Morsels

After four years of selling the top artisan cheeses in California and around the world, Ditty Vella is closing the doors June 30 on the Cheesemaker’s Daughter shop in Sonoma, just off the town’s main plaza. “I want to spend more time in my garden, and I want to be able to cook for friends,” says the daughter of renowned cheese maker Ig Vella. Ditty adds that meeting incredible people has been the upside of four years of hard work, but she’s ready to move on to other personal projects. “There are people I will miss, but the day-to-dayness of the shop, I won’t miss that.” Lovers of cheese and other fine foods will miss the friendly, hometown atmosphere and diverse sophistication of the stock at the Cheesemaker’s Daughter. 127 E. Napa St., Sonoma. 707.996.4060.



SEARCH AVAILABLE RESERVATIONS & BOOK A TABLE

View All


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.

Sex, Lies and Red Tape

0

May 30-June 5, 2007

Back in 1994, Internet entrepreneur Gary Kremen had what seemed like a good idea: register the domain name “Sex.com.” That was before the name was stolen by a man named Stephen Cohen; before Kremen had spent 12 years in and out of courts; before Cohen hired thugs to destroy his own home so that Kremen couldn’t have it; before Kremen became a speed freak from the stress of the affair; before Cohen skipped the country and dumped his millions into Mexican shrimp farms and strip clubs. Yeah, 1994, before all that, when purchasing a domain name, even one with such widespread appeal, was a cost-free affair.

For over a decade, the dispute over Sex.com has been the most bizarre, salacious case in Internet law. Indeed, the case actually changed U.S. law by establishing domain names as personal property, and thus protecting them from illegal conversions. After years of judgments and appeals on both sides and over $5 million in legal fees, the case finally came to a close on May 9 as the Ninth Circuit dismissed Cohen’s latest appeal–his fourth–and insisted that the case come to an end. Another appeal from Cohen, the court warned, and he may be deemed a “vexacious litigant,” against whom sanctions could be levied.

In an overseas telephone interview from Geneva, Kieren McCarthy, who spent five years researching a book about the case, Sex.com: One Domain, Two Men, Twelve Years and the Brutal Battle for the Jewel in the Internet’s Crown, says that the story “is about what men will do when everything that they want is in one possession: power and fame and money and sex.” (Unfortunately, the book is only available in the United Kingdom.)

“No one gets Stephen Cohen,” McCarthy says. “Even Gary Kremen, who spent [over a decade] following his every move, doesn’t get him. He’s one of the most complex characters I think I’ve ever come across. He’s a very, very clever bloke.”Even the story of how Cohen stole the domain from Kremen is shrouded in mystery. At the time, Kremen was an Internet pioneer who had purchased Match.com for $2,500 and had various other investments. Freshly released from federal prison after serving four years for impersonating a bankruptcy lawyer, Cohen apparently forged a fax to convince domain registrar Network Solutions to transfer Sex.com to him. But McCarthy says that was just a cover-up.

First, Cohen filled out an online form deleting Kremen as the contact and transferring the registration to himself. Network Solutions sent an e-mail to Kremen and Cohen for confirmation. But Kremen didn’t get the e-mail because legendary hacker Kevin Mitnick had broken into his account and shut it down.

“Then, because he’s incredibly persuasive, Cohen called up and persuaded whoever was on the other end of the line that the change was legit,” McCarthy recounts. “So they put the change through. Then, afterwards, he wrote this fax as an elaborate smokescreen. For years afterward, people thought it was the fax that had done it. In actual fact, he had found a very clever way to get a hold of the domain and created the fax as a smokescreen after the fact. And it took years to figure out.”

Once he had possession of Sex.com, Cohen turned it into a money-making machine that required very little work, reportedly earning as much as $750,000 a month in pay-per-click viewings and just as quickly transferring the money out of the country. One of Kremen’s lawyers, Richard Idell, explains: “There was basically one page that had four large ads and some different smaller ad spaces. If you clicked on one of these ads, you then got sent to one of these sites, from which you could not escape.” Trying to leave the sites resulted in more and more porn windows popping up until your entire computer ground to a halt with flashing graphics of naked women, oversized penises and worse.

“Those advertisers were paying a great deal of money for those ads,” Idell said. Meanwhile, Kremen spent some $5 million in legal fees trying to get the domain back, at one point even considering bankruptcy.

In 2000, Kremen went to court. The judge ruled that the domain should be returned to him and that he should receive $65 million. But a judgment isn’t worth a thing if you can’t collect on it. Cohen ignored a court order freezing his assets and audaciously wired all of his liquid assets overseas before fleeing the United States himself .

Kremen did get his hands on a spectacular mansion Cohen built in Rancho Santa Fe near San Diego, but Cohen hired people to wreck the place first. “Cohen sent ’round like 20 Mexicans and three of his henchmen, and they tore the place apart,” McCarthy says. “They tore out the plumbing, they tore out the carpet, they pulled out the wooden panels from the study walls. I mean, it was total devastation. It was just two fingers up to Kremen. He was just furious Kremen had beaten him.”

After Cohen ignored court orders compelling him to appear and explain why he shouldn’t be held in contempt, the judge declared him a fugitive from justice and signed an arrest warrant. (Cohen was nowhere to be seen, but Kremen posted a $50,000 bounty on Sex.com for anyone who could bring him in.) Cohen’s lawyers countered that he wasn’t a fugitive because he was under house arrest in Mexico.

Completely stymied in his attempts to collect from Cohen, Kremen took on Network Solutions for giving away his domain. In a seminal 2003 opinion, Justice Alex Kozinski wrote for the Ninth Circuit that property need not be tangible in order to have a value and that Network Solutions could be held at fault for giving away Sex.com. In light of this decision, Network Solutions’ parent company VeriSign settled with Kremen for an amount somewhere between $10 million and $20 million.

Meanwhile, Cohen was still on the lamb, variously claiming to be in Monaco, Macao or Mexico. According to one of his five ex-wives, Cohen has a compulsion to break the law. “He could have easily have been a CEO, he could easily have been a politician,” McCarthy says. “He’s got the brains and the gift of gab. He’s got it, but he also has this perverse need to screw people. He’s an extraordinary character, sometimes utterly charming, sometimes utterly ruthless. A sociopath, I suppose.”

Wherever he was, Cohen was certainly working on one scam or another. “He was into casinos and hotels, or so he claimed,” McCarthy reports. Among his scams: a claim that he was bidding to buy Caesars Palace in Las Vegas, which McCarthy says was actually a stock scam to drive down the share price of the legitimate bidder, buy up the company’s stock and then sell for a profit when Cohen’s bid was revealed to be bogus.

The trick seemed to have failed, but McCarthy reminds that there’s really no way of knowing. “He’s so good at hiding stuff, and he sort of jumps and runs and hides. It’s extremely difficult to know where he’s been and not been. I’m sure there’s hundreds of scams he’s pulled off that we don’t know about.”

When Cohen was finally arrested in 2005 in the Tijuana area, Kremen may have thought he was going to see some of those millions the court awarded him. But when Cohen was hauled back into court, he denied having any money and the judge had him jailed for civil contempt for 14 months. He was released last year because further jail time wasn’t loosening his lips. “Cohen spent what must have been 14 miserable months in jail and he stuck it out just so he didn’t have to give Kremen any money,” McCarthy said.

Kremen has already been handsomely rewarded for his persistence in regaining the domain. He made millions operating Sex.com as an adult “search engine” (as his attorney Idell puts it), and he eventually sold the domain for $12 million. So what drives Kremen to keep pursuing Cohen for an amount that is now, with interest, well over $80 million?

“He could have walked away with millions and just got on with his life,” McCarthy speculates. “But he wouldn’t let it go. He just wouldn’t. Gary Kremen’s won. He’s won back the domain, he’s beaten him in court, he’s beaten him to everything, except for the money. And Kremen just wants Cohen to give him a chunk of money, because he knows that for Cohen to hand over any money whatsoever is an admittance that Kremen beat him. I think Kremen would take even a tiny figure, because it would kill Cohen to pay even $1,000. It would kill Stephen Cohen to do it, because it would mean that Kremen had beaten him. I don’t think Kremen expects to get it all.

“Now that it’s over, he just wants Cohen to realize he was beaten.”


JE T’AIME CINEMA

0

May 30-June 5, 2007

While most Americans will be snoozing though major-studio-sequel hell this summer, art-house fans will be transported away on cinematic journeys to one of the world’s most romantic cities. With so many promising upcoming indie films set in the city on the Seine, Paris should sizzle once again this summer. Some of these features have already hit local theaters, such as Daniele Thompson’s excellent Avenue Montaigne, which is still playing on some screens in the Bay Area. The Valet, a farce by the team who tickled Francophile funny bones in The Dinner Guest and The Closet, stars Daniel Auteuil as a wealthy businessman caught in a compromising photo with his mistress who takes extraordinary measures to save his marriage and is already playing in Mill Valley.

Also already screening, and among the most ambitious of these projects, is Paris, Je T’aime, a series of 18 small stories set in various neighborhoods around Paris by a diverse and unlikely group of directors, ranging from the Coen Brothers to Wes Craven to Gus Van Sant to Alexander Payne and others.

La Mome, a three-hanky bio-pic about Edith Piaf, arrives in the States on June 15 under the title La Vie en Rose. The film, which features Gerard Depardieu, should make lead Marion Cotillard a star in this country. Those who prefer to leave their tissue box at home may prefer Molière (July 27), a lighthearted biography of the famous playwright, which appears to be sort of a French version of Shakespeare in Love.

Writer-director Luc Besson (La Femme Nikita) has said that he rediscovered Paris while making Angel-A (June 22), his new great-looking, black-and-white comedy about a man who hooks up with an über-babe during his Seine-ic suicide attempt (Wings of Desire meets It’s a Wonderful Life?). Julie Delpy, who starred with Ethan Hawke in Before Sunset, places her own derrière petite into a writer-director’s seat for 2 Days in Paris (no date set).

Beautifully filmed Parisian stories can generate interest in the city itself. Amélie transformed the sleepy little neighborhood on Rue Lepic almost overnight, and within a year of it’s opening, property values in Montmartre skyrocketed as busloads of camera-laden Japanese tourists on Amélie tours cruised the area. (Last year’s Da Vinci Code created a similar phenomenon.)

With offerings like these coming to local theaters, the environmentally friendly thing to do this summer may be to forget that fuelish Fresno vacation you’ve long been planning and transport yourself instead, with Bordeaux and popcorn in hand, to a much cooler destination. It’s the next best thing to actually being there.

SRJC instructor Monte Freidig leads the 2008 Study Abroad Program in Paris.


New and upcoming film releases.

Browse all movie reviews.

Letters to the Editor

May 30-June 5, 2007

What do you expect of the crooks?

First, let me apologize for writing you two months after (The Byrne Report, “Feinstein Resigns,” March 21) was published. I read the article just two days ago, but my letter on the subject will be brief. I am a registered Republican. However, I do not consider myself a conservative; I would vote Democrat in the coming presidential election, if I could find another Truman. Now that this despicable person, Dianne Feinstein, has been exposed, will the voters in California do an “Oh, my, tsk-tsk,” send her hate mail or demand her recall? I’m sure there are men and women in Iraq and Afghanistan who have relatives in California, who are deeply concerned for their relatives and friends, who should find themselves in the same situation the service personnel in military hospitals find themselves in. Or will the voters in your state sit back and say, “Well, what do you expect from these crooks, anyway?” I dread knowing the answer.

Rosemonde E. Fase, Honolulu

Myth of the Universal Library

Thank you, thank you, Annalee Newitz (Open Mic, “All Human Knowledge,” May 23, print edition). There is so much BS about this (even Dvorak has participated in the BS, and he is one of the best) that it frightens me.

The digitization of information, and the way the existence of digitized information encourages the discarding of other forms, is creating the biggest memory hole since the invention of writing eliminated the transmission of history through the telling of stories, aka “myths.”

Now if only we can make Ms. Newitz turn them into a meme, maybe there will be hope for the preservation of a greater part of out history, culture and still useful even if outdated technologies.

Jim Pivonka, La Crosse, Kan.

Of museums and money

George Rose is not a bad photographer; he is also no Cartier-Bresson (Critic’s Choice, “Making Sense of the Place,” May 23, print edition). Here in the North Bay, we know what vineyards look like, we are surrounded by them, and they are very beautiful as they go through their seasonal changes. However, it seems that to mount a show at the Sonoma County Museum, all you need is money. What happened to the heady days when the museum actually showed some art, as with Hassel Smith, James Tyrell and the fascinating “Botany 12” show, which featured artists from New York, San Francisco and seven from Sonoma County–none of whom, to my knowledge, has ever had a solo show at the museum. Yet again, big business holds the reins, and this, to my mind, is somewhat of a tragedy for the hard-working and talented artists living here. I would like to see some art, please; I don’t want to see anymore vineyards, no matter how fat the checkbook.

John Clifton, Sebastopol

Taste of his own medicine?

Yes, Alberto Gonzales has been, shall we say, less than forthcoming in his responses to questions put to him in the course of investigation into his alleged misdeeds. Luckily, Gonzales himself, having been notoriously sanguine regarding torture (as long as we don’t call it that) has provided us with a solution to his reticence. Various “interrogation techniques” such as waterboarding, sleep deprivation, mock execution and forcing people to stand in agonizing positions for hours could surely loosen his tongue, and since he has essentially championed such enlightened methods, neither he nor his supporters could conceivably object to their use on him. There is nothing wrong with Alberto’s memory that can’t be remedied by judicious electrical stimulation of his genitals (if they can be found).

And, as he’s the head of the Department of “Justice,” we can expect that he’ll have a keen appreciation of the justice of this solution.

Dixon Wragg, Santa Rosa


Magic Act

0

the arts | stage |

By David Templeton

‘Sometimes, one has to step back a bit.”

This ambiguous tidbit of advice appears twice–each time with a different meaning–in Matthew Barber’s literate and poetic adaptation of Elizabeth von Arnim’s classic romantic novel Enchanted April, currently brightening moods and banishing pessimism at Petaluma’s tiny but mighty Cinnabar Theater. In director Elizabeth Craven’s graceful, sure-footed production, the “step back a bit” line is first delivered literally, as advice on how to best appreciate modern art.

When it’s stated again, the line–and everything else in this delightful surprise party of a show–has changed, and the advice applies not to art but, metaphorically, to life: sometimes, one has to step back a bit, take a break, take a vacation from everything you know and have grown weary of in order to appreciate the people we love and to rediscover the people we once were and have forgotten that we are.

“My mind is like a hummingbird. You seldom see it land,” Lotty Wilton admits brightly, in the opening moments of the play. It’s an apt enough description. Like a hummingbird in a cage, Lotty (a luminous Molly Noble) feels trapped, unappreciated and desperate for a change. It is 1922, shortly after WW I has ended, and England is a country full of widows and divided priorities.

Lotty is married to Melersh (a pitch-perfect Dodds Delzell), a distracted, stiffly proper lawyer who possibly once loved her, but now acts as if his wife were nothing more than an accessory to be used in expanding his business prospects. Early on, when she timidly objects to accompanying him to a social engagement, Melersh curtly informs her, “It’s not so important that you enjoy yourself, but simply that you are there.” Throughout the first act, a window stands center stage, battered by a constant torrent of very real rain. It stands as a potent symbol of Lotty’s existential crisis, as she dreams aloud of escaping to a place full of “wisteria and sunshine.”

When she happens upon a newspaper advertisement describing a castle in Italy, available for rent during the month of April, Lotty, with her hummingbird mind, cannot let go of the notion of a month in Italy without Melersh. By chance, she meets Rose Arnott (a dependably excellent Danielle Cain), an emotionally brittle young woman who has retreated into scripture and prayer after a mysterious tragedy. Her imaginative husband, Frederick (Nick Sholley, also excellent), has recently achieved success, under an anonymous name, as the author of scandalous romances, and his attempts to rekindle their cooling marriage are as uncomfortable to Rose as are his novels. “One should not write books God would not want to read,” she scolds him.

With charming enthusiasm and some slightly nutty talk of “seeing” the two of them together in the castle, “without husbands,” Lotty eventually persuades Rose to join her for a month-long sojourn in the sun. To share expenses, they run their own ad and take on two roommates, also women with powerful hankerings to escape from London, rain and men. Lady Caroline Bramble (Laura Lowry) is a sexy society princess eager for some time away from the predatory males with whom she regularly mingles; Mrs. Graves (Carol Mayo-Jenkins) is a severe, elderly curmudgeon who thinks little of everyone but herself and Tennyson, and who clearly disapproves of just about everything. That this odd quartet will all experience profound personal transformation in Italy is obvious; watching it happen is the play’s chief delight.

Adding to the castle’s power are its colorfully arch housekeeper Costanza (Elly Lichenstein in a superbly funny performance) and the castle’s fetchingly offbeat owner, Antony Wilding, played by Tim Kniffin with a blend of aching sweetness mixed with dashing confidence. Believing the women to be war widows, Wilding is clearly smitten with Rose, a circumstance that becomes complicated with the unexpected arrival of the abandoned husbands.

While threatening to turn into some sort of elaborate bedroom farce, Enchanted April maintains its high spirits without resorting to the usual low-browed hijinks (with the happy exception of a towel-clad Delzell staging a hilarious nearly nude meltdown after an unfortunate bathtub malfunction). In the end, Enchanted April more than lives up to its name; this tremendously satisfying production, with its beautifully written script, magnificent cast and first-rate direction, is nothing short of enchanting.

‘Enchanted April’ runs through June 16. June 1–2, 8–9 and 14–15 at 8pm; June 3 and 10 at 2pm. Cinnabar Theater, 3333 Petaluma Blvd. N., Petaluma. $20–$22. 707.763.8920.



View All


Museums and gallery notes.


Reviews of new book releases.


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


Reviews and previews of new dance performances and events.

Wine Tasting

0


To tell you the truth, I had a bit of an agenda. I was curious whether a minor squall in the Alexander Valley had cleared up. Some months ago, the San Francisco Chronicle found Geyser Peak’s wine good, the tasting room not. Staff were uninformed, rude and “made fun of me for asking about Tannat, an unusual varietal,” the spurned reviewer wrote. In subsequent letters, readers nodded with the Chron‘s chastisement, and GP’s public relations solemnly swore that they would strive for higher standards and review their pricing strategy. How’re they doin’? I figured my findings would be either (a) they’d shaped up the ship or (b) will the dolts ever learn?

Among the pioneering wineries of Alexander Valley, Geyser Peak is as old as some of the dirt there. It’s gone bankrupt twice in a century and been bought and sold so many times, who can keep track? In the 1990s, the facility was in thrall to Australian overlords Penfolds, who brought in winemakers Daryl Groom and Mick Shroeter. When their Shiraz won top awards at the Sonoma County Harvest Fair, it was seen as a peak moment in an Aussie invasion. So I looked forward to sampling what was new.

This was the only disappointing aspect about my Geyser Peak experience. I wanted to do the tasting that most folks would opt for, but the only available Shiraz is in the Reserve Room. For five varietal or limited selection wines, $5 is charged. But when I had difficulty deciding among the Zins, it was not a problem to add them in (they’re offered as a flight of three). The tasting fee is not plowed back into a wine purchase as is typical; that’s one of those pricing strategies they might wish to review.

The bar suffers more from bad feng shui than anything else. It’s attractive enough, simple, but on an uncrowded afternoon, I don’t know, maybe it was the hum of the refrigerators chilling the bubbly. My tasting host was friendly, but real and knowledgeable, not a know-it-all.

I should have had the award-winning 2006 California Sauvignon Blanc ($13). Instead I went for the 2005 Alexander Valley Chardonnay ($14), which is everything about Chardonnay that winemakers are running away from and claiming they never met; cloyingly sweet and buttery, all that it lacks is overpowering oak. Bottoms up to the inky 2003 Alexander Valley Petit Verdot ($20), redolent of cigar box, with the brambly flavor of Zinfandel and the structure of a serious Merlot.

When the couple to my right asked about the 2004 Alexander Valley Tannat ($25), they received no smirks or jeers, rather a concise story of its French origins and its success as Uruguay’s top red. The aroma is of violets and leather, flavor of olallieberry and tar, and super dry with potential; if the tannins eventually become more lengthy and silken, this is the kind of wine you’d imagine sipping some evening in rapt contemplation, while seated in a comfortable leather-furnished study, reading ancient poetry aloud.

Lastly, the three Zins are sourced from vineyards 10, 50 and 100 years old, respectively. New associate winemaker Ondine Chattan is passionate about Zinfandel and persuaded the GP to release this unique series called XYZin.

Geyser Peak Winery, 22281 Chianti Road, Geyserville. Open daily, 10am to 5pm. $5 tasting, $10 reserve tasting. 800.255.9463.



View All

The Byrne Report

May 30-June 5, 2007

It is Friday night, May 11, and I am riding the streets of Petaluma in a car full of teenagers looking for cops. Karin Adams, 21, a healthcare worker, is driving. Back at the Petaluma CopWatch base station, someone is monitoring police radio frequencies with a second-hand police scanner. Alerted by cell phone call at 10:30pm, we roll up on a Westside 7-Eleven.

The cop watchers–three women, one man–jump out and begin observing two policemen who are citing a young man of color. One videotapes the encounter. Another assures the officers they are here only to watch, not to interfere with police duties. The man is being ticketed for buying liquor for minors. It is a sting operation. An undercover officer sits with two underage operatives in an unmarked car nearby. He speeds off as the CopWatch kids approach.

After the citation is issued, one of the watchers approaches the officers and asks for their badge numbers, which they produce with forced smiles. Another watcher talks to the perp, informing him of his legal rights while being questioned by police, and giving him a wallet-size brochure with CopWatch information and contacts.

Afterward, the citing officers stare incredulously at their police vehicle, which is leaning crazily to one side. Unseen by us or the cops, someone has slashed two tires. It will have to be towed.

One or two nights a week, roving CopWatch teams monitor police activities in Petaluma. Mostly high school or junior college students, the volunteers number about two dozen. The organization is less than a year old. Adams expects the group to grow as the community responds to an epidemic of homicides by Sonoma County law enforcers.

CopWatch was born in Berkeley in 1990; today, there are about a hundred chapters nationwide. In fact, the first ever CopWatch conference will be held in Berkeley July 13-15. The materials state: “Our intent is to strengthen the national network of nonviolent CopWatches, not create a national or centralized organization.”

That precisely sums up the grassroots beauty of CopWatch: it is politically organic; it is indigenous to each community; it is all-volunteer, decentralized and not (yet) fronting for a political party. It has but one goal, Adams says: “To reduce police violence by directly observing the police on the street, documenting incidents and keeping police accountable. We encourage people to solve their problems without police intervention. Most importantly, we encourage people to exercise their right to observe the police and to advocate for one another.”

After the embarrassing flat-tire scene at the 7-Eleven, we observe police handing out traffic tickets to people, most of whom are Latino. Most officers divulge their badge numbers to CopWatch. One obviously irritated cop refuses to comply and speeds off in his cruiser. Until recently, Petaluma police, according to Adams, generally declined to reveal their badge numbers. Then an ACLU attorney wrote to Petaluma Police Chief Steven Hood pointing out that “the First Amendment protects a significant amount of verbal criticism and challenge directed at police officers.” Hood replied, “[We are] committed to the identifiably and accessibility of [our] uniformed police officers.” Indeed, Hood recently visited a class at Casa Grande High School specifically to answer questions raised by CopWatch members.

While mature and experienced community activists are proposing to create a commission to investigate alleged police misconduct, the relatively inexperienced but creative youth of Sonoma County are leading us in the opposite direction. CopWatch practices a well-proven method of protecting the populace against police excesses: witnessing. Human rights-type commissions tend to be passive, stumbling, conflict-of-interest-laden bureaucracies designed to fail at investigating the aftermath of such police shootings as those of Jeremiah Chass and Richard DeSantis.

Next, we hit the Lakeville Apartments. Three cop cars show up for a domestic problem. Officers question two young Latino men on the doorstep. One goes inside. CopWatch members fan out on the sidewalk, cameras and notepads in hand. The officers start loudly patronizing the young men, advising them to get educations so they won’t have to do construction work. The cops start to leave–but not before an orange-haired watcher asks for, and gets, their badge numbers for her incident report. In this instance, as in all the others I witnessed that night, the subjects of police attention expressed relief and gratitude that CopWatch was on the prowl.

With enough watchers, lives may be saved. For CopWatch, call 707.696.1694.

or


Cheesemaker’s Daughter to close

Shiny Happy Music

0

May 23-29, 2007

Goofy music sounds better in the summer. Mungo Jerry’s “In the Summertime,” quite possibly one of the most enjoyably dumb songs ever, would have fallen flat on its face if it were instead called “In the Wintertime.”

Summer brings with it the illusion that constant fun is both reasonable and attainable, and its songs must reflect that. There are songs that blanket the whole country like a thick slathering of baby oil framing a skimpy bikini–the big summer hits–and there are summer songs whose meaning is hung in one listener’s singular orbit for sentimental reasons. What sticks cannot be predicted until well after Labor Day, but any song having to do with parties, dancing, cars, new love or beaches is a good bet.

Baltimore electronica avant-nerd Dan Deacon’s ‘Spiderman of the Rings’ sounds the way you wish summer felt all of the time. His frantic, candy-colored sounds burst out of stereo speakers as if Deacon had inhaled a giant Pixy Stick seconds before recording them. If you can get past the maniac cackle-fest of opening track “Woody Woodpecker” (built around a looped sample of the cartoon bird’s famously annoying laugh), Spiderman of the Rings translates the feelings of a kid’s idealized summer–constant, nonstop, nonsense fun–into audio candy for adults.

“Wham City” builds into a dizzying buzz of distorted voices and breakneck beats that could be June’s theme song. Deacon shares a kinship, more spiritual than musical, with the unbridled energy and glee of our own deeply missed Logan Whitehurst, another artist who would understand that part of the reason to write a song called “Snake Mistakes” is that “snake” and “mistakes” sound really cool sung back-to-back, and that any song about snakes needs to be sung in a weird voice.

On the mellower but funkier tip, Oliver Wang, curator of the always excellent R&B audioblog Soul-Sides.com, graces parties-to-be the world over with a follow-up to his 2005 compilation Soul Sides Volume 1. ‘Soul Sides Volume 2: The Covers’ presents “soul remakes and remade soul,” obscure covers of well-known songs and well-known artists covering lost nuggets. Who would be fool enough to pass up Al Green’s take on the Beatles’ “I Want to Hold Your Hand”?

Soul-Sides.com, Wang’s pulpit of online crate-digging, could turn even the most hardened music downloading purist into a vinyl lover; it proves that technologies old and new can not only co-exist, but do so symbiotically. If Soul-Sides the audioblog is an amusement park, Soul Sides Volume 2: The Covers is a souvenir T-shirt.

By now, only the isolated French monks in that Into Great Silence documentary are unaware that Avril Lavigne has released her third album, ‘The Best Damn Thing.’ Take away the sappy ballads and–surprise!–it rocks. You might as well give in and embrace the “hey yeah” chant of “Girlfriend,” which is a truly fantastic single and is guaranteed to be rocking countless slumber parties and Alpine Toboggan rides at county fair midways for months to come. Though she’d quite likely protest, Avril is less bubblegum’s bratty answer to the rote rebellion of mainstream emo than a one-woman 2007 version of the Spice Girls. Accordingly, her lyrics are not about girl power, but Avril power (“I’m the best damn thing you’ve ever seen,” she sings before leading an “A-V-R-I-L” cheer).

The Best Damn Thing‘s bouncy hooks and mall-ready guitar power chords are perfectly calibrated to hit the nation’s collective pop sweet spot, yielding songs that grown adults should not view as guilty pleasures, but pleasures, period. Also consider that a national movement of parents borrowing their tween daughter’s Avril Lavigne CDs could provoke a backlash culminating in the permanent cessation of Avril smirking on magazine covers. Ah, sweet revenge!

With no album, no shows and no actual band, inalbanyonportland is just a guy in Chicago who comes home from his gig as sous chef at Lula Cafe, the fine-dining destination of Chicago’s indie-rock elite, and messes around recording stuff in his spare hours. Inalbanyoportland is one of the legions of home-recording savants who has found a tiny sliver of exposure through MySpace, and his music combines moody postrock instrumentals and lo-fi Casio noodling with off-kilter, homespun coziness–what the artist calls “raw unrehearsed ever-changing crap.” Crap is in the ear of the beholder, and I find inalbanyonportland’s songs charming, spare and perfect to accompany a Midwest summer rainstorm or a post-Avril wind-down.


Away From Them

0

May 23-29, 2007

“This bond between a lonely child and a grandmother is serious love,” announces the straightforward poetess Diana (Julia Brothers) in the opening moments of Sandra Deer’s unsteady, Alzheimer-themed Tonight the Subject Is Love, given its West Coast premiere at Mill Valley’s Marin Theatre Company. The “lonely child” is Diana’s now-grown biology professor son, Josh (Anthony Veneziale), and the grandmother is Ruby (Wanda McCaddon), an emotionally demanding firecracker of a woman whose gradual mental deterioration forms the otherwise weak structure of Tonight.

It is a sign of the playwright’s overall failure and the work’s clunky plotting that after Diana makes the statement about the “serious love” between grandma and grandkid–teasing us with hints of powerful intergenerational drama to come–the story then meanders into other waters, never giving us, in the few scenes that ensue between Josh and Ruby, any real sense that their love and bond was ever that extraordinary.

It is just one of many moments in the play when the playwright promises upcoming emotional payoffs that never actually come. This is not to say that Deer’s well-intentioned play, an examination of one small family dealing with the gradual disintegration of their complicated matriarch, is without emotional power. There are lovely moments, some of them quite powerfully acted, especially true in the second-act performances of McCaddon and Brothers.

Director Jasson Minadakis–MTC’s new artistic director, making his directorial debut with Tonight, also the first play he hand-selected to the company–does a competent enough job in staging the choppy proceedings, with an eye toward simple visual pleasures. You could take a snapshot of the show at any moment and the onstage composition would make a pleasing picture. Minadakis comes to MTC with a reputation for energetic leadership and a taste for groundbreaking writing. Disappointingly, his freshman effort in Marin gives him little opportunity to show what he might be capable of with a truly meaty play.

Alzheimer’s is an increasing reality in America; the facts and figures of this are doled out in “be afraid, be very afraid” detail throughout the play (at one point a character actually addresses the audience to say, “This could happen to you”). There is a great script to be written about the specific sadness that comes from watching a powerful mind dissolve, but disappointingly, this is not that play.

Tonight the Subject Is Love runs through June 10 at the Marin Theatre Company. Tuesday and Thursday-Saturday at 8pm; Wednesday at 7:30pm; Sunday at 2pm and 7pm. Also May 23 and 31, guest lecture at noon, performance at 1pm; June 9 at 2pm. May 30, director Q&A following performance. $19-$47; Tuesday, pay what you can. 397 Miller Ave., Mill Valley. 415.388.5208.


Museums and gallery notes.

Reviews of new book releases.

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

Reviews and previews of new dance performances and events.

Morsels

Sex, Lies and Red Tape

May 30-June 5, 2007 Back in 1994, Internet entrepreneur Gary Kremen had what seemed like a good idea: register the domain name "Sex.com." That was before the name was stolen by a man named Stephen Cohen; before Kremen had spent 12 years in and out of courts; before Cohen hired thugs to destroy his own home so that Kremen couldn't...

JE T’AIME CINEMA

May 30-June 5, 2007 While most Americans will be snoozing though major-studio-sequel hell this summer, art-house fans will be transported away on cinematic journeys to one of the world's most romantic cities. With so many promising upcoming indie films set in the city on the Seine, Paris should sizzle once again this summer. Some of these features have already hit...

Letters to the Editor

May 30-June 5, 2007What do you expect of the crooks?First, let me apologize for writing you two months after (The Byrne Report, "Feinstein Resigns," March 21) was published. I read the article just two days ago, but my letter on the subject will be brief. I am a registered Republican. However, I do not consider myself a conservative;...

Magic Act

the arts | stage | By David Templeton ...

Wine Tasting

The Byrne Report

May 30-June 5, 2007It is Friday night, May 11, and I am riding the streets of Petaluma in a car full of teenagers looking for cops. Karin Adams, 21, a healthcare worker, is driving. Back at the Petaluma CopWatch base station, someone is monitoring police radio frequencies with a second-hand police scanner. Alerted by cell phone call at 10:30pm,...

Shiny Happy Music

May 23-29, 2007Goofy music sounds better in the summer. Mungo Jerry's "In the Summertime," quite possibly one of the most enjoyably dumb songs ever, would have fallen flat on its face if it were instead called "In the Wintertime." Summer brings with it the illusion that constant fun is both reasonable and attainable, and its songs must reflect that....

Away From Them

May 23-29, 2007 "This bond between a lonely child and a grandmother is serious love," announces the straightforward poetess Diana (Julia Brothers) in the opening moments of Sandra Deer's unsteady, Alzheimer-themed Tonight the Subject Is Love, given its West Coast premiere at Mill Valley's Marin Theatre Company. The "lonely child" is Diana's now-grown biology professor son, Josh (Anthony Veneziale), and...
11,084FansLike
4,446FollowersFollow
6,928FollowersFollow