region experienced extremely wet springs in 2005 and 2006, setting up what...

Body and Soul

August 15-21, 2007 As a guitarist, I've always been absurdly undemanding of my instrument. My first guitar was a warped-neck beater handed down to me by my dad; my second was bought for $100, and slung around my neck with a scrap of rope; my current working guitar was fished out of a dumpster and given to me, thoughtfully, by...

The Child in All of Us

August 15-21, 2007In an age when original cooking shows air on television 24 hours a day, seven days a week, the life work of a former file clerk sticks to our national culinary consciousness like spun sugar. While her television contemporaries Dione Lucas, Justin Wilson and Graham Kerr are primarily Wikipedia footnotes, Julia Child's voice, humor and wisdom remain...
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