Go West

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August 15-21, 2007

Though the band’s old stomping grounds once included flophouse parties, dirty clubs and, for a brief time in the ’80s, alternative-rock radio, Camper Van Beethoven have settled into a comfortable fixation on the openness of Northern California. The band’s latest release, 2005’s still-relevant New Roman Times, imagines a future battle between the seceded states of Texas and California in a thinly veiled comment on present national conditions; naturally, the Golden State earns the band’s alliance.

While frontman David Lowery’s “other” band, Cracker, continues to explore back-country Americana (itself peppered liberally with California references), New Roman Times is a blast of thunderous, swirling prog rock dead set on firing up new mental pistons and recharging old ones. It should probably be performed in a dank, soulless, underground factory befitting its themes, but luckily for us in Northern California, it comes to life this weekend at a beautiful open field near Pt. Reyes National Seashore at KWMR’s Far West Fest.

Yes, the band still play “Take the Skinheads Bowling,” “Pictures of Matchstick Men” and the poignant “Sweethearts,” but expect potent new material such as the violin-driven “Sons of the New Golden West” and the scathing “I Hate This Part of Texas” to prove that, at 24 years and running, Camper Van Beethoven refuse to allow themselves–or their country–to be counted out anytime soon.

The Far West Fest is slated for Saturday, Aug. 18, at Love Field, Highway 1 and Levee Road, Point Reyes Station. Also appearing are SambaDa, Chrome Johnson, Bo Carper from New Monsoon and others. Noon. $20-$25. www.kwmr.org.

At the same time, peacemaking of another culture happens over hill and dale at the second annual West Marin Himalayan Festival featuring Tsering Wangmo (above) and Ang Tsherin Sherpa. One of the few selected to study in the Tibetan Music, Dance and Drama Society founded by the Dalai Lama in 1959, Tsering Wangmo in 1989 founded Chaksam-Pa, a troupe dedicated to fostering the ancient Tibetan tradition in response to its threat from Chinese occupation.

She has since been seen on ABC’s Profiles in Excellence, performed with Philip Glass and David Byrne, and is widely recognized as a leader in the struggle to preserve an undistilled Tibetan culture. An all-day demonstration and hourly talks will be conducted by Ang Tsherin, a third-generation painter of sacred tankas whose work has appeared in the Asian Art Museum of San Francisco–and sure, in the home of actor Richard Gere. Children’s dance groups, Nepalese paintings, prayer flag making and Himalayan vendors round out the festival this Saturday, Aug. 18, at the San Geronimo Valley Community Center, 6350 Sir Francis Drake Blvd., San Geronimo. 11am to 5pm. $8-$15. www.sgvcc.org.


I Sneaked In

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August 15-21, 2007

My heart beats at a fast pace, the familiar taste of metal at the back of my throat accompanying the adrenaline rush that would provide victory or defeat any second now. Do not blow it, says that inarticulated voice somewhere, an instinctive, subconscious mantra. Do not blow it. 

Seldom have fast research, perfect timing and a predatory sense of opportunity placed me in such a dilemma. The next move will demand an effortless self-assurance, an easy air of tranquility. This I know; now if I can pull it off. The open-air shuttle is filling. I have just another 10 or 15 seconds to make a move. I take a last drag of my cigarette and get on the bus. 

As a former Green Beret, veteran journalist and freelance intelligence operative, weaseling into places where I am not invited is second nature. I crashed every major event during the 1993 Superbowl in Los Angeles, including the game itself and the Dallas Cowboys’ very private victory celebration afterward. Some months later, I not only cracked the televised end-of-series bash for the sitcom Cheers, I spent a couple of hours at the real party afterwards, tossing back beers with Sam, Norm, Cliff and Carla. Just days after that it was the VIP section at the Naval Academy graduation at Annapolis, having passed myself off as John McCain’s aide. Right this way, sir. Got by the Secret Service more than once and spent an hour talking baseball with Richard Nixon over coffee and dessert.

I’ve done Champagne with Barry Bonds, Willie Mays and the guy who owns the Giants. I have partied with the prime minister of the Bahamas. I even crashed the Elvis Suite at the old Las Vegas Hilton only to find myself standing in the foyer, confronted by Paris’ mom, dad, aunt and uncle. Turns out there was no party, and who the hell was I? Must have taken a wrong turn somewhere. 

The Bohemian Grove is different.

This is hallowed ground to San Francisco natives of a certain sort, San Franciscans like me. Although I never expected to be a member, I revere the place, love everything I’ve come to know of it. A club founded by artists and writers, paid for by the patrons they brought in–Mammon meets the Muses, vintage 1872. I’ve always wanted to crash the Grove. It’s some kind of ultimate test. As the summer camp approached, a good friend who frequents my morning round table in a Napa cafe began to regale us with stories of the place that he heard from a friend who managed it. 

That’s how I find myself at the backstage entrance to the Monte Rio Amphitheater on the last Thursday of July. Turns out the club puts on a fundraiser for the town. It is starting any minute. As I ride my bike over the bridge toward the festivities, “The Star-Spangled Banner” wafts over the river, signaling the beginning of the show.

I turn toward the Grove entrance instead, ride up to the sheriff’s deputies at the gate. So, what is this place? Get a friendly briefing, gauge their attitudes, and then bike every little road and lane around the place, ditch the ride and go to the show. But before I pay my 20 bucks to get in, I find the backstage entrance where they admit the club members to their private seating, befriend the security guard and note the shuttles coming and going–note that the guard did not stop anyone who appears to get off the shuttle. Safety in numbers. Walk with the Bohos, talk with the Bohos. I might have a chance. 

I stand on one of the steps waiting to ascend to a seat when the guy in front of me stops to talk, and in my fevered earnestness to get on the bus–the bus to the Bohemian Grove–I slide by him just as you would getting on any bus, my butt ever so gently grazing his own posterior. Before I clear his ass, he straightens up, turns around and looks down at me–a big man, forty-something. Ever so politely, he says, “Excuse me,” and makes an elaborate production of standing aside. I have been rebuked. I am an outsider. Everyone on the shuttle at that moment knows this, and they wait with a studied lack of concern to see how I will respond.  One does not try to get ahead at the Bohemian Grove. 

I turn to him and gravely say, “Oh, I’m sorry. That was very rude of me.” He smiles, nods, turns away. I continue to the back of the bus. There are no seats, so I squat in the aisle. The bus is on its way to the Grove, everyone’s settled, and the very man I bumped looks back to me and says, “Hey, friend, there’s a seat up here.” Oh, shit, I’m going to have to talk to these people. I take a front seat next to a guy who looks just like a senator, all pink, poreless cheeks, jutting jaw, silver hair. Everyone’s looking at me again; they take me for a guest or a new member. I can work with this: be careful, pay attention, think before talking and don’t ask what anyone does for a living.

I get into a rhythm here. I relax into a heady euphoria, and my natural confidence rides high. Some people find me insufferably arrogant, but as a white man clad in khakis, I’m projecting just the right vibe for this place. I’m the picture–the reality–of contentment, baking an internal glow of alcohol and combustibles, backlit by the redwood-filtered moon. I have a few minutes to wallow in satisfaction. This does not seem real anymore. I’m one of the Bohos! 

We approach the main gate I’d scrutinized a couple of hours earlier, slow down, drive through without stopping, and my new friend starts yelling, joking, “Hey, wait a minute, you didn’t check our papers, you didn’t check for illegals!” Har-dee-har-har. Now we’re inside, I’m inside, and I want to start yelling myself. I did it!

Time to pay attention again. This place is stunning: long, narrow canyon and giant redwoods everywhere, all dark, just a flicker of light here and there between the great trunks. The shuttle meanders the blacktop, headlights illuminating contrived, rustic entrances into clusters of trees. These must be the camps I’ve heard about. Everyone’s assigned to one. God help me if someone should ask about mine; I don’t know any of the names. 

Cigar smoke suffuses the air. Glowing ends bobbing in the dark suggest slow, obese fireflies. Everyone seems to carry a drink, and at each stop, those disembarking pee upon alighting, the image of man watering tree an iconic Grove commonplace. The shuttle travels a half-mile or so. We’re somewhere in the middle of the place, and I’m alone again.

I know some camp names now. I decide to belong to Fore-Peak, a nautical theme. I’m a guest of Bob Weir’s, met him 40 years ago in a first foray as a journalist, dropped in on him and Jerry back in ’67 at the house on Ashbury, killed an hour together. Yeah, Bob and I go way back. But I do not want to have that conversation just yet. Maybe Bob doesn’t hang at Fore-Peak. A short walk into the dark reveals a dim clearing ringed by big logs turned into benches. Above the benches–one named Old Guard; the benches actually have names–hovers a backlit poster of this year’s daily skits: a Sammy Davis Jr. revival; a George Gershwin review.

I hear music. It sounds like a Broadway play. I follow the sound, pass through a column of more trees. An orchestra plays, tenors and basses sing, Irish ballads in brogue. I emerge open-mouthed into yet another clearing. In the near distance, I look up to see leprechauns emerging from a dark, misty sky, a cast of dozens singing, a 50-man orchestra, rich costumes and colors, a chorus singing. I start to weep. I’ve died and gone to Darby O’Gill and the Little People.  A dress rehearsal of the annual play, and even the faux women are convincing. And just after watching the mean old duchess get her comeuppance, they call a break and a great, rangy man–the duchess–comes striding by, arms swinging, a day’s growth of heavy beard.

I retreat back to the benches in the trees and join a young man who expresses his reverence for the place, had always wanted to attend the Grove camp. His grandfather, a great fortune connected to a great brand, brought him as a guest. A twenty-something attending college back east–business major, of course–he laps up my wisdom, the career advice I offer.

Getting out will be the hard part, I think, but wandering down the canyon as instinct directs takes me by the security folk who make sure to ask if I have the card which would get me back in when I return from the Pink Elephant, my ostensible destination. I stop and talk.

We all become fast friends. 


Trees in Love

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August 15-21, 2007

There are certain rules that must always be considered when staging a play outdoors in a park. Rule number one: Plays involving trees are particularly effective and save the expense of building treelike scenery, since most public parks already have, you know, trees. Rule number two: In an outdoor show, particularly one during which the audience will be eating and drinking, no actor’s voice should be so soft that it cannot be heard by an audience member while that audience member is eating potato chips. Rule number three: None of the above really matters because, with or without trees, watching Shakespeare in the park while eating potato chips is a lot like going to a party, and is as much about sitting outdoors with friends in a beautiful place and having a bit of casual fun as it is about watching and hearing the mighty magic of old Willy Shakespeare.

Though the potato-chip rule is occasionally broken by some of the actors in the Sonoma County Repertory Theater’s wonderfully breezy production of Shakespeare’s As You Like It–the final show of the 14th annual Sebastopol Shakespeare Festival in Ives Park–this is otherwise a perfect example of outdoor Shakespeare done right. Set largely in the semi-magical forest of Arden, As You Like It includes numerous references to trees and occasionally calls for them to be used as props, and director Elizabeth Craven makes excellent use of Ives’ greenery, staging several bits in, on and around the trees that surround the simple platform stage.

As You Like It is one of Shakespeare’s most loosely plotted comedies. In Craven’s hands, however, everything is paced so playfully, and each goofy bit of action or soliloquizing is staged with such imaginative flair and fun, that one barely notices or cares what a hodgepodge the play actually is. And since Shakespeare seemed to be playing fast and loose with his plotting, so does Craven, rearranging things in interesting ways and having some of the actors play several roles.

(The famous “All the world’s a stage” speech describing the seven stages of life in which every player plays “many parts,” is normally delivered by the melancholy nobleman Jacques deep in the first act, but here is used to open the show, with actor John Litton going through the seven stages of as he transforms himself with makeup and costume into the aged servant Adam, whose conversation with young Orlando–a wonderfully energetic Justin Scheuer–then begins the action.)

The plot is beside the point. For various reasons, a number of rich people have given up or been banished from court life and have gathered together in the forest, forming a kind of Elizabethan hippie tribe along with the native shepherds, farmers and other forest dwellers. The spiritual center of the group is the banished Duke Senior (Samson Hood), knocked out of power by his usurping brother Duke Frederick (also played by Hood).

Frederick’s merry band include the manic-depressive Jacques (Litton) and, eventually, a love-struck Orlando, followed by the spirited Rosalind (Jeanette Harrison), Orlando’s object of affection, who is disguised, because Shakespeare was into that kind of thing, as a boy. With Rosalind comes her best friend Celia (Gwen Kingston) and the court jester Touchstone (a marvelously coarse Gary Grossman). Before long, everyone is falling in love with everyone else, and there is plenty of same-sex confusion. Meanwhile, the evil duke sends Orlando’s brother Oliver (Chad Yarish) into the forest to kill him, and . . . oh, forget it.

Never have I seen AYLI performed where the story, loopy and tangential and just plain weird, was played out with this much fun. And under Craven’s clever direction, some things actually make sense that never have, such as the last-minute appearance of a woodland goddess, here performed as a kind of hippie wedding ritual. Nice touch.

With the accent on lightness and the focus on the joyous freedom of the outdoors, this As You like It is one groovy good time in the park.

‘As You Like It’ runs Thursday-Sunday through Aug. 26 at 7pm. Ives Park, Willow Street and Jewell Avenue, Sebastopol. $15-$20; Thursday, pay what you can. Special Sept. 15 performance in Armstrong Redwoods. 707.823.0177.


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Change Artist

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music & nightlife |

One and Only: Friends think McEvoy should can his lead singer.

By Sara Bir

There are a lot of ways one could describe Change!, but the most accurate and least opinionated would be to call the band polarizing. I would bet cash money that you will not hear one album remotely like Change!’s When Spaceships Collide this year, and I am not a gambling woman.

Change! is the musical world of Aaron McEvoy. In this world, a giant, 134-stringed wood-hammered dulcimer–chiming, melodic and evocative of whimsical folklore–is the focal instrument of rock songs. Juxtapose this with McEvoy’s un-dulcimer-like vocals and lyrics with a heavily fantastical slant, and you get a band who defy recognizable genres. But after the initial shock of geeky dulcimer weirdness wears off, the offbeat beauty of Change! reveals itself; the patient and unbiased listener will discover rewarding and keenly crafted pop songs.

When Spaceships Collide was written over a five- to six-year period, during which McEvoy lived in New York, Texas and California. Now settled in Napa, McEvoy, like many musicians, wears multiple hats; he runs the record label Mental Monkey and has a young daughter (our interview was conducted as she napped).

McEvoy settled on the name Change! while traveling through Italy in 1999, when he spied a sign on a currency exchange booth. “I have found it versatile enough to umbrella over all the various incarnations of the band,” he says. Though Change!’s recordings feature other musicians (including Mental Monkey label mates Mixel Pixel and Midstates), McEvoy currently performs solo shows with the dulcimer, an iPod and a theremin. For an audience member not knowing what to expect, the sight of the gigantic dulcimer, combined with McEvoy’s animated onstage persona and atypical lyrical approach, can be disarming–though this combination can result in riveting, if tense, performances.

“I find that my performances really push people’s buttons in different ways,” McEvoy says. “I’ve had performances where I’ve worried about my personal safety. There have been folks who have thrown firecrackers at me and wrestled for my microphone. I recently ended a show in Oakland midsong because two drunk idiots collided with my instruments during a wrestling match.”

McEvoy, who has been performing in front of crowds in various musical contexts since he was in first grade, is well aware of the distinctiveness of his singing style, which he says is inspired by the likes of Robyn Hitchcock, Syd Barrett and David Bowie. “I have a very flexible voice, and could easily sound like John Denver or Aladdin if I wanted,” he says. “I have a flamboyant tendency deep inside, which I like expressing lyrically and vocally. Some people love [my voice] and some hate it. I’ve had friends hear my recordings and tell me that I need to can the lead singer.”

But that affected voice, which is at turns childish and sing-songy, both suits and obscures the surreal, psychedelic poeticism of McEvoy’s lyrics. “Le Sad Cassetto,” a jagged and darkly funny ditty about horrific headphone paranoia, rests on the goofy end of the spectrum, while the dance beat of “My Sadness Is a Special Thing” belies the ache and longing at the root of so many rock songs.

“I am willing to write about any topic, as I find that all things are generally equal in this universe,” says McEvoy. (It is worth noting that he once wrote a song about an indecisive man who rolled a Dungeons and Dragons decahedron–a 10-sided die–to determine if he should marry a woman or not.) “I guess in the end, I just have my own process of mixing my life experiences and my imagination to produce songs.”

After living in Indiana, Delaware, New York City, Austin and various Bay Area locations, McEvoy finds the people of Napa “very interested and supportive. I like playing in small towns, as I feel that they often have more to fight for, in terms of freedoms of thought and sound. I have enjoyed the food, culture and musicians that I have met in Oakland and Berkeley, but feel that places like San Mateo and Napa have taught me more about what it means to be Californian.”

Catch up with Change! at www.myspace.com/changemusic or mentalmonkeyrecords.com.




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Letters to the Editor

August 15-21, 2007

Entitlement spending

Peter Byrne provided a public service in noting the extent to which Congress and the Bush administration have increased the deficit and the debt (, “Fiscal Terrorism,” June 26). He quotes the head of the Government Accountability Office on the size of the “structural deficit”–spending that exceeds revenues on a regular basis. The fact that we have been experiencing such deficits for more than three decades (with the exception, noted by Byrne, of four years during the Clinton Administration) is a cause for concern.

That said, besides using a sensationalist and misleading title, Mr. Byrne made some errors that are relevant to putting the budget back in the black.

There is first his assertion that “Bill Clinton not only balanced the budget, he used hundreds of billions in surplus monies to start paying down the national debt.” Presidents neither balance nor unbalance the federal budget. They propose spending, indicate their preferences for taxes, and suggest changes in spending. But in the end, Congress determines spending and taxing. Clinton didn’t “balance the budget” for those four years; a Congress controlled by Republicans did.

As for the “use” of those surpluses to reduce the debt, what Clinton did or did not do is of little consequence. Federal law requires that a surplus must be used to reduce the federal debt.

Mr. Byrne refers to the “long-term structural deficit,” which, he notes, rose from $20 trillion to $50 trillion during the first six years of Bush’s administration.” Two thirds of this gap is the result of commitments to Medicare, and the largest single piece is made up of payments to providers. This and other entitlements are the core of our fiscal problem. Call it what it is, but why call it “fiscal terrorism”? We have promised more to ourselves than we have committed to pay. We face this same problem in funding Social Security, though we have more time to fix it. This is less a weapon of mass destruction than an exercise in mass delusion.

Dr. Richard B. Doyle, associate professor of public budgeting, Naval Postgraduate School, Monterey

Hope for the future

Congratulations to Peter Byrne on making the list for the top 25 censored stories on Project Censored’s list (, “DiFi Backlash,” Aug. 8).

My hat is off to Mr. Byrne for once again clearly pointing out what a mess we have gotten ourselves into during this millennial century, with the mainstream media in cahoots with corporate profiteers and our (somewhat) elected so-called representatives.

Maybe the next millennium will be better.

Paula M. Arico, Sebastopol

Too little, too late

I can’t believe I just read in that the Ask Sydney column is “officially retired”–not even giving us faithful readers a chance to protest (or flood your office with letters seeking advice).

The column offered consistently helpful, logical and empathetic advice. Please give it another chance and do consider a better placement of the column, too. The last page didn’t do it justice.

P.S.: Congrats to Peter Byrne for the Feinstein reportage and award from SSU’s Project Censored, plus a thank you to (Aug. 8). He called it right on–what happened?!

Marlene Alves, Santa Rosa

Sick of it

So, Michael Moore goes to Cuba but fails to mention that the best care is reserved for rich foreign tourists and Communist Party bosses while regular folk go to run-down facilities, may receive out-of-date drugs and often have to bring their own food, sheets and soap to the hospital ( June 27). Cuban doctors who have been sent to Venezuela don’t want to go back to Cuba where they make about $15 a month. Instead, they want to go to America but must escape from Venezuela to Columbia in order to do so. Meanwhile, Fidel Castro flew in a specialist from Spain for his care. Moore recently railed against the Martin Luther King Harbor Hospital in a news conference but failed to mention it is a government-run county facility.

I just ask if people have really seen a sense of urgency and high efficiency in very many government-run operations. Happy with post office lines, the current passport fiasco, the immigration failures, your California highways? Do you think the best doctors/nurses are going to want to work for the government?

Ron Brackney, Santa Clara


Bad War

August 15-21, 2007

Maybe it’s not fair, but I blame Steven Spielberg for all of this. His 1998 Saving Private Ryan turned WW II into a video game with corn syrup sweeter than any ever rationed to wartime audiences. From that movie on, you could feel the change in the air. When WW II was spoken of, it was no longer in terms of “Never again.” It was more like, “Granddad had his Good War. Where’s mine?”

Those who led us into Iraq pimped that parallel with the Good War. Those who advised holding off and waiting for more details were made into modern-day Neville Chamberlains, seen to appease the Hitler of the Euphrates. Trying to repeat tragedy as spectacle, the Bush administration set the stage for years of unending horror. And now the movie-made mess is examined in a movie, No End in Sight, a documentary of great concision and intelligence.

Director Charles Ferguson didn’t get to talk to the architects of the war. Since Bush, Cheney, Rumsfeld, Rice and Wolfowitz declined to be interviewed, he is left with the unanswered question: How could they be so utterly lacking in foresight? How could they refuse to recognize the catastrophe, and then try to laugh it all off like sportsmen who had lost a bet? How can you make as much money and have as much prestige as Donald Rumsfeld made and had, and still brush off anyone bringing you bad news as a Chicken Little? We see Rumsfeld’s act reprised in No End in Sight at the infamous April 11, 2003, press conference. Using that gruff yet chuckling mannerism that the press ate up with a spoon, Rumsfeld simply tells the world that “[shit] happens.”

Since we’re not yet able to crack the mind set of these five, “shit happens” may be the only way to explain this epic bungle. We’ll have to wait for their self-justifying memoirs, I guess. Having to do the detective work himself, Ferguson pinpoints the moment in which the war was well and truly lost. Clearly that moment was May 2003, the date when Paul Bremer of the Coalition Provisional Authority implemented the administration’s de-Baath-ification plans. These made hundreds of thousands of Iraqis jobless. It also meant the dismissal of soldiers who could have brought order to Iraq when there was still order to be got.

The U.S. Army’s Col. Paul Hughes, interviewed here, has tragic stories of Iraqi officers begging to be allowed to stop the looting of Baghdad. The Army advised against the drastic purge, but they didn’t get a vote. Understaffed and undersupplied, American soldiers tried to keep order as the situation deteriorated. Meanwhile, Sadaam opened the prisons before he ran for it, leaving 100,000 criminals–the apolitical and violent kind–running free.

Unguarded weapons depots were ransacked by the mob. The Coalition Provisional Authority crouched behind seven miles of blast walls. Bremer, the wizard of this Oz, addressed the world through a press spokesman who didn’t know how to speak Arabic. The offices inside were staffed with an ever-rotating staff of recently graduated Republican donors’ kids.

Rumsfeld clowned. Our intellectually lazy president strutted through his photo opportunities, repeating the prediction that dead-enders were in their last throes of resistance. Yet he had reports that proved otherwise. As we see here during a Sept. 21, 2004, press conference–and it’s evidence that’s as damning as Bush’s moment of cataleptic stillness in Fahrenheit 9/11–he hadn’t bothered to read even the bullet points on the one-page summary of the reports brought to him.

More than any documentary yet, No End in Sight is The Dummy’s Guide to the Iraq War. It’s a lean, rigorously researched film. Ferguson interviews reporters like George Packer (The Assassin’s Gate) as well as former officials like Richard Armitage and two members of the National Intelligence Council, which coordinates the information our leaders would rather not read. Campbell Scott’s sober narration and Peter Nashel’s ominous music advance the action.

Since this documentary is a few months old, it doesn’t record the more current bad news: 4,000 soldiers of the Mother of all Coalitions are dead, of which some 3,600 are ours. Ferguson estimates the long-term bill to be in the end about $1.8 trillion. That doesn’t include the possibility of failure, of some cleric becoming the new Saladin, and holding the west over an oil barrel.

What can we do? As Ricks writes, reusing a World War I allusion, we have an army of lions led by donkeys. The Greeks had a specific goddess of folly, called Ate (ah-tee), to blame it all on, a daughter of Zeus who alighted on men to derange them and lead them into self destruction.

‘No End in Sight’ screens at the Rialto Lakeside Cinemas, 551 Summerfield Road, Santa Rosa. 707.525.4840.


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Stay Off the Grass

August 15-21, 2007

‘Look!” my brother says. In his hand he proffers a small, brilliantly orange, cherry tomato. “I got this off of a volunteer tomato plant in your garden box.”

“Thanks,” I say, taking the petite tomato. “Actually, that’s not a volunteer. That’s what a tomato plant looks like if you wait to plant your starts until they are almost dead, and then only water them for about three seconds twice a week. Want to split it?”

I include this anecdote as a means for clarification so that you, gentle reader, will understand that when I tell you what you probably already know: Water prices are getting higher and higher. What you may not already know is that in addition to the city of Santa Rosa’s “Cash for Grass” initiative, the North Marin Water District is going so far as to offer up to $400 in residential rebates for those willing to rip out their aqua-hogging lawns. I hardly feel personally affected.

In the last week, I’ve paid $300 not in water bills, but in vet bills, to remove dried foxtails from the delicate nostrils of my four-month-old puppy, all snuffled up from my very own yard. Overwatering, obviously, is not an issue at my house. But what about the rest of you, with your verdant yards, your lush lawns, your opulent flower beds, your tomatoes hanging plump on the vine? What if you don’t want your yard to look like a dried-up region of the Mojave Desert, where a single cherry tomato is a miracle of unprecedented proportions?

In order to find a glimmer of hope for those of you with a green thumb in time of drought, I called Cathy Summa-Wolfe, news contact for the grand opening of the Water Management and Technology Education Center at the College of Marin’s Indian Valley campus. With water in short supply and lawns consuming 30 percent to 50 percent of our dwindling water supply, we need a new breed of gardener, one who understands how to plant and irrigate with the sustainability of our planet in mind. Workshops have already begun at College of Marin, available both for the layperson and the professional landscaper alike, in order to educate a new breed: the Qualified Water Efficient Landscapers.

Those who successfully complete one of the water-efficiency intensives will be given a certificate of completion, and licensed landscape contractors will be added to the Marin Municipal Water District’s list of recommended contractors. For those visionaries wishing to become certified green landscapers, College of Marin is developing and launching this fall a new program based entirely around sustainable landscaping practices.

Whatever your goal–to learn some water-saving techniques in order to cut back on your water bill; to develop a professional landscaping practice with the survival of our planet in mind; or simply to hire someone who knows how to create the landscaping you want without sucking the last dregs of water from the communal well–College of Marin is doing us all a favor. With knowledge comes change, and while I might be perfectly content to live in the Mojave, many people are not, and for those, developing conscious water practices is the only viable option.

Summa-Wolfe assures that, if College of Marin has anything to do with it, we will be seeing a new kind of landscaper, the kind who understands that we do not live in the tropics, that this is California and that it’s time we all came to terms with this undeniable fact of our water scarcity.

What, I thought, would my father, the late Italian count, have said if I had told him that he had to take out his lawn or no one would have anything left to drink? The answer is obvious. Survivor of Mussolini’s army, survivor of starvation in a Nazi concentration camp, he would have said: “If we have to take out the lawn, we take out the lawn! At last, an opportunity to put in a real bocce court! Of course, we could always just drink wine.”

And so I called Diana Pellegrini, executive administrator of the Marin Bocce Federation just to make sure that bocce is not played on grass. Pellegrini assured me that this immensely entertaining Italian game is not played on lawn, but rather on courts that are traditionally constructed of ground oyster shells or decomposed granite. What fun! In life, we must be adaptable. Here’s your chance.

For more information on getting cash for your lawn, go to www.marinwater.org. To learn more about green landscaping classes at College of Marin, go to www.marincommunityed.org. For information on the Marin Bocce Federation, call 415.485.5583.


The Byrne Report

August 15-21, 2007

In mid-July, I had the honor of attending a three-day conference in Oxford, England, about multiple universes. Called “Everett at Fifty,” it was sponsored by the Foundational Questions Institute and hosted by the philosophy faculty of the University of Oxford. It was quite magical.

The late Hugh Everett was a doctoral student in physics at Princeton when he formulated the controversial “many worlds interpretation” of quantum mechanics which envisages a huge number of separate universes. Everett died in 1982, a few years before his theory gained scientific credence.

The Oxford conference celebrated the 50th anniversary of the publication of Everett’s now-famous interpretation. It was attended by 30-some physicists and philosophers debating the question of whether or not trillions of copies of every individual exist trapped inside “multiverses” that range from slightly different to greatly different. A half-century ago, such a debate would have landed these folks in an insane asylum, but today many scientists and philosophers believe that a nearly uncountable number of universes exist, some with copies of people in them, most without.

I went to Oxford because Scientific American had assigned me to write a profile of Everett. I made a biographical presentation on Everett at the conference, but mostly I listened to the heated debate between the “Everettians,” who believe that everything that is physically possible occurs over a huge number of largely noncommunicating universes, and the “Bohmians,” who surmise the existence of but a single universe. Both camps eschew the orthodox theory, known as the “Copenhagen interpretation,” which implies that reality exists only when it is observed.

So, you may be wondering: What does quantum mechanics have to do with Harry Potter?

The University of Oxford is the cultural template for Hogwarts. The traditional dining hall scenes in the Potter films were shot at an Oxford college, and the hoary institution’s dark tunnels and serpentine staircases reeking of ancient smells have been a playground for generations of students coddled with mental and economic privileges. The thickened stone fortifications surrounding each college seem designed to protect the means of knowledge for aristocrats and to keep out ignorant rabble. By the 19th century, the university was beholden to the fortune of Cecil Rhodes, the mining magnate who seized Africa’s minerals while legitimizing the enslavement of millions of Africans to foreign economies. Oxford is regularly endowed by such corporations as Ford, Standard Oil, Glaxo, IBM, Nissan, Monsanto and Rupert Murdoch’s News International as they finance the education of successive generations of intellectuals serving the Anglo-American empire.

I absolutely loved keeping company with the deep thinkers at Oxford, but my social conscience intruded unpleasantly. One night, I went to see the new Harry Potter film. Halfway through, I walked out, bored with the antics of overprivileged white people working 24-7-365 to keep the underprivileged Muggles from learning a bit of magic.

And what, pray tell, will the Muggles do when and if they are allowed to learn wizardry? End the starvation of billions? Cure AIDS? Harness the quantum for something other than bombs? I hope so, because the wizard society has no higher collective goal than perpetuating its middle-class lifestyle in the face of terrorist attacks by a neoconservative bureaucrat equipped with spells of mass destruction.

Reflecting our universe, the self-absorbed wizards see nothing wrong with allowing the “natural” ignorance of the Muggles to perpetuate while the poor things are systematically denied the right of education by their intellectual and economic superiors. The secret of the success of the Potter books is that J. K. Rowling’s world is a reification of capitalist consumerism and a moral void.

The Potter ethical universe contains no socially redeeming value beyond fighting a psychopathic wizard. Personifying Voldemort as an inchoate “evil” conveniently allows Rowling’s middle-class readers to sidestep their duty to specify the true source of human oppression and end it. Once the wizard-humans snuff Voldemort they will get back to business monopolizing the fruits of magic and living off the labor of the Muggle-humans. Consumerism for the few is saved.

Back home in Northern California, I went camping in the redwoods only to find many of my outdoor companions lost to nature in the new Potter volume. Meanwhile, our high-tech magic continues to murder hundred of thousands of Muggles in Iraq and Afghanistan and Africa, and we, as complacent Death Eaters, avert our faces from the carnage we cause by falsely claiming that we are powerless to stop it. Certainly this is not the best of all possible worlds. But if we are to make it work for Muggle and wizard alike, we’d best stop pretending that it is Voldemort that is the problem.

or


First Bite

0

I can’t believe I had to move all the way from Arizona to find some of the best Sonoran-style Mexican food I’ve enjoyed in a long time. And this in a Raley’s strip mall in Rohnert Park, of all places. But it’s true. Tonayan is putting out such wonderful burritos, enchiladas, tacos and such, that I’m happier eating here than at most restaurants in the Southwestern state that birthed the stuff.

It doesn’t hurt that the combination plate I’ve ordered is the most beautiful thing I’ve ever seen outside of a restaurant in Puerto Peñasco, Sonora, a terrific spot that catered to sunburned tourists until it exploded right before happy hour one day, the result of a faulty propane tank. A specialty was a combo that packed a half dozen of the restaurant’s best dishes on a single enormous platter for less than $10.

It was my home away from home for decades, and I’ve deeply mourned its loss until minutes ago, when my waitress set down the “El Jefe” platter in front of me. It’s brimming with a shredded beef burrito, a ground beef enchilada, a chicken taco, a chile relleno, a slab of grilled steak, rice, beans and corn tortillas. I’ve chosen my meat stuffings and my beans (silky refrieds, though the whole black or pintos tempted, too). The cost: a jaw-droppingly cheap $11.95, including a basket of fresh chips and thin, spicy salsa.

The burrito is simple greatness, just a thin tortilla rolled around an exceptionally savory tangle of beef with juices so rich I use my spoon. I need my spoon for the masterful enchilada sauce, too, and the taco is packed so full of chile-seasoned chicken and vinegary coleslaw that I have to take it on with a fork. Steak is traditional carne asada as I’ve enjoyed so many times at sleepy Peñasco beachfront cafes, the meat pounded thin, deeply marinated and grilled to tender-chewy.

The star of the whole sensational thing, though, is the chile relleno. It’s almost a donut, with its airy batter cocoon gorged with gooey queso inside a still crunchy, fiery-but-not-fatal Anaheim.

Tonayan has been open about a year, explains my waitress, and comes from the former owner of Velasco’s in Petaluma. Its clean, coffee-shop-style space doesn’t hint of the authentic Sonoran specialties within. On other visits, I’ve sampled in near disbelief the excellent whole deep-fried fish ($8.95); a tostada piled with buttery chunks of avocado, choice of meat and cheese ($3.25); rich chile verde in green tomatillo sauce ($9.75); and jumbo prawns stuffed with Jack cheese, wrapped in bacon and smothered in mild salsa ($11.95).

Today, I’m nursing the last dribbles of a properly not-too-sweet margarita ($3.50) while watching the colorful antics of two gentlemen at the bar, arguing over who the best player is on a televised soccer match that they appear to have bet on.

I’ll be leaving with a sack of leftovers that will feed me for days, a full wallet and a huge grin.

Welcome home.

Tonayan, 500 Raleys Towne Center, Rohnert Park. Open daily for lunch and dinner. 707.588.0893.



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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.

Again and Again

August 8-14, 2007

Sure, we all know that it’s good to recycle. Over the years, the act of recycling has been made so easy, has become so part of my normal routine, that when I’m faced with a situation where recycling is unavailable, it feels almost criminal. Just dropping a plastic water bottle into the trash gives me a twinge, as if I had just stolen from the convenience store called Earth.

But what about that “It all gets thrown in the garbage anyway” myth? Well, according to Andrew Sloan of the North Bay Corporation, it’s just that: a myth. You are not wasting your time by recycling; on the contrary, you are participating in a vital pastime. North Bay Corporation, which serves most of Sonoma County and areas in northern Marin County, offers what is termed “single stream” recycling. This means that everything gets dumped in one bin and then shipped to a facility where our recyclables travel down a conveyor belt and are, yes, actually sorted through by people and machines, to be purchased later by brokers who then use the recycled materials to make something else. This is what recycling is meant to be, and it could not be made any easier.

In its persistent attempt to make recycling as easy as possible, North Bay Corp. has begun a new program to help businesses organize their recycling programs to be more effective. North Bay will come to a business free of charge and provide recycling guides, identifying stickers to make disposal more convenient, and carts and bins for outside recycling, and it will also give presentations and train employees.

This all sounded great to me, but I had a burning question, something that could end an ongoing argument once and for all between me and the co-workers at one of my many places of employ: Do the containers need to be cleaned before they get tossed in the recycle bin or not?

I say they do, and my co-workers now hate me. Sloan assures that while North Bay Corp. prefers the containers clean, and it could be considered the respectful thing to do considering that there are real live people sorting through what is essentially our trash, it is not necessary. In other words, if you can stand to clean, please do, but if cleaning that container is what will be the deciding factor for where you throw it–in the garbage bin or in the recycle bin–then just throw it in the recycle bin dirty. They cannot accept containers with actual liquid in them, so dump that out, but you don’t have to scrub it if, after a long and sweaty shift at work or in your kitchen at home, this simple act is what will push you over the proverbial edge.

According to Sloan, one of the most common recycling faux pas that people make is with plastic bags. Plastic bags need to be collected and then dropped off at a supermarket that deals with brokers who deal with plastic bags. If you throw them in your recycle bin, you are throwing them into the landfill, albeit through a circuitous route. But don’t worry, you don’t have to remember all of this. You can go to North Bay Corp.’s website anytime you have questions about anything to do with recycling, including how to deal with household toxics like batteries and computer parts.

It has an addition to its already informative site called the Go Green Campaign, where you can learn more about their four r’s: “reduce, reuse, recycle and rot.” The “rot” part is new, and Sloan and I had a lovely debate over its placement. I think “rot” should go first, but this is really just a technicality. The point is you can now throw your compost in your green yard-waste bin, and someone else will benefit from the resulting mulch. In addition, North Bay is offering Smith & Hawkin composting bio-stacks for your yard. Personally, I just throw my compost in the corner of my yard, but I’m sure my neighbors would greatly appreciate it if I would upgrade, and now that I have heard about this incredible deal, I have every intention of investigating the offer further. You can too, at www.unicyler.com.


Go West

August 15-21, 2007 Though the band's old stomping grounds once included flophouse parties, dirty clubs and, for a brief time in the '80s, alternative-rock radio, Camper Van Beethoven have settled into a comfortable fixation on the openness of Northern California. The band's latest release, 2005's still-relevant New Roman Times, imagines a future battle between the seceded states of Texas and...

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Change Artist

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August 15-21, 2007 'Look!" my brother says. In his hand he proffers a small, brilliantly orange, cherry tomato. "I got this off of a volunteer tomato plant in your garden box." "Thanks," I say, taking the petite tomato. "Actually, that's not a volunteer. That's what a tomato plant looks like if you wait to plant your starts until they are...

The Byrne Report

August 15-21, 2007In mid-July, I had the honor of attending a three-day conference in Oxford, England, about multiple universes. Called "Everett at Fifty," it was sponsored by the Foundational Questions Institute and hosted by the philosophy faculty of the University of Oxford. It was quite magical.The late Hugh Everett was a doctoral student in physics at Princeton when he...

First Bite

Again and Again

August 8-14, 2007 Sure, we all know that it's good to recycle. Over the years, the act of recycling has been made so easy, has become so part of my normal routine, that when I'm faced with a situation where recycling is unavailable, it feels almost criminal. Just dropping a plastic water bottle into the trash gives me a twinge,...
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