The Byrne Report

March 28-April 3, 2007

The March 12 slaying of 16-year-old high school student Jeremiah Chass by sheriff’s deputies dominated front-page headlines of the Santa Rosa Press Democrat for a week. Seldom have I witnessed such inept and slanted journalism.

It is perhaps explained by noting that Press Democrat publisher Bruce Kyse sits on the board of directors of the Santa Rosa Chamber of Commerce, a politically powerful organization that regularly privileges the protection of corporate profits over the protection of the populace.

The day after Chass was gunned down in a violation of protocols for handling mentally decompensating people by two combative deputies, editor Pete Golis’ headline was “Deputies Kill Teen Suspect.” Of what was the lad suspected? Of being a teenager? Of being a bank robber? Of being black?

This and subsequent articles through March 26 failed to report on several extraordinarily newsworthy facts, including that Chass was of African-American descent and looked black, and that the two deputies who shot him eight times at point blank range are white. Nor did the Chamber-affiliated newspaper report that the Chass family, including their six-year-old son, were interrogated for hours after the shooting as if they were criminals, but without the presence of an attorney. Nor did that newspaper of record mention that, before the body was cold, the police pawed through the Chass’ home, seizing computers, personal papers and even their vitamins.

Kyse and Golis’ March 14 headline read: “Report: Officers Tried to Disarm Teen.” The article identified one of the deputies as sheriff’s medal-of-valor winner John Misita, but failed to note that Misita had beaten up another decompensating man in similar circumstances in June 2005, as reported by the Press Democrat‘s sister paper, the Petaluma Argus-Courier. In an interview, reporter Jeremy Hay, who wrote several of the breaking news stories, says he knew about Misita’s background but decided not to include it. He said that several of his colleagues have asked him why Chass’ race has not been mentioned, stating, “I do not have an answer to that legitimate question.”

In general, the Press Democrat stories have relied heavily upon contradictory law-enforcement versions of the event that are not demonstrably backed up by the 911 tapes that police have stubbornly refused to release, or by non-law enforcement witnesses. The most likely explanation of why the tapes are being kept from the public is because Santa Rosa police investigators and the sheriff and district attorney Stephan Passalacqua are intent upon avoiding a wrongful-death lawsuit. Hence, they would like to blame the victim for his own demise rather than the deputies’ professional incompetence, as might be revealed by the tapes.

In the March 15 story–“Sharp Questions for Police in Sebastopol Teen’s Death”–Hay quotes a retired local police chief, who, fearing “political” retaliation, asked for anonymity. He observes that the deputies failed to use options to de-escalate the situation and did not need to kill Chass.

On March 16, the paper countered this criticism with “Police: Teen an Immediate Threat.” Sheriff Capt. Dave Edmonds was given a platform to accuse the anonymous chief of “speculation” and “misportrayal of known facts.” The rest of reporter Paul Payne’s story was a recital of “facts” from the point of view of the sheriff’s department. Columnist Chris Coursey chimed in with what became the official mantra: “The truth is, we won’t know the facts of the shooting of Jeremiah Chass for many months.” Don’t ask, don’t tell.

Saturday, March 17, was Chass’ memorial service. The headline? “Sheriff: Deputies Saved Others from Potential Harm.” Fully one-fifth of the front page was filled with a photo of Sheriff-Coroner Bill Cogbill. The sheriff-centered story submerged the first public statement by mother Yvette Chass, who said, “We are concerned that parts of the story have been left out, and that renders the reader with an inaccurate impression of events.” Chass’ statement should have been the headline, not Cogbill’s spin. The Kyse-Golis editorial: “Because of the confusion . . . there may never be answers to all the questions raised by this horrific incident.”

The same story reported that the “results of an autopsy” on Chass had been released. How Orwellian. The incomplete summary of the autopsy, written by the sheriff’s department, did not mention blunt force and other injuries suffered by Chass as the deputies beat and choked and pepper-sprayed him. As part of what appears to be an official cover-up abetted by the Press Democrat, Kyse and Golis’ writers have consistently neglected to mention that the sheriff is also the coroner and, as such, he is in charge of supervising the autopsy. This is an obvious conflict of interest, since the sheriff’s department is supposedly under investigation by fellow law officers and the autopsy is a potentially damning piece of evidence.

How about this headline, gentlemen? “Sheriff and Police Department Cover Up Facts About Chass Killing.”

To read Byrne’s account of the Chass case, click .

or


Tough Stuff

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March 28-April 3, 2007

A year ago, when a promising young playwright-director named Lito Briano, 22, was told about a gay man who was gang-raped and mutilated at a Burning Man celebration in 2005, the revelation shattered his reasonably benign view of the world, altering many of his views on sexuality–and of rape. “I saw how rape not only affects the person who was assaulted,” explains Briano, an SRJC student, “but how it also affects the victim’s family, their circle of friends and even the friends of the friends. Rape makes a victim of everyone.”

In today’s world, one potential result of rape is infection with AIDS, and Briano’s research into the number of Americans living with HIV and AIDS left him stunned. In response to all of this consciousness-expansion, Briano set out to write a play, loosely based on the Burning Man incident, that would trace the effect on multiple lives of a single sexual assault. The play, titled The Heart Bleeds Blue, has its premiere this weekend. A production of Briano’s Jade Dragon Theater Company, the show has a cast of 17 actors, most of them from the school’s theater department, and is sponsored by the JC’s fencing club (“They liked the script,” Briano says).

Ever since work began on the play in December, the project has generated a remarkable amount of buzz on and off campus, fueled in part by an effectively filmed YouTube vid featuring visceral and gripping images from the play interspersed with sobering AIDS statistics, and underscored by a haunting cover of George Harrison’s “While My Guitar Gently Weeps.” In spite of the downbeat subject and the potentially off-putting details of the story, word around town is that–with its confident risk-taking and focused intensity–Blue crosses the in-your-face realism of a David Mamet play with the ripped-from-the-headlines topicality of The Laramie Project. Briano specifically praises the dedication and daring of his actors, who’ve been required to go to some very frightening places in bringing the script to life.

“I was surprised that the actors I’m working with plunged in so easily, especially once they found out what it’s about,” Briano says. “This material has compelled these people to go to deep, dark places in their psyches, and they have brought out some really intense, really incredible performances.”

The Heart Bleeds Blue performs March 31-April 2 and April 7. April 1 and 7 at 2pm; April 2 at 7pm. Newman Auditorium, SRJC, 1501 Mendocino Ave., Santa Rosa. $8-$10. 707.527.4418.


Museums and gallery notes.

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Not Anne Frank

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March 28-April 3, 2007


Pardon the overworked metaphor, but playwright-novelist Davide Wiltse’s The Good German is like a certain type of very expensive wine. It initially presents itself as pleasant and interesting but not exceptional, and then begins changing textures and flavors, revealing layer after layer of sensorial secrets the longer you hold it on your tongue.

In director Kent Nicholson tidily gripping, intensely acted production at the Marin Theatre Company, this viticultural comparison is especially apt. By the time the lights go down on Wiltse’s intoxicating, philosophically complex drama about a frightened Jewish publisher being hidden from the Nazis by a mildly anti-Semitic chemistry teacher, you will certainly know you’ve experienced something theatrically above-average, if slightly dry and out of reach. But I suggest that it is only after you’ve pondered and discussed the play that you are likely to truly begin enjoying it.

The penultimate show in MTC’s impressive 40th season (wrapping up in May with Sandra Deer’s The Subject Tonight Is Love), The Good German treads the familiar ground of other rise-of-Nazism dramas, from Goodrich and Hackett’s The Diary of Anne Frank to Tony Kushner’s A Bright Room Called Day. This is material that has been revisited over and over since Hitler was found in his bunker and the truth of his horrific final solution was revealed to the world.

There is a tendency, among writers, to work on an audience’s emotions when telling the story of regular folks caught up in the rise of anti-Semitism in Europe. Such plays typically focus on the human toll of the Holocaust, showing the cost in lives and psyches that is the result of so much evil unleashed at once in the world. It is not hard to create gripping drama when describing the plight of an innocent girl trapped in a secret room or of activist artists giving in to fear and intimidation as their numbers slowly diminish.

In The Good German, Wiltse does something far more difficult: he gives us four “good” people, and within 15 minutes kills off the only one who is identifiably good, the kind-hearted Gretel (Anne Darragh), gunned down following an underground meeting of anti-Nazi activists. In fact, one of the first lines delivered by the caustic chemistry professor Karl (solidly played by Warren David Keith), is “I’m not easy to like.” Indeed.

Proudly antagonistic and fond of offering offensive philosophical observations, Karl is a testy tangle of selfish indifference and grudging human decency. The same could be said for Herr Braun (Brian Herndon), whom Gretel agrees to harbor after his home and business are burned down with his wife and children inside.

Simultaneously enraged and terrified, Braun despises Karl for his casual put-downs of Jews (“One grows fond of a dog in six weeks; Jews evidently take longer”) but is far more concerned about Karl’s low-level Nazi Party friend Siemi (Darren Bridgett, in a gripping, standout performance), an unstable man who grieves for his country while slowly embracing the very madness that engulfs it.

One point that is made repeatedly is that the German Jews, faced with abuse and deportation and extermination, seem unwilling to fight for their lives. As the play unfolds, it narrows its focus to the causes and costs of inaction, the excuses and rationalizations that lock it in place, and the messy, ragged results once one is finally forced into action. Cruelty can be attractive, and goodness, struggling to survive a growing evil, can’t always be pretty. As Gretel says early on, “It’s what you do in the end that counts, not how gracefully you do it.”

In Wiltse’s intelligent, aggressively unsentimental script, the characters discuss these matters through elegant, attractively quotable debates. Throughout, the characters never stray into black-and-white simplicity, and a refreshing, open-eyed cynicism remains at work at all times, as when one character drily concludes, “Tolerance is just good manners.” In the end, The Good German refuses to wrap things up with easy or comforting answers, and those unsolved questions–unnerving and irritating as a splinter beneath the skin–may stick around long after the final fade to black.

‘The Good German’ runs Tuesday-Sunday through April 15 at the Marin Theatre Company. March 28 at noon, preshow talk; at 1pm, matinee; at 6pm, singles night reception. Tuesday and Thursday-Saturday at 8pm; Wednesday at 7:30pm; Sunday at 2pm and 7pm; April 14 at 2pm. Marin Theatre Company, 397 Miller Ave., Mill Valley. $19-$47; Tuesday, pay what you can. 415.388.5208.


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Dining Dilemmas

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March 28-April 3, 2007

Two weeks ago, Boris finally got what has been coming to him. North Bay residents first learned about the quandary over his fate during COPIA’s TASTE3 conference last summer, when Dan Barber, the chef and co-proprietor of an unusual restaurant in Pocantico Hills, N.Y., unburdened himself to a rapt audience. “I was on the shaded hilltop here,” Barber said, pointing to an image projected at the front of the conference hall, “watching Boris try to make love to a sow.” The image changed to show a 950-pound boar. “That’s Boris,” he continued, “just after being shunned by the sow.”

Dan Barber’s restaurant, Blue Hill at Stone Barns, sits on an old Rockefeller property in countryside near the Hudson River about 20 miles outside of New York City. The restaurant primarily cooks with food that the staff grows right on the premises, at the Stone Barns Center for Food and Agriculture. Barber is creative director of this three-year-old center, which cultivates vegetables on some five acres and raises livestock on 22 acres.

Boris was a problem, Barber explained, because he’d stopped “performing.” Barber didn’t know what to do, so he researched his options and reported the problems of each: (1) shoot and bury the pig, thus wasting over 700 pounds of meat; (2) let Boris live but use up limited resources; (3) slaughter him, but risk “boar taint” making the meat unusable; or (4) castrate Boris and then slaughter him, which would eliminate the risk of boar taint, but–how would the dirty deed be accomplished?

Various members of his staff gravely gave Barber their input. Jack, the vegetable farmer, sensing Barber’s attachment to the animal, scolded, “Shoulda named him P-22, man. Once you name him, you’re screwed.”

With his refreshing manner and innovative ideas about food, Barber is a sought-after figure these days. He’s slated to take part in the first ever “New Yorker Conference/2012: Stories from the Near Future” this May, along with such diverse members of the intelligentsia as architect Zaha Hadid, Craig Newmark of Craigslist, Talking Heads’ David Byrne and Tipping Point writer Malcolm Gladwell.

Heading to Santa Rosa on April 4, Barber will take part in the “Sustainable Agriculture vs. Industrial Food” conversation with activist and author Daniel Imhoff (Food Fight: A Citizen’s Guide to the Farm Bill), with the Bohemian‘s own Clark Wolf moderating.

Barber ranks among such Alice Waters-inspired evangelists as Michael Pollan who are at the helm of a growing movement working to generate curiosity among the public about where our food comes from. Barber caught a few minutes to speak to us by cell phone from New York, where he had just touched down after a trip to Barcelona.

Barber explains that his philosophy (although he hesitates to use that word, saying it sounds pretentious) about food has to do with growing it organically, but not in the usual sense. “It’s about looking at organic in a really holistic way,” he says. “‘Organic’ comes from the word ‘organism,’ which means ‘whole.’ ‘Organic’ used to mean not just how your food was grown, but who or what community was growing it and how it was getting to you. Just because it doesn’t have pesticides and fertilizers doesn’t mean it comes from a squeaky clean food source.”

In Farming and the Fate of Wild Nature: Essays in Conservation-Based Agriculture, edited by North Bay resident Imhoff, Barber elaborates on his philosophy-which-he-won’t-call-a-philosophy in terms of how it applies to modern farming. Writing in an essay “Will Agriculture Economics Change in Time?” he explains that however much we’d like to look toward the hyper-teensy farms that supply local farmers markets as the answer to the nation’s agriculture problems, they’re not a realistic solution. Instead, Barber advocates midsized farms, which cultivate roughly 40 percent of U.S. farmland, as the answer–at least for now. Unfortunately, he writes, these midsized farms are encouraged to “get big or get out.”

Getting big generally also means scaling back on variety and only growing one crop–often one of the usual suspects heading the ingredient list in processed foods. With sales of over $500,000 and acreage that averages the size of Manhattan, mega-monoculture farms eschew diversity. According to Barber, that’s a problem, because there’s no balance in such an ecosystem. “Nature doesn’t grow things in monocultures,” he says, adding that monoculture cultivation practically forces the use of chemicals and pesticides.

What about the wine industry in Napa and Sonoma–isn’t that a monoculture? “Yes,” he says. “But in the best case, you do it organically and within a system that doesn’t require pesticides and fertilizers. That’s a prerequisite of good wine. But it’s not the same as what’s happening in fruits and vegetables.”

During his appearance in Santa Rosa, Barber will also discuss the 2007 Farm Bill, which he predicts will go to the floor for a vote quite soon. The bill, which picks up where the 2002 version left off, will influence how the government spends money on agriculture for the next five years. Not only have the Los Angeles Times and the New York Times had positive things to say it, but Oxfam has joined the chorus. Among items eliciting praise for the bill is its decreased focused on such “program crops” as soybeans, wheat, cotton, rice and corn. Instead, the bill proposes to boost healthier specialty crops such as vegetables, fruits and tree nuts by allocating funds toward research and a greater role in school lunches.

But Barber isn’t convinced. “As a part of the pie,” he says, “those funds are very, very small.” He also cautions that money often gets cut at the last minute, which stymied some of the best programs in the 2002 Farm Bill. Barber thinks it will still take time before the grassroots food-consciousness efforts that he advocates will really come to fruition on a political scale.

“Stone Barns and many others are trying,” Barber says, “to increase that awareness and get people to think about food. That sounds like a very easy thing, but it’s not. Stories like [the saga of] Boris can remind people that there’s a whole set of choices we have when we eat. And those choices affect not just our health, but our community, our landscape, our environment–as we have increasingly seen–our political landscape and on and on. And it comes down to what kind of choices we make when we buy food.”

And just whatever did happen to Boris?

Barber and his staff eventually found a vet that could castrate the boar relatively painlessly. He slaughtered Boris about two weeks ago. “We’re still eating his sausage,” Barber laughs. “Actually, we’ll be eating it for a while.”

Dan Barber and Dan Imhoff appear in conversation with Clark Wolf on Wednesday, April 4, at the Jackson Theater. Sonoma Country Day School, 4400 Day School Place, Santa Rosa. 7pm. $10-$15. 707.284.3200.

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Ask Sydney

March 28-April 3, 2007

Dear Sydney, my girlfriend and I have been together for a long time. We’d be married by now if it was legal (that’s a different issue!). Everything was going OK, with the usual ups and downs, until my ex-girlfriend moved back into town. I went out to lunch with her, and it brought up all kinds of intense feelings. Now I’m a wreck. I keep wanting to hang out with her. Worst of all, I’ve been having dreams about her, and let’s just say that she’s never wearing any clothes. I don’t know what to do. Do I tell her I can’t be friends now that we’re living in the same town again? That seems so pathetic, but I’m afraid that any other option would be disastrous. I feel like a stalker.–Haunted

Dear Haunted: Ask yourself if the monogamous relationship that you currently share with your gal is something that you could live without? Take some time to be by yourself, somewhere away from the noise of daily life, where you can really spend time thinking. Wherever you go to think, bring a notebook and pen. Write out the details of your dreams, just to get them out of your system. Make a list of the reasons you love your partner and the reasons you don’t. Write down everything you remember about your dreamy ex-girlfriend. Was she really that great? If she was, then why did you break up?

After you’re done, rip up everything you’ve written into tiny pieces and throw it into an anonymous garbage can. The only way you’ll feel free to really write what’s on your mind is if you know it’s going to be destroyed afterward, so go ahead and destroy it. (Just don’t light it on fire, though satisfying, that could be dangerous if you’re “thinking” out of doors.) Even after this ritual, it’s quite possible that you will choose to make things difficult for yourself by pursuing this rekindled relationship. And maybe there’s a reason for that. It’s just hard to know, and the more careful you are and the slower you take it, the less you will have to regret in the long run. It’s easy to make a fool of yourself over unexpected desires. Save yourself the trauma; write it all down and throw it away instead.

Dear Sydney, I am an animal lover. But can you go too far? What should one give up for the life of an animal? I have a financially destitute friend who moves in with me from time to time and brings her cats. I already have three cats, which the same friend gave me. There are now seven cats and her guinea pig in my house. I had to pay for a $300 surgery at Christmas when two of the cats got in a fight. Then another one of the cats showed symptoms of sickness about a month ago. This one has stress-induced colitis and resulting pancreatitis. Determining the ailment took many tests and a long stay at the animal hospital. My friend gave her last $600 to the vet. Now, she’s asking me for $400 more because the vet won’t let the cat come home unless the entire bill is paid. Furthermore, they are charging over $100 per day to board the cat until she comes up with the rest of the money. Suddenly, I see my friend as an addicted cat-spendy. I’ve begun to think what little extra space one less cat could gain. But my friend, who is a very bad money manager, is weeping bitterly over the possibility of losing Mr. Fluff. So what am I to do? Is it time for me to start sleeping in my car at night for the sake of Mr. Fluff and the shyster vet? Or should I put my foot down in favor of fiscal responsibility?–Bummed

Dear Bummed: These cats are not your responsibility. Just because you are kind enough to let your friend stay with you when she has nowhere else to go does not mean that you should be held responsible for the financial care of her animals. Unfortunately, by paying the vet bill during the holidays, you set an unfair precedent for yourself. If you did it for the other cats, how can you now abandon Mr. Fluff? If you do choose to save Mr. Fluff, you will be out 400 bucks, but you will also relieve yourself of the burden of being Mr. Fluff’s inadvertent murderer. Do you really want to be known as the guy who killed Mr. Fluff? Something like that could follow you for a long time. This is not to say that you have to save Mr. Fluff, but if you don’t, there may be physiological consequence.

Clearly, the issue here is not your willingness or lack thereof to save an animal, but your inability to provide yourself with clear boundaries. Someone else’s seven cats and one guinea pig in your house is too much. You need to set very clear parameters about the number of pets you are willing to take on along with your human guest. And if you do save Mr. Fluff, make it abundantly clear that you will no longer take any financial responsibility for future vet bills and that you will not be emotionally responsible for the well-being of her animals any longer.

Sydney, love your column! You give thoughtful, sensitive and sensible advice in an all-too-crazy world. My comment is just a suggestion, triggered by. I, too, have had problems with the father of my child and for many years could not even be civil to him. Another unrelated problem got me desperate enough to ask for help from a very alternative friend. That is when I discovered the emotional freedom technique. It is an acupressure technique that can clear emotional issues far faster than any other I have tried (and I’ve tried a lot). Best of all, the info on how to do it is free. Check out www.emofree.com for a free download of the manual. A demo is available at www.creatavision.com to get you started even faster. Try it and see if you like it.

Oh yeah, about my ex. He is still a worthless drunk who may or may not ever grow up, but that is water under the bridge. When I do see him, I can be civil. When he does something stupid, hey, that’s his life. The kid is grown up and neither one of us needs him any more. Keep up the good work! –Fogey

Dear Fogey: Thanks for the tip and the encouragement! I’ve never heard of this technique, but, hey, not being above a little residual anger myself, I’ll be sure and check it out. In the mean time, I’m including your letter here so that “Holding On” can have a look if she feels inspired. And congratulations on surviving co-parenting with your sense of humor intact. That’s no easy feat. Take yourself out to dinner. You deserve it.

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


Women in Love

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March 28-April 3, 2007

You don’t have to be madly in love with the art of live theater, or deeply disappointed in what it’s become, to enjoy Anton in Show Business, but bringing a bit of theatrical love-hate into the auditorium definitely helps. Like the hilarious, theater-besotted cable series Slings & Arrows, 2000’s Anton, by mysterious playwright Jane Martin (believed to be a pseudonym for theater legend Jon Jory), is a giddy string of backstage inside jokes, deconstructionist head games and bittersweet theater-world observations.

Opening with the line, “American theater is in a shitload of trouble,” the cleverly constructed play aims to explain exactly why that is true while celebrating all that is still good and wonderful about people playing make-believe on a stage in front of strangers. The play just opened a four-week run in a production by the Pacific Alliance Stage Company, directed with great sensitivity to the underlying issues by Hector Correa.

In a playfully snarky homage to Thornton Wilder’s Our Town, Anton begins with the stage manager (Nicole Brewer) setting the theater world scene, as a pair of actresses–the seasoned Casey (Alexandra Matthew) and the exuberant newbie Lisabette (Christina Vecchiato)–meet to audition for a regional theater production of Anton Chekhov’s The Three Sisters.

The production has already attached Holly (Laurie Keith), a shallow but famous television actress. Everything is pitched slightly larger than life at first, with the show’s 15 characters played by a total of six female actors (well, seven, including an exasperated audience member, played by Maria Grazia Affinito, who keeps interjecting her own opinions throughout the play). Joan Mankin and Shannon Veon Kase play all the other roles, from the snotty British director (Mankin), who makes his actors audition using nonsense words (“Tiddly-pee, tiddly-poo”), to a comically irritating, Chekhov-loving theater producer (Kase), who compromises her art in the interest of big box office. Alternately hilarious and moving, Anton is packed with great ideas and hard questions, as fearful of the future of American theater as it is hopeful that art will somehow survive the barbarian assaults of commerce, crassness and audience disinterest.

Anton in Show Business runs Thursday-Sunday through April 15 at Spreckels Performing Arts Center. Thursday at 7:30pm; Friday-Saturday at 8pm; Sunday at 2pm. $18-$21; Thursdays, $16. 5409 Snyder Lane in Rohnert Park. 707.588.3400.


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It Girl

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March 28-April 3, 2007

It’s understandable to want to avoid listening to Amy Winehouse, if for no other reason than the barrage of hype on the girl alone. In the past week, I’ve seen her splashed across the pages of five separate magazines, answering the same trivial questions about her hair, her boyfriend, her tattoos and her propensity for gum-chewing.

I am not usually in the habit of reading magazines, which is probably why I’m so shocked that each one neglected to dwell on the 23-year old British soul singer’s inspirationally husky throat. With that, Amy Winehouse has got a goddamn voice to shake the T-cells out of your bloodstream, replace them with a revamping toxin of shudder and sway and exit your system, laughing, while you walk in perfect rhythm for the next two weeks. By any estimation, it comes from a place deeper and larger than her lanky frame could possibly contain, and it evokes both Dusty Springfield and Gil Scott-Heron, with one part come-hither and two parts getta-fuck-outta-here.

On her sophomore album, Back to Black, she’s backed by a stellar band (aided themselves by the welcome trend of retro-soul recording techniques), sounding thoroughly fresher than the processed sugar fix of most U.K. buzz-girls. The songs are all from Winehouse’s own pen, and they read like a series of esoteric MySpace comments: “What kind of fuckery is this? / You made me miss the Slick Rick gig,” she sings on the Billy-Paul inspired “Me and Mr. Jones.”

Elsewhere, she sings of stolen weed and failed interventions. Winehouse has been celebrating her diva-of-the-month status by canceling shows at the last minute all across the country on her current tour, which bodes ill for the diehards paying $200 for scalped tickets to her scheduled appearance in San Francisco next month. But after hearing the album, capitulating to Winehouse’s voice, and feeling like a love-struck teenager in Detroit circa 1968, it’s almost worth the risk.

Amy Winehouse may or may not perform on Thursday, April 26, at an insanely sold-out show at Popscene, 330 Ritch St., San Francisco. Back to Black is in stores now.


‘Lookout’ for It

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March 28-April 2, 2007

How refreshing–a character study where the character in question is actually unique, complex and believable. A-list screenwriter Scott Frank (Little Man Tate, Get Shorty, Minority Report) has had The Lookout, his most impressive screenplay to date, in development for years, with big-name directors like David Fincher and Sam Mendes attached at one point or another. But it is hard to think of anyone who could have done a better job bringing this intriguing story to the screen than the cast and crew that Frank assembled after taking on directing duties himself.

Joseph Gordon-Levitt (making quite a name for himself recently with unconventional star turns in this and Brick, last year’s best movie that no one ever saw) stars as Chris Pratt, a once-promising high school athlete who finds his life irrevocably changed after a reckless but well-meaning decision leads to a car accident that kills two of his friends and leaves him with permanent brain damage. Four years later, Chris can take care of himself and get around in the world, but he is still far from the person he once was. He is prone to sudden fits of anger and sadness, stricken with memory problems and a lack of impulse control. He also gets easily confused, something that only exacerbates his rage and depression.

Chris has a steady job as the night janitor at a local bank and a strong bond with his blind roommate, Lewis (Jeff Daniels in a typically top-notch performance), but still he longs to be able to somehow recapture the heights of his high school glory days. No surprise, then, that Chris is more than eager to accept the friendship of local ne’er-do-well Gary (Matthew Goode). Gary sets him up with a girlfriend (Isla Fisher) and a new circle of friends–but these “pals” are actually Gary’s creepy accomplices in a plot to rob the small town’s bank vault. It’s not long before Gary begins messing with Pratt’s fragile mind and drawing him into his nefarious plot.

Frank illustrates the power that can come from a writer directing his own material by keeping the film focused on what matters–in this case, the characters. The Lookout is simple, cinematically speaking, devoid of flashy effects or bombastic set pieces. It is a quiet film, but an undeniably powerful one. The heist plotline doesn’t even come into play until the latter part of the film; the first half is a slow but involving build that establishes Pratt’s heartbreaking existence.

Once Gary enters our hero’s life, he is clearly Chris’ Lucifer, charming and full of temptations. He makes a somewhat compelling argument for his planned crime (banks are just giant, faceless corporations) but dangles the monetary gain in front of Chris as if this financial windfall will help him get back some measure of the man he once was. He pointedly tells Chris, even imploring him to write it down in the notebook he keeps to help remember the most basic of daily tasks, that “whoever has the money has the power.”

It is easy for us to believe that a screw-up like Gary would think that material wealth could somehow improve Chris’ situation but, all brain damage aside, it is odd that our supposed hero would fall for such a trap. But thanks to the complexities and layers of the persona that Frank and Gordon-Levitt have crafted, we know that Chris never seems to actually believe that the money will somehow make him whole again. He just wants to be able to do something, anything, that will make him feel a bit better about himself.

On the surface, it would be easy to dismiss The Lookout as just another heist movie with a twist. But this intriguing human drama is better compared to the underrated 1998 film A Simple Plan, or even the classic Treasure of the Sierra Madre in the way that it so captivatingly portrays ordinary people drawn into unordinary and evil circumstances. There are indeed elements of a thrilling heist picture (the tension of the entire last act is almost unbearable), but ultimately this is more about Chris Pratt than about any crimes Chris Pratt is considering committing.

‘The Lookout’ opens at select North Bay theaters on March 30.


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Get Lonely

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March 28-April 3, 2007

Are you down with all the latest trends to keep up with friends?–M. Ward

I‘ve been on kind of a high since I got voted Time magazine’s person of the year, but now that the honeymoon is ending, Tori Amos is really starting to piss me off.

It wasn’t enough that she drove a wedge into my marriage by making music that I hate and my wife loves. Then she went and dissed my wife. And of all the places to get dissed, it happened on MySpace, “a place for friends.”

Friends, shmriends. As of press time, Tori Amos had 80,296 of them on MySpace; apparently 80,297 is one too goddamned many. Same thing with Pearl Jam: 193,030 friends, and no love for one of their most loyal (and adorable) fans. All they had to do was answer “yes” to the friend request. This is how we did it when we were four years old: “Want to be my friend?” “Yes.” Done. Now, I automatically get all your bulletins about what you did with your cat today and when you’re going on tour. Thanks for the add!

But no. “A place for friends” has apparently become a place for lazy PR reps who can’t be bothered to nurture the fragile egos of the fans who make them rich.

Worse yet, it’s becoming increasingly clear that these prefab cybercommunities are still cheap imitations of the real thing. In its current evolutionary stage, joining an online social network does to you something like what the Phantom Zone did to General Zod, Ursa and Non, the Superman II villains trapped in that flying LP cover. Existence is flattened into a two-dimensional plane where you’re constrained to operate within a new and very limited set of behavioral rules. You are text, pictures, a few songs and maybe a video clip or two. And since users don’t have to see their own page in order to check in on it, many are hopelessly unaware of how badly theirs suck.

And you can suck as anyone you want to be: in fact, General Zod himself is actually on MySpace. Sweet, right? MySpace is delivering on the promise inherent in social networking–that I’m just about six clicks away from anyone I can think of, even a fictional character in a movie. But does Zod respond to my e-mails? No. Disappointing to say the least, until I notice that Superman himself–the son of Jor-El, who imprisoned Zod in the Phantom Zone–is in Zod’s top eight friend spaces. What a fraud!

But there’s more fraud than just impersonation going on. A woman I know had her MySpace account hacked twice so that it sent out random advertisements to everyone she knew while she should have been working. The same woman got stalked by her ex via MySpace, which was not nearly as bad as the stories going around about hot young things being stalked by Catholic-priest types.

But it’s getting to the point where these glitches are considered necessary evils, to be endured for the supposed greater good of constant connectedness. Consider the following statistic, which was inspired by the folk singer Todd Snider’s observation that “65 percent of all statistics are made up right there on the spot.” Eighty-seven percent of all MySpace users are probably addicted–yes, addicted–to checking their MySpace accounts. And when they’re not MySpacing, I bet 69 percent of them are instant-messaging, blogging, vlogging, text-messaging and talking on cell phones in grocery store checkout lines, all to avoid experiencing the world alone. Thanks to social networking, our culture is undeniably hyperconnected. Is there any escape?

Party of Myself

One group of artists wants us all to taste loneliness again, if just for 15 minutes or so. San Francisco’s Southern Exposure has collaborated with New York’s Glowlab to create “NOSO,” an anti-social networking experiment in public space. It’s kind of like “Buy Nothing Day,” except it lasts over a month (through May 5), and it won’t necessarily stick it to the Man so much as just plain confuse him.

The plan works something like this: The word is spread, ironically, by social-networking sites like MySpace, Digg and de.lici.ous. Then, people will log on to www.nosoproject.com and sign up for 15-minute nonmeetings with no friends. Maybe it’s at an Internet cafe, maybe it’s a park bench–some kind of public space where people are used to being social. But surely we’ll get clues as to who it is we’re not meeting?

“You get no clues,” dictates SE’s exhibitions program manager Maysoun Wazwaz. “You go to this location, and the location is to not meet, it’s to not have a friend, it’s a no-event.”

She must be joking, right?

“There’s obviously a bit of humor to it–it’s a critique of being so hyperconnected,” says Wazwaz. “The idea is to remove yourself completely from that. It’s kind of an experiment: can people remove themselves? The idea really is to not meet this person. It’s kind of the challenge: is it possible to do that? The way we all work, we want to know who’s in the room with us. The idea is to disengage in places where one maybe wouldn’t, to experience what that’s like.”

It’s easy to rip on social networking, but to abandon it? These days, probably not–or at least not for long. Fortunately, the assignment is short, and at the end of the day there will be blog hits for everyone! That is, you’re free, and encouraged, to blog about your experience like the junkies you are.

Experiments like Southern Exposure’s aren’t cures for what is now referred to as the “web 2.0 junkie.” For that illness, there is no cure in sight. Social networking is just the natural progression of the promise of the Internet to connect everyone in a worldwide web (called MySpace), and it’s an unstoppable juggernaut. And even as that juggernaut comes crashing through our office walls like the Kool-Aid man–and this cyanide capsule in my mouth says it’s not taking me alive–there are other, calmer voices in the crowd saying this social-networking thing might not be the end of the world. Just the one as we know it.

How MySpace Won

Robert Young, who describes himself as a “serial entrepreneur, market disrupter and deal maker,” has blogged extensively and authoritatively on the phenomenon of social networking at Gigaom.com. Agreeing to an interview on the subject, Young said that ultimately he believes social networking is just another form of self-expression, albeit a potent one.

“Once online, the ability to bring together our circles of friends, who then bring their own circles, creates tremendous network effects (e.g., six degrees of separation),” says Young, “which all culminates into a new communications experience/medium that also offers the benefit of serendipitous discovery of new friends.”

Validating my earlier, made-up statistic, Young says that social networks “have proven very addictive,” but he stops short of characterizing it as some sort of disease. Young calls chronic social networking a “generational phenomenon” and says the invectives aimed at it are akin to those aimed at rock ‘n’ roll, which was similarly demonized back in the day.

“The presence of evil societal elements is certainly not a problem specific to [social networking],” says Young.

According to Young, MySpace is not, in fact, evil, but is targeted “simply because it’s the market leader.” So how did it get that pole position?

“MySpace gave users a great deal of freedom to express themselves–for example, pimping your profiles,” says Young, “and doing so set them apart from the leader at the time, Friendster, which was very rigid.”

Young was the first to call MySpace “the new MTV–the site’s focus on the indie music scene in L.A. gave them a cool factor right out of the gate,” he says. “And by becoming the new MTV, they cornered the youth market in the U.S. virtually overnight.”

If MySpace is the new, pimpable version of MTV, then it might follow, like night does the day, that over time it will suck more and more as it grows bigger and bigger. Right?

“There’s no simple answer to this question,” says Young. “If a particular social network is very big, its utility to any given user will depend highly on how well the site itself is organized and structured. Facebook is the best example of great structure, because it gives the user a very high, and granular, level of control over how her particular social network is governed. But at the end, the critical factor that determines whether a social network is useful or not, with respect to size, is what the user wants out of the social network. If she wants to simply use social networks as a way to keep in touch with a set group of family and friends, then the size of the social network matters little. If, on the other hand, she wants to use the social network to express herself to the widest audience possible and meet new friends, then size matters.”


First Bite

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March 28-April 3, 2007

Chef Steve Tam has done a marvelous thing to one of my favorite desserts, cheesecake. Because his new Gohan restaurant in Petaluma serves Japanese food, he’s added green tea to the recipe, using a very special nonbitter variety from Sendai, north of Tokyo. The fragrant leaf imparts a delicate, earthy flavor, enhanced by an ample dusting of powdered green tea over the top.

But he’s also replaced the usual, humble cream-cheese filling with fromage blanc, making this confection incredibly light but rich, a bit tangy-sour and just a hint nutty. Can I lick my plate in such a nice setting as this, a sleek, sophisticated ambiance of polished wood, exposed duct ceilings and Japanese shoji-style accents?

Tam has put an interesting twist on wakame (seaweed) salad ($6) at his three month-old restaurant set in the Redwood Gateway (Kohl’s) shopping center. He mounds the electric-green algae in a martini glass, tops it with a big scoop of fresh snow crab and a dollop of black caviar. It’s important to get a bit of each ingredient in each bite; the mix is wonderfully crunchy and tender, sweet and salty.

I’m not expecting what I get with my kryptonite sushi roll ($14), either, which from the menu listing appears to be a typical rainbow recipe. Except that here the tuna, hamachi and salmon are tucked inside the rice with cucumber, daikon sprouts and avocado, instead of laid across the top, and the whole is slathered in crunchy tobiko. The fish is gorgeously fresh and silky–the best I’ve had in any Sonoma County sushi joint–and even the wasabi seems to burn hotter and better than at other local places I’ve tried.

Gohan also serves up a nice range of adventurous sashimi, with velvety ankimo (monkfish pâté, $10), hamachi carpaccio drizzled in sweet Banyuls wine ($12) and firm bonito slicked with wasabi-onion sauce ($12). Sorry, though, I can’t bring myself to try the wacky Napoleon Dynamite ($13), a tempura roll stuffed with eel, cream cheese and snow crab, garnished with tater tots.

I’m a huge fan of nabeyaki udon ($15), and Tam’s version is a satisfying success. The broth is light and savory over fat, slippery noodles and floating with properly rubbery fish cake, shiitake, scallion, tofu, Napa cabbage and a raw egg that slowly cooks in the steaming soup.

It’s a meal all on its own, but for opulence I add an order of the “Over the Top” seafood tempura ($18) to dip in the broth, delighting in a lightly battered whole soft shell crab, prawns and scallops.

The tonkatsu ($14) was a bit dry, but that was easily remedied by dressing the panko-breaded pork with the excellent homemade tonkatsu sauce alongside. The entrée comes with miso (studded with tofu and shiitake), sunomono–the traditional chopped cabbage salad–spring greens and rice.

As Tam stops by my table after the last plate has been cleared (he’s been making the rounds throughout my meal, greeting every single guest), he asks if there’s anything he can do to make my experience even better. I can’t imagine what, I tell him sincerely. Because what he’s doing with Gohan is a wonderful thing indeed.

Gohan, 1367 McDowell Blvd., Petaluma. Open for lunch and dinner Monday-Saturday; dinner only, Sunday. 707.789.9296.


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

The Byrne Report

March 28-April 3, 2007The March 12 slaying of 16-year-old high school student Jeremiah Chass by sheriff's deputies dominated front-page headlines of the Santa Rosa Press Democrat for a week. Seldom have I witnessed such inept and slanted journalism. It is perhaps explained by noting that Press Democrat publisher Bruce Kyse sits on the board of directors of the Santa...

Tough Stuff

March 28-April 3, 2007 A year ago, when a promising young playwright-director named Lito Briano, 22, was told about a gay man who was gang-raped and mutilated at a Burning Man celebration in 2005, the revelation shattered his reasonably benign view of the world, altering many of his views on sexuality--and of rape. "I saw how rape not only affects...

Not Anne Frank

March 28-April 3, 2007Pardon the overworked metaphor, but playwright-novelist Davide Wiltse's The Good German is like a certain type of very expensive wine. It initially presents itself as pleasant and interesting but not exceptional, and then begins changing textures and flavors, revealing layer after layer of sensorial secrets the longer you hold it on your tongue. In director Kent...

Dining Dilemmas

March 28-April 3, 2007Two weeks ago, Boris finally got what has been coming to him. North Bay residents first learned about the quandary over his fate during COPIA's TASTE3 conference last summer, when Dan Barber, the chef and co-proprietor of an unusual restaurant in Pocantico Hills, N.Y., unburdened himself to a rapt audience. "I was on the shaded hilltop...

Ask Sydney

March 28-April 3, 2007 Dear Sydney, my girlfriend and I have been together for a long time. We'd be married by now if it was legal (that's a different issue!). Everything was going OK, with the usual ups and downs, until my ex-girlfriend moved back into town. I went out to lunch with her, and it brought up all kinds...

Women in Love

March 28-April 3, 2007 You don't have to be madly in love with the art of live theater, or deeply disappointed in what it's become, to enjoy Anton in Show Business, but bringing a bit of theatrical love-hate into the auditorium definitely helps. Like the hilarious, theater-besotted cable series Slings & Arrows, 2000's Anton, by mysterious playwright Jane Martin (believed...

It Girl

March 28-April 3, 2007 It's understandable to want to avoid listening to Amy Winehouse, if for no other reason than the barrage of hype on the girl alone. In the past week, I've seen her splashed across the pages of five separate magazines, answering the same trivial questions about her hair, her boyfriend, her tattoos and her propensity for gum-chewing....

‘Lookout’ for It

March 28-April 2, 2007How refreshing--a character study where the character in question is actually unique, complex and believable. A-list screenwriter Scott Frank (Little Man Tate, Get Shorty, Minority Report) has had The Lookout, his most impressive screenplay to date, in development for years, with big-name directors like David Fincher and Sam Mendes attached at one point or another. But...

Get Lonely

March 28-April 3, 2007Are you down with all the latest trends to keep up with friends?--M. WardI've been on kind of a high since I got voted Time magazine's person of the year, but now that the honeymoon is ending, Tori Amos is really starting to piss me off.It wasn't enough that she drove a wedge into my marriage...

First Bite

March 28-April 3, 2007Chef Steve Tam has done a marvelous thing to one of my favorite desserts, cheesecake. Because his new Gohan restaurant in Petaluma serves Japanese food, he's added green tea to the recipe, using a very special nonbitter variety from Sendai, north of Tokyo. The fragrant leaf imparts a delicate, earthy flavor, enhanced by an ample dusting...
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