Here There Be Monsters

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March 14-20, 2007


Millions of immigrants from Latin America began streaming north to the California coast two years ago. No one knows why they came here. No one knows the impact they will have on the state’s economy and the environment. Scientists are on the case, but answers elude them. After all, these aliens do not speak our language and they currently reside miles from shore, more than 100 fathoms down, occasionally rising to the surface when overcome by a feeding frenzy.

Clearly, the giant Humboldt squid (Dosidicus gigas) is not your ordinary migrant. It’s a cephalopod that grows to over a hundred pounds, eats voraciously and may possess an intelligence quotient comparable to that of many mammals. Originally named for the Humboldt Current that flows northward along the coast of Chile, the creature’s presence in California has baffled local biologists, ecologists and fishermen. Now, just a decade after their discovery in our waters, they have become an expected wintertime phenomenon.

Stanford professor Dr. William Gilly has studied the Humboldt squid for about five years, but it was almost three decades ago that he first heard about the animals. In the 1980s, he traveled up and down the Baja California peninsula seeking out the squid in the Sea of Cortez, but to no avail. Finally, in 1994, he made contact near Santa Rosalia. He discovered on the beach a bustling squid-processing plant, based on a strong localized fishery that had existed for years. He observed fishermen in the middle of the night beaching their small skiffs and weighing in thousands of kilos of the hefty squid.

“There’s also a big fishery off Peru and Chile,” says Gilly, “and we’ve identified them as far as 60 degrees north. They’re incredibly temperature-tolerant and oxygen-tolerant, so why they’re only expanding their range now, I don’t know. They’ve been fishing for them off South America since the 1960s, but where they started before that and where they spread from is unclear.”

In spite of their large size, Humboldts live only one to two years. Their growth rate approaches one millimeter per day, a phenomenal pace. In these regards, Gilly likens a Humboldt squid to a human baby that has achieved blue-whale dimensions before its parents have even thought about signing the kid up for preschool. And so Humboldt squid are gluttonous eaters. They eat and eat and eat. They ingest krill, they chomp fish, they attack small sharks, they devour each other and they do not stop, ever.

That, of course, has left fishermen in California wondering: What impact will the squid have on our already struggling fish stocks? Gilly, one of the premier experts on the Humboldt squid, says it is too early to know. No one is even sure yet how many squid are presently out there, how long they will stay or what group of fish they will choose as their staple.

Ink Fest!

Rick Powers, a fishing boat captain in Bodega Bay, believes that the squid have selected rockfish as their dish of choice, and are currently devouring what remains of local populations. Powers’ livelihood once thrived on those deepwater fish. He ran boatloads of customers out to Cordell Banks, a region of submarine terrain hundreds of feet underwater off the coast of Northern California. In several hours of fishing, his customers would fill gunny sacks full of the colorful, big-mouthed, spiny-backed rockfish, and every day Powers motored back to the dock and shepherded his clients onto solid ground again, each of them toting an 80-pound sack. Then, in 2003, the Department of Fish and Game put Cordell Banks off limits to rockfishing, and the legendary fishing trips came to a halt.

But the Humboldt squid have spawned a new and profitable fishery, and for a year now Powers has been taking customers out to his old stomping grounds. He began running his first squid trips in the winter of 2005. The results were spectacular. His boat hauled in 10,000 to 20,000 pounds of squid almost on a daily basis, according to web and newspaper fishing reports. The high and consistent scores from Powers’ boat gained the captain a following of anglers who began coming from as far away as Nevada to fish under his guidance and enjoy the messy thrill of an “ink fest,” a brand-new experience that might find an angler by noon covered in the black emissions of the squid and standing knee-deep in expired specimens.

This past November, as with last year and the year before, the squid showed up abruptly en masse, and Powers’ expeditions started again. As a fisherman, I follow the daily reports and confess that I found the prospect of sliming myself in dead squid very appealing. My brother Andrew had also been reading the online fishing reports, dreaming of ink and slime and chaos, and in early February I called Rick Powers to reserve two spaces on his boat, the New Sea Angler.

As dawn broke over the eastern dairy-land hills of Sonoma, the 65-foot-boat steadily filled with fishermen. Each had a pocket full of cash, a heavy-duty fishing rod and images of monster squid dancing in his head. When 30 of the 35 expected fishermen had signed in, our captain called us back to the stern of the vessel to give his morning introductions.

“Welcome to the New Sea Angler,” he said. “I’m Rick Powers, and this is my boat.” The two young and sleepy deckhands stood sullenly by as the captain detailed the mission plan in a speech they had doubtless heard a hundred times before. “You guys are warriors,” Powers said gravely. The harbor was quiet with the soft sounds of a new day, and the captain’s voice produced an intense excitement about what would soon take place 20 miles from shore. “I see you laughing over there, but it’s true: you are warriors, and today we’re going to war. We are going to do battle with giant Humboldt squid.”

Powers introduced himself as the man who discovered the Humboldt squid in local waters 10 years ago. At the time, he was donating his services as a captain toward Department of Fish and Game fish counts at Cordell Banks. While fishing for rockfish and lingcod, the biologists on board began to haul up from the depths 20- and 30-pound squid, animals that had scarcely been seen before in local waters.

In subsequent years, the squid showed up in increasing numbers, and Powers began to suspect two things: one, that the squid were eating his rockfish; and, two, that bored fishermen would pay prime cash to pursue the beasts. Powers was right about the fishermen. They zeroed in from all over the state, over freezing mountain ranges and terrible deserts, across valleys and rivers, all the way to Bodega Bay to take part in what Powers calls “the most exciting fishery you’ll ever see, hands down.”

I See Color

With the sun rising above the harbor, Powers described how a school of squid will follow the hooked individuals toward the surface, how the animals go nuts and begin to eat each other and attack the anglers’ lures with accelerating fury.

“And there’s no legal limit on these squid. That’s the beauty of this fishery. And right now, they’re out there devouring our rockfish, and you’re actually doing them good by taking these squid.”

After explaining the ecological virtues of filling the New Sea Angler with tons—literally tons—of squid, the captain added in a solemn tone that a responsible fisherman never takes more than he or she needs.

“Some people are happy once they’ve gotten two, others want 22, but the bottom line is, no squid gets left on my boat at the day’s end, and you only take what you can utilize.”

With that, Capt. Powers promptly disappeared into the wheelhouse, fired the engine and motored the happy lot of us out of the harbor to do some eco-friendly damage at Cordell Banks. The ride there from Bodega Bay would take two solid hours, and my brother and I crammed in beside each other at one of the small wooden tables in the cabin. The men around us (there was only one woman) were of varying sorts. Many were salty veterans of the Cordell Banks squid runs; others were soft-skinned doctors and real estate agents who didn’t know a fishing rod from a power drill.

Two old, gray-haired fishermen from the Sacramento suburbs sat across from Andrew and me. They began to tie knots and sharpen fishhooks while discussing their favorite Central Valley hobbies. One evidently poached salmon in the Feather River in season, another shot black bears out of trees, and each used racial slurs as casually as a veterinarian calls a dog a bitch. Andrew asked them about cooking squid. The men growled that they did not care much for the stuff, and that they would be using most of their squid steaks for crab bait.

The boat’s motor slowed at about 9am, and the captain began to turn in a wide circle. He must have something on the screen, the fishermen in the cabin mused. We put on our coats, went outside into the fog and began to line the rails and ready our tackle. We each tied an eight-inch-long, missile-shaped squid-jig to the line, a dangerous lure furnished with 42 sharp steel needles that point upward and serve as so many hooks. The boat meandered slowly through the mist for 10 suspenseful minutes before the engine halted and Powers’ voice roared through the intercom.

“Giant squid below! Drop the lines, go all the way to the bottom!”

That meant a drop of more than 500 feet. Each fisherman flipped his reel out of gear and let the heavy lure dive for the bottom of the sea. Three minutes later my squid-jig finally hit bottom. I engaged the reel and cranked back several feet of 50-pound line when a great weight halted my efforts and bent the rod over the rail.

I gasped at the power pulling from below. Andrew, fishing beside me, suddenly hooked up as well. I glanced up the rail toward the bow and back toward the stern, and all but two or three anglers were evidently hooked into Humboldt squid. The heavy creatures came up slowly. Periodically they resisted and pulled 10, 20 or 30 feet of hard-earned line off the reel before the angler could resume the long haul up from the depths.

In other types of fishing, the exciting moment comes when the fish first strikes. The angler shouts “Fish on!” and his neighbors all bubble with excitement and lean this way and that to admire the fight. Meanwhile, the deckhand comes running with the net, and a minute later the fish is flopping on the deck. But in the pursuit of giant squid, the strike is hardly dramatic—just a sudden dull resistance—and the fight lasts 15 minutes or more and is relatively boring. In due time, however, the creature from the deep finally appears some 30 feet below the surface as a reddish brown mass, and the fisherman’s cry comes as “I see color!”

This prompts the deckhand. He appears in a hurry, clad in yellow slickers with a 10-foot-long gaff in his hand. The squid grows larger in the clear water as the angler gains line. The deckhand stands by as the fisherman struggles to gain the last 10 feet. The squid approaches the surface, as alien and dangerous to it as the bottom of the sea would be to a person. The gaff goes down and meets the four-foot animal. The deckhand sinks the giant hook into the base of the head and black ink jets 12 feet into the air, splattering the boat and several occupants.

The 20-pound squid comes over the rail and hits the deck with a dull plop as another shout for the gaff comes from the other side of the boat. Then comes another cry from the stern, another from the bow, then a chorus of cries from all around the rail, and just like that the poor deckhands enter a four-hour squid-gaffing marathon: “I see color!”

A fishing session at Cordell Banks lasts generally from 9am until about 2pm. By 1 o’clock, my brother and I had nearly 200 pounds of Humboldt squid. My arms and back ached with the strain of reeling them to the surface. The animals lay strewn over the deck less than ankle-deep—a relatively slow day so far. Yet my bothersome conscience loaded my shoulders with guilt as I contemplated the killing. I generally approve of dispatching an animal if one intends to eat it, but I wasn’t sure that I wanted so much squid.

I recalled an occasion in Baja California when I found a large Humboldt dying on a remote beach north of Mulege. I chased away the gulls that had liberated the three-foot long squid of its eyeballs, and I proceeded to kill and butcher it with my knife. I went away with a two-pound hunk and cooked it over a fire. I ate most of the meat, then vomited in the bushes and experienced stomach difficulties for two days.

“Andrew,” I said in a mild state of epiphany, “we’re going to have to eat all this stuff.”

I set my rod down for a moment to make an exact count and an estimation of the slimy biomass we would soon be cramming into my brother’s car. A deckhand saw my idleness and hurried over to ask why I was not attempting to catch another squid.

“I’m done. We can’t take any more,” I said. “We’re driving a Honda Civic.”

“Drop your line,” he commanded. And then to the whole starboard side of the boat: “Drop your lines back down, everybody!” And then came Powers’ voice on the intercom: “Keep fishing! Don’t lose ’em! Keep the squid at the surface! Get your lines in the water! You’re fishing like a bunch of grandmas!”

Under the watchful eyes of deckhand and skipper, I reluctantly dropped my squid-jig again. Powers announced that the school was holding at about 250 feet, so I dropped only 70 feet before engaging the reel again and hanging my lure in barren waters. I figured I would be safe there, but lo and behold, Powers’ excited voice roared through the intercom again.

“The squid are coming up! I see ’em at 225 feet, and they’re rising. Two hundred! Oh, 180! There’s 90! Squid at 90 feet!” I began to reel up frantically lest I wind up hooked into another 20-pound piece of meat. “Sixty feet!” Powers shouted. “They’re right under the boat. They’re charging the boat! Man your battle stations, put your helmets on! Let’s get some squiiiiiiiiid!”

I could not keep my lure from the rising school, and at about 40 feet, my rod bent over and pulled me against the rail. My brother, too, reeled his lure up as fast as he could. His white squid-jig came into sight below. A big Humboldt followed in hot pursuit, however, and then another appeared. Each scooted forward with eager tentacles reaching for the tempting little trinket. “No, no, no!” cried Andrew as he cranked away, but 10 feet from the surface the foremost squid slipped its tentacles around the jig—and its fate was sealed.

The deckhand saw us each hooked up again and said, “Nice, nice!” Andrew’s squid remained just under the boat. We watched it struggle 20 feet down. As it tired, one of its own mates sensed a disadvantage. It charged, tackled and took a bite from the doomed squid’s meaty mantle.

Meanwhile, every other fisherman was engaged in a battle of his own. Bright red squid splashed at the surface all along our side of the vessel. They waved their alien tentacles in the air and spewed ink in large arcs that rained down on the fishermen as they shouted for the gaff. The deck of the boat grew thicker with dead squid, and through the intercom, Powers told his customers to use caution as they moved about the slimy deck—and to keep on fishing.

This killing frenzy reminded me of the old days of whaling and passenger pigeons and bison. It reminded me of men who killed for fun, killed for days, killed for blood, killed by the thousands. What was the point of all this? Would all these animals really be eaten?

I was tired of the ink fest, and I was not alone. Several fishermen had already sneaked away to the cabin, yet the deckhands remained busy. They raced around the boat. Sweat beaded on their foreheads and ran down their cheeks in black streams as they hauled more and more squid onto the New Sea Angler. “Don’t let ’em get away!” ordered Powers from the comfort of the wheelhouse. The animals swarmed beneath the vessel. We watched them attack lures and cannibalize each other. “I see color!” anglers cried, and the frenzy went on for another hour.

Beyond Sunlight

On the ride back to port, Andrew and I again claimed a table. With inky hands, we each opened a beer and drank to the day. We estimated that we and our fellow fishermen on the New Sea Angler landed about 10 squid each—a total catch of 350 to 400. Yet Captain Powers would later report on www.usafishing.com a precise catch of 625 squid, the largest weighing exactly 46 pounds. Yet no squid count or weigh-in ever took place. But what the hell. Powers knows that these tremendous numbers attract customers who will almost certainly go home at the day’s end with all the squid they can manage. Nobody counts his catch, another inflated report goes on the web, more hungry fishermen reserve spots on the New Sea Angler, and the cycle goes on.

The prevailing aspect of the squid fishery is its grotesqueness: the ink, the slime, the squid writhing on the gaff, the sheer mass of dead creatures, and the fact that fishermen happily pay 80 bucks apiece to produce such pulpy carnage. They say that squid harbor first-rate intelligence within their squishy heads. It bothers me to think that they knew what we were doing to them, that they comprehended their fate as they came over the rail spewing the last of their ink and fluttering their fins.

Dr. Gilly feels for the animals, too. “I’ll admit that it gets pretty sad to see them hacked up and thrown all around a fishing boat,” he says.

But Gilly himself fishes for Humboldt squid now and then. He even eats his subjects on occasion and reports that squid from colder waters taste better than varietals in the lower latitudes. Primarily, though, Gilly catches, tags and releases squid. Commercial and recreational fishermen recover some of these tags while other tags correspond with satellite signals, and Gilly has documented Dosidicus gigas traveling 100 miles in as little as three days.

His tagging studies have also enabled him to make educated guesses at the number of Humboldts swarming in the Pacific. For example, in a region of just several square miles in the central Sea of Cortez, Gilly estimates that there live over 4 million Humboldt squid.

But where was the stronghold of Dosidicus gigas before the great migration began? While the squid have been a routine presence in the Sea of Cortez for as long as most living people can remember, Gilly believes that they came from elsewhere still. He cites the 1940 sea voyage of John Steinbeck and Ed Ricketts. The pair traveled with a small crew from Monterey south around Cabo San Lucas and northward far into the Sea of Cortez. Their voyage was exploratory, and the men made observations of sea creatures in both tide pools and offshore waters. In 2004, Gilly and several biologists replicated the journey. They compared notes to the journals of Steinbeck to see what changes had occurred in the Cortez over the decades. They visited the same places on a similar boat.

“We went everywhere they did,” says Gilly. “We saw squid every night, but Steinbeck never reported squid. Maybe 1940 was an anomaly, but no evidence suggests that it was an El Niño year.”

Gilly suspects that sometime since 1940 Dosidicus gigas invaded the Cortez. Does that make the species today non-native to Mexican waters? And what about Northern California, where it has thrived for less than a decade? Is it an invader? Does it belong here? Rick Powers wavers on the issue, enjoying a highly successful new squid-fishing business while simultaneously condemning them as destructive intruders.

But Gilly gives the matter more thought. “Dosidicus is an incredibly devastating predator,” he says, “but they’re also prey for lots of bigger predators. They’re destructive on one side and incredibly beneficial on the other side. People should understand that these things in ecology aren’t always good or bad. They’re a double-edged sword.”

I agree with Gilly. The world changes. Species come, others go. Remember the dinosaurs? Mammals took over the world. The woolly mammoths? We killed them all. All those strange birds endemic to Hawaii? Replaced last century by mongooses and exotic snakes. It’s sad in some respects, very interesting in others. The Humboldt squid expansion may bring disaster to fish populations, but we are currently observing an unexplained phenomenon in the eastern Pacific Ocean’s ecosystem.

Well, sort of. The squid dwell beyond sunlight and beyond the eyes of science. The details of their private lives and habits remain largely unknown, and these fascinating mysteries will likely persist for some time. As 20-pound slabs of meat, Humboldt squid are quite easily hauled up from the depths—it just takes a little muscle—but as reliable pieces of informative data, Humboldt squid remain in the dark. About all we can say for certain is that along the West Coast of the New World, at 100 to 400 fathoms, Dosidicus gigas swarms.

Meanwhile, hapless rockfish perish over the deep reefs, Dr. Gilly speculates at Stanford University and out at Cordell Banks, on the deck of the New Sea Angler, the cry for the gaff comes again and again: “I see color!”


Zombies Live Again

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music & nightlife |

Reborn pop: Colin Blunstone and Rod Argent, back from the living dead.

By Bruce Robinson

For decades, they resisted it. But today, 38 years after they last graced the pop charts, the Zombies are back.

“For years, people were pressuring me to get the Zombies back together again,” Rod Argent, the group’s keyboard player and primary songwriter, explains by transatlantic telephone, “and I always resisted it. But within the context of recording and writing new stuff with Colin [Blunstone, the original Zombies’ signer] and having a creative path forward, it felt very different to be playing the old stuff. And because the Zombies broke up just as Odessey and Oracle was coming out, we realized we’d never played some of this stuff live onstage.”

That final Zombies album, now widely regarded as a quintessential set of pop psychedelia, was recorded in 1967 but wasn’t released for another two years. When “Time of the Season” belatedly soared onto the top 5 charts, the band had scattered, Blunstone to craft a series of solo LPs, and Argent to assemble the harder rocking quartet that bore his surname.

By 1975, Argent (the band) had run out of steam, despite scoring a major hit of their own with “Hold Your Head Up.” Argent (the man) admits, “I thought that was it for live performance for me, in a major way, onstage.” But he readily agreed to do a couple of solo songs for a benefit organized by his neighbors, jazz couple Cleo Laine and John Dankworth, in 2000.

“In the audience that night was Colin,” Argent recounts, “and just on the spur of the moment, he got up and sang “She’s Not There” and “Time of the Season” with me, and it sounded as if we’d been together just two weeks before, instead of 30 years or whatever. He suggested that just for fun we put together six gigs. And we did this, and to my astonishment, it was very well received and felt absolutely natural. And suddenly those six gigs have turned into six years of traveling around the world, and several albums.

“And it was absolutely unplanned, which perhaps is the best way to do things.”

Later this month, a 2003 Zombies concert is being released as a double CD and DVD, a set that effectively summarizes the band’s history and showcases the potent performing unit they are now. Playing the old songs “is a thrill, and quite unexpected,” Argent says. “We even go back and do some of the old covers that we used to do in the original Zombies act, and it’s such great fun to do that. It brings back a lot of old memories, and some of them I think we play better now than we played back then.”

Blunstone, whose breathy tenor lent a distinctive timbre to “Tell Her No” and the other early hits, has become an unexpectedly assertive vocal presence, and wades into the handful of revived Argent material with considerable enthusiasm. “He always loved it, you know,” the keyboardist comments. “When Argent was together, Colin would always come to our gigs, so he knows the stuff and has a longstanding affection for it.”

The odd Argent tune, a few new songs and, of course, their greatest hits, will comprise the set list planned for the eight-date West Coast mini-tour that kicks off at the Raven Theater in Healdsburg on March 14, as well as selected tracks from Odessey and Oracle, one of the rare albums to have gained in sales and stature over the decades since its creation. “If anyone had told me 40 years ago that people would still be playing it around the world to the extent that they do, I wouldn’t have believed it,” Argent marvels. “The fact that it didn’t really sell anywhere in the world when it came out, and then 15 years later started to sell gradually and then picked up momentum and now, year in and year out, sells in really substantial quantities around the world–I’m amazed.”

As for the reasons for the Zombies’ enduring appeal, Argent demurs. “I just couldn’t begin to say. I think all of us had the philosophy of not trying to write or make records for the day. We always tried to do a song the best way that we could, without nodding in the direction of any particular fashion. Maybe in the long run that makes something last a little bit longer.”

The Zombies appear on Wednesday, March 14, at the Raven Theater with Ian Hunter and the Charms. 6:30pm. $27.75-$59.77. 115 North St., Healdsburg. 707.433.6335.




FIND A MUSIC REVIEW

Paris Postcard

March 14-20, 2007

A few years back, Amélie gave us the idea of a gamin rehabilitating Paris. OK, let me phrase that: Amélie reinforced the idea most of us have of Paris, as a celestial city pearly with clouds, a place of permanent residence only for the very lucky living and the celebrated dead.

Director Danièle Thompson’s Avenue Montaigne isn’t going to rouse us out of that swoon. Give it credit for an intellectual zest missing from Amélie, even in a similar story of a girl blessing hard-working artists and art lovers.

“You’re a ray of sunshine,” says the grandmother of the heroine Jessica (Cécile de France), and Thompson (La Bûche, Jet Lag) treats Jessica as if that’s what she were, illuminating and warming the people she passes by. Jessica’s grandmother has a story she likes to tell about how she managed to rub up against the presence of wealth by getting a job at the Ritz. Her granddaughter, in town from her home in Macon, has a short haircut, a tight T-shirt and enough overbite to make her look like a friendly squirrel. She talks her way into a waitress job at the Bar des Teatres on Avenue Montaigne.

The bar is at a nexus of two theaters and an auction hall. Barkeeper Marcel says he’ll break sacred tradition that says only men shall be garçons, and bring Jessica as a temporary waitress. He has no choice; there’s a perfect storm brewing of cultural events all on the same night: an art auction, a performance by the renowned pianist Jean-Francois Lefort (Albert Dupontel) and the opening of a revival of Feydeau’s farce Mais n’te promène donc pas toute nue. (My translation is “Don’t Run Around Naked Like That,” but anyone with a real grasp of French can surely do better.)

As a waitress, Jessica is privy to the problems of the three people deepest involved in these happenings. Take the leading lady in the Feydeau, a renowned soap-opera star. Catherine (Valérie Lemercier) is as impossible as Barbra Streisand. She drives her director nuts trying to find the psychological realism in a play that needs to be performed like a Monty Python sketch in order to work.

Catherine’s ordinarily prickly temperament is worsened when she learns that the American movie director Brian Sobinski (Sydney Pollack) is in town, trying to cast the leads in a Sartre biopic. The process is underway, as we can see from a shot of a line of auditioning actors on a bench, all trying to look rumpled, preoccupied and wall-eyed. Catherine knows she’s Simone de Beauvoir, damn it, and makes herself miserable trying to land the role.

On her rounds, Jessica brings mint cordials to the pianist Jean-Francois. He is dying inside; he’s overbooked and deeply sick of the pomp surrounding the world of classical music. His wife, who is accustomed to his nerves, can’t take his outbursts seriously. And she refuses to listen to his complaints that he’s being smothered.

Jean-Francois’ acquaintance Grumberg (Claude Brasseur) must be suffering something similar, since he’s liquidating his collection of modern art. Grumberg is a rarity in French cinema–a self-made millionaire who doesn’t have a single crime in his background. Having risen up from a taxi driver to become an airline magnate, he’s now getting rid of the treasure-trove of art he and his late wife collected on a whim. Grumberg is amused by the circumstance: “I’m selling these paintings, but I couldn’t afford to buy them.” Grumberg’s bitter son Frederic is angry enough at seeing his patrimony on the auction block, but he has another barb in him: the old man is also carrying on with a girl half his age.

I suppose no one deserves the Legion of Honor for making Paris look good in a movie, but Thompson demonstrates special taste and intelligence. If she gives us the bridges and the river light, she also gives us a rainy morning at a public hospital. Avenue Montaigne is sweet, but it’s not candy-coated. It notes the effect big money has had on Paris, and how that loot has corroded our dream of a place where everyone can find his or her niche, and where natural aristocrats can rise. Thompson notes this obscene wealth in a glance: a shop window that advertises a pair of gloves selling for 550 Euros, while he suggests the reality of a city–like New Orleans or San Francisco–that sells what it used to give away.

‘Avenue Montaigne’ opens March 16 at the Smith Rafael Film Center and on March 22 at the Rialto Cinemas Lakeside.


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Ask Sydney

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March 14-20, 2007

Dear Sydney, my mother and I are trying to reestablish a relationship following estrangement. She’s an alcoholic, and one of the last times we were together, she drank a great deal and was pretty abusive. I’ve asked her to visit in the Bay Area and don’t want to repeat this scene. On the other hand, my mother is an old and frail woman and I do not want to patronize her by saying “no drinking.” Nor do I want to antagonize her just as we’re trying to find some common, if admittedly superficial, ground again.–Maternal Worries

Dear Mat: Even if you tell your mother that you don’t want her to drink, if she’s a practicing alcoholic, chances are she will anyway. She won’t be able to help herself. This does not mean that you are not justified in having clear boundaries in regards to what you are willing to subject yourself to, but you are not in control of your mother’s drinking. It’s neither your fault nor your responsibility. In fact, you can count on the fact that she will quite probably drink, no matter what you do. If this seems like something you don’t want to take on, then don’t invite to her visit.

The best thing you can do if you want to proceed with this reunion (and it seems as if you genuinely do) is go into the situation prepared to protect yourself. If things begin to go in a direction that feels abusive to you, make sure you can leave. Take your own car. Don’t share a room in the hotel. Have an escape route. Another good trick is to bring someone with you whom you trust for emotional support and to help negotiate your leave-taking, should that be necessary. And above all, try not to beat yourself up about this. Your emotional reaction to your mother’s drinking and subsequent behavior is to be expected. If you are interested in finding out more about alcohol related co-dependencies, Al-Anon is a great resource, and there are meetings all over the place. They’re in the phone book.

Dear Sydney, I’m hoping you can offer some advice on a very delicate situation. My friend just told me that she is pregnant from a brief relationship that she recently broke off. Her boyfriend moved to another state to go to college, and they decided to end their relationship because it wasn’t really going anywhere. Now she says she’s not going to tell him, that she doesn’t want any money from him (she has a pretty decent job), that she doesn’t even like him that much and that this is her baby. Is this OK? I’m thinking not.–Worried

Dear Worried: Maybe he doesn’t even want to know. If he’s just left town for college, chances are this is the last thing he’s going to want to hear about. Well, too bad for him. The fact that she is the one carrying the baby does not change the fact that this young man has paternity rights and responsibilities. Though the father may not want anything to do with the baby (his loss), it is still imperative that he be able to decide for himself. If she doesn’t tell him, the odds are that at some point he will find out anyway, and when he does, he will have every right to feel hurt and outraged that he was not given a chance to participate in the life of his own child. The exception to this would be if the guy is super-sketchy or abusive in some way. Every mother has the right to protect herself and her child. But based on what you say here, it seems like your friend needs to face the fact that she is going to have to be more involved with this guy than she wants to. Big bummer, there’s no denying it. But if she wants to have a baby without a father attached to the other end, then she should consider artificial insemination next time. It’s not that expensive and there are no strings attached.

Dear Sydney, I’m a person with a lot of ideas. My problem is, I can’t decide which one to do, or if I do, I only really stick with it for a little while. I have this feeling that I want to do something great, but I’m interested in so many things, it’s hard to stick with one for long. I dabble in different thing but inevitably feel like the new project just isn’t quite cool enough or I’m just not that great at it. I guess sometimes so much freedom is overwhelming. Any suggestions?–Flighty

Dear Flighty: Never take good ideas for granted. This is a skill to be proud of and one to foster. Take a moment to consider how wonderful it is that you are so excited by the world around you, that you have a flow of vibrant concepts moving through your head. It’s hard to know when to begin, however, and when to give up, how to tell failure from your own rising disinterest and how to have faith in yourself, when no one else seems to be paying any attention. In order to help you keep the faith and the focus, it could be useful for you to develop some sort of support system. See if you can pull together a group of friends who are also busy following through with their own great ideas, people you can talk to on a regular basis. It’s not that your support group will have all the answers; in fact, if you are an independent thinker, you will probably think most of their advice sucks. But what they can do for you is keep you from beating yourself up for no reason, and from losing hope. When all you have is an audience of one, it’s easy to get discouraged and doubtful. Collaboration will help you stay focused and help keep your energy up.

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


Online Without a Spine

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Light Reading: Brewster Kahle, director of the Internet Archive, and ‘the Scribe,’ the scanner used to get public-domain works online.

By Richard Koman

Say you’re in school and you have to write a research report on the anti-slavery movement in the United States in the mid-19th century. Where do you go?

Hmmm. How about taking a look at the James Birney Collection of Anti-Slavery Pamphlets–a collection of over a thousand abolitionist books, pamphlets and newspapers housed at the Johns Hopkins University Libraries. Fancy a trip to Baltimore? Right now, that’s the only way you’ll get to look at them.

But soon enough, the entire collection will be online as high-quality scans. So will the complete personal library of John Adams (housed at the Boston Public Library), the Getty Research Institute’s collections on art and architecture, the full archive of publications of the Metropolitan Museum of Art and UC Berkeley’s extensive collection of texts from the Gold Rush.

“Many people are turning to the Net as the public library,” says Brewster Kahle, director of the Internet Archive in San Francisco. “Unless the works are available on the Internet, they will be unavailable to the next generation. Our role is to make great materials available to our children.”

In January, the Sloan Foundation awarded a $1 million grant to the Internet Archive and the Open Content Alliance to scan and put online those classic materials from America’s past. The award is a stake in the ground, a flag that says information should not only be online but truly free, truly accessible, no matter what search engine brings you to the content.

“The capability to digitize all recorded human knowledge now exists for the first time, and it is important that we seize this moment and ensure that public works and the public domain at large remain in the hands of the public,” says Doron Weber, the program director of Public Understanding of Science and Technology at the New York-based Sloan Foundation.

The Sloan project is fundamentally different from Google Books, an initiative the search giant launched in cooperation with Stanford, Harvard, the University of Michigan and several other major university libraries.

For one thing, Sloan’s paltry million bucks is a drop in the bucket compared to the upward of $100 million that Google is spending. Google’s footing the bill for all of the scanning, and the universities are giving Google access to millions of books. That’s money schools like Stanford are happy not to be spending themselves.

Google is really putting only one condition on the partner libraries: that the books are only indexed by Google. That means if you use another search engine, you won’t have access to these works. Use Google, you get access.

That’s a deal breaker for people like Kahle. His first company was based on the open source search system, WAIS, that he developed in the late 1980s. He later sold WAIS Inc. to America Online and a second company, Alexa, to Amazon.com.

Kahle has worked to make information available online for two decades, but the open-content movement goes back even further. It began some 30 years ago when Michael Hart, a professor at the University of Illinois, launched Project Gutenberg, an online collection of public domain books available in text, HTML and XML formats. Hart started by typing in texts like Alice in Wonderland and War and Peace. Today there are 20,000 texts online at Project Gutenberg (www.gutenberg.org), which are also hosted at the Internet Archive (www.archive.org).

The Archive serves as a kind of portal to a number of open content efforts, including Gutenberg. The other projects are not just text renditions of books but full-color scans that can be downloaded as PDFs or in a highly compressed format called DjVu. Among the efforts: the Million Book Project, Microsoft’s book search, the scanning of American and Canadian libraries and the Archives’ own scanning efforts. There are a total of 100,000 public domain books freely available for download and printing on the Archive site.

“People are deciding to go open,” says Kahle. “People are interested in having the public domain stay public domain–and to do high-quality scanning that would be of value to the public and to researchers.”

The books that make up our heritage should be available online, but freely available, says Kahle. “We want the books available through Google, Yahoo, Microsoft, libraries. The idea of locking things down doesn’t make sense in this Internet age.”

When Google Books launched, the company said they would scan books in copyright, as well as public domain books. That made publishers mad. Really mad. In 2005, publishers and authors sued Google and the company made some changes to accommodate those concerns.

The Archive project will have no such issues; it’s focused totally on works that are in the public domain.

“The first step is public domain works, then orphan works, then out-of-print works, then in-print works,” says Kahle. “For in-print works, I think we’ll see publishers take a role in distributing their works.”But the orphans will be locked up for a while longer.

“Orphan works” are those that would have entered the public domain if it weren’t for a 1976 rewrite of the Copyright Act that made copyright registration optional. In 2004, Kahle and ephemeral film collector Rick Prelinger sued the government to try to “free the orphans.” But a panel of the Ninth Circuit Court of Appeals ruled last month that the orphan works will stay where they are.

“What is at stake is if libraries of the future can provide access to out-of-print materials after the publishers and authors are gone,” says Kahle. “This case had only one purpose: to get the judge to say that the structure of copyright had changed so we can get the law examined, and he did not seem to even answer the question. Very sad. Another opportunity missed by our government. Sometimes, I think some of the more senior judges haven’t bothered to understand what is happening to our civic institutions in our digital age.”

Perhaps a little copyright history is in order. For almost 200 years–from the adoption of the Constitution in 1789 until the bicentennial in 1976–you had to register a copyright, which lasted for a certain number of years, and then renew it. If your work no longer had commercial value, you wouldn’t renew it and it would enter the public domain.

The rules changed in 1976 with a rewrite of the Copyright Act. The intent was to bring the United States into compliance with the Berne Convention, the 1971 international accord on copyright issues, and the new law did away with the registration and renewal requirement. Now work is copyrighted upon creation–you don’t even have to publish or print the “©” symbol.

But there are a number of works that hadn’t been renewed and would have entered the public domain if not for the new law. These so-called orphan works have no commercial value and yet are locked up under copyright. They can’t be scanned or published online or used in derivative works until their copyright expires. And copyright now lasts a very long time: a 1998 law named after Sonny Bono extended copyright to the lifetime of the author plus 70 years.

So Kahle and Prelinger filed suit, hoping that the courts would order the Copyright Office to remove copyright protection from these works. In rejecting the Archive’s request, the Ninth Circuit judges said that Kahle and Prelinger were essentially complaining that copyright was too long–the same argument that had earlier been made and rejected in the U.S. Supreme Court.

Chris Sprigman, the lead lawyer in the Kahle case, wrote on his blog that he was “maddened” by the Appeals Court’s refusal to take on a key aspect of the Supreme Court’s Eldred decision–that unless changes to the copyright laws “alter the traditional contours” of copyright protection, they don’t offend the First Amendment.

Sprigman, Kahle and Prelinger are appealing the decision for review by the full Ninth Circuit Court of Appeals.

Kahle wants the court to clarify that groups like the Internet Archive can make out-of-print works available on the Internet.

“Otherwise we live in a world of just very old works in the public domain and commercially available works. Everything in between effectively will be denied the next generation,” he says.

“We could lose the 20th century.”


Wine Tasting

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More about this barrel tasting: Is it about conversing with the winemaker in the hush of the cool cellar over a cask of the nascent vintage? Well, you and a few thousand others. At the end of the hugely popular first weekend, a few who were manning the barrels confided about Saturday like they were talking about bad weather. Me, I have somewhat less enthusiasm for crowds than for good wine–but the wine wins. Now, my vegetarian soul wags, if there were only something decent to eat besides chipped beef . . .

The Heart of Sonoma Valley Wineries are always stepping it up with a theme-party atmosphere for barrel tasting. This year, 19 Kenwood and Glen Ellen wineries are hosting a foodie extravaganza. Finding nosh for the sip-sodden can be hit or miss, but Savor Sonoma Valley promises that wines will be “perfectly paired with culinary creations.” Arrive with an appetite for appetizers, and you will certainly be sated. Top chefs and caterers from the local roster, like the General’s Daughter, the Girl and the Fig, and Feast, will be on hand, as well as both cheese makers and cheese mongers. Meanwhile, the deceptively staid Chateau St. Jean is going off the hook–something about pirates, treasure and secret maps. Aaargh! Nice to see that the valley doesn’t take itself all too seriously. This event sells out, so snagging tickets in advance is not a bad idea.

Across the street from the historic mill in Glen Ellen, the winemaker himself at Eric Ross Winery will be grilling up savory mini cheeseburgers. I first heard of Eric Ross when it won top awards at the Harvest Fair a few years back, and I wondered if it was a guy I knew whose local band did a cookin’ cover of “Lowrider” at the end of the ’80s. Nope, nor is it the name of the rooster that struts across the label. Two wine enthusiasts, Eric Luse and John Ross Storey, got the winery going in the mid-’90s.

Eric Ross is something of an anomaly. The wine is made in Novato and plunked down in a tasting room in Glen Ellen. It’s become very popular on weekends, but on a cool winter’s Monday, we were the only visitors to enjoy the fire and hang out at the bar. The place is furnished with giant metal roosters, a plus.

The 2005 Saralee’s Vineyard Chardonnay ($25) has a full mouthfeel, honey and melon, and a hint of fresh vegetal aroma–a walk in the June garden. The 2005 Old Vine Carignane ($18) is surprisingly soft, not too acidic, and scented of vanilla and raspberry. The 2002 Feeney Ranch Old Vine Zinfandel ($30) has sweet raspberry jam flavor, with a whiff of spice–garam masala?

The knockout is the winery’s first Syrah, and I hope they don’t learn the wrong lesson from it. The 2005 Catie’s Corner Syrah ($28) stews menacingly in the glass with dark fruit, a brooding floral aroma and deep tobacco and plum. I’ll wade through the crowds to get a taste of the 2006.

Savor Sonoma Valley runs at 19 wineries Saturday-Sunday, March 17-18. www.heartofsonomavalley.com. Eric Ross Winery, 14300 Arnold Drive, Glen Ellen. Tasting room open Thursday-Monday 11am to 5pm. 707.939.8525.

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Letters to the Editor

March 14-20, 2007

Old-fashioned questions

Congratulations on dealing with tough topics in the March 7 “Money Issue,” especially (“UnReal Estate”). Paul Krugman’s March 2 column in the New York Times acknowledges the impact of inflation in the housing sector as well as burgeoning personal debt as significant hazards for American financial stability.

Now we are seeing the next wave of economic tribulation as the housing market shrinks and the attendant crisis in proliferating equity lines of credit and the sub-prime mortgages taken out by people who really cannot afford the houses they are living in.

Where is an alternative? What happened to the instruction so many of us received in economics classes in high school and college that a sound budget was one where consumers chose a house priced at four times their family’s annual income?

What justifies the abandonment of this rule? Who benefits when home buyers take on overpriced, over-large houses? Are parents spending a good share of their time with their children or are they working a second job?

When foreclosures begin over home equity loans or at the level of sub-prime mortgages, what happens to those consumers? What happens at banks or mortgage lending institutions? What happens to our community?

Am I missing something here in that I still believe in living within one’s means? Am I old-fashioned for paying my bills?

Cecile Lusby, Santa Rosa

Aw, shucks

The Bohemian‘s “Money Issue” should win you some kind of publishing award. An excellent read, front page to back–the features, critics’ choices, cartoons, Brezsny–even the ads. I was moved to send a copy to Our Meg [artist Meg Hitchcock, recently relocated to Brooklyn] to remind her that intelligence, creativity and humor are still thriving here in the North Bay. Thanks, guys.

Claude Smith, Graton

Call me paranoid, but. . .

While I agree with Peter Byrne that (The Byrne Report, “Impeach Now!” March 7), I think one thing he failed to address is that the left fears the right, and rightfully so. The right controls most of the money in this country, all of the arms produced in it and has demonstrated with the Oklahoma City bombing that they are quite prepared to kill innocent Americans to achieve their aims. And rather than atone for it, right wing commentators now cite it as one of former president Clinton’s “security failures.”

Call me paranoid, but I can’t help but feel that Bush and Cheney have, during one of their bull sessions, at the very least riffed on a hypothetical scenario in which another terrorist attack is allowed to succeed that could serve as a pretense for use of the president’s war powers for a declaration of national emergency, the cancellation of November ’08 elections, and the indefinite suspension of the U.S. Constitution. But it’ll never happen, right?

Rich Jones, Monte Rio

Two-word cause

Peter Byrne seems bewildered by the dearth of “soldier age” attendees at the talks on impeachment of Bush-Cheney given locally by Elizabeth de la Vega and Cynthia McKinney. I suggest a two-word cause for that effect: no draft. It’s not that young people applaud the behavior of Bush & Ilk; it’s that they don’t take such shenanigans personally, as did their generational peers of the ’60s and ’70s. It could also be that they’re following the example of their parents (who by and large missed Vietnam) and who aren’t showing all that much urgency about changing things either, beyond perhaps some tut-tutting to pollsters for maybe five minutes–and the pollsters come to them!

Constant reader Don McQueen, Santa Rosa

Blue Teeth Brigade

Thanks for (“P.S. I Love You,” March 7). He’s right about this varietal turning teeth blue, which is why we had Blue Tooth Tours for a couple of years. We took to the highways and byways to extol the virtues of this dark and delicious varietal grape, Petite Sirah–hence, the morphing into Dark & Delicious.

With the wine industry being a billion-dollar business in California, and California being the fifth largest economy in the world, I say, “Make wine, not war!” and we’ll all be happier.

Jo Diaz, Windsor


Lucky Man

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the arts | stage |

Photograph by Jenny Graham
Comedy tonight: Shad Willingham (right) and G. Valmont Thomas mug it up in ‘On the Razzle.’

By David Templeton

‘Welcome to our little winter wonderland. Please take the snow with you when you leave,” jokes actor Shad Willingham as he warmly greets a visitor to the very cold Ashland home of the Oregon Shakespeare Festival (OSF).

The phrase “winter wonderland” has been grotesquely overused, but on this day, the last Sunday in February during the opening weekend of OSF–and Oscar night to boot–the tiny burg of Ashland does indeed qualify for the right to be called a winter wonderland. Three days ago, the town received its heaviest snowfall in 50 years, and now the stuff is everywhere. On this morning, three months before the festival opens its large outdoor theater, the crowds are pleasantly small as the OSF launches its 10-month-long-season with four plays, a number that will eventually grow to 11. The four openers are Shakespeare’s As You Like It, Chekhov’s Cherry Orchard, David Lindsay-Abaire’s Rabbit Hole and Tom Stoppard’s On the Razzle.

The latter, a delirious comedy built out of outrageous puns, pratfalls and diabolical twists of plot and language, features Willingham in the role of Sonders, a would-be suitor to the virginal Marie, whose uncle, Zangler, opposes the marriage for financial reasons. Willingham, working with a cast of first-rate comic actors, gets some of the show’s biggest laughs, largely through a blend of extreme physicality and pitch-perfect timing.

“I’ll tell you this about Razzle,” Willingham says, taking a seat at a coffee shop around the corner from the theaters. “Comedy is really hard, and this is even harder. Our timing has to change from night to night. We start the show thinking, ‘OK audience, where are you at tonight? Oh, OK, you like the sophomoric material.’ Or, ‘I see, this crowd is going to be into the headier stuff, the linguistic gymnastics and the puns.’ It takes a while to gauge the audience and figure out how to play the show, how to anticipate which jokes they’ll be laughing at and which they won’t be.”

In June, Willingham will add another comedy, The Taming of the Shrew, to his duties, playing the part of Hortensio. This is the fifth season at OSF for Willingham, a graduate of Santa Rosa High School and a cofounder of the Sonoma County Repertory Theatre. Now a regular on the Ashland stage, Willingham says that performing here was a goal from the first time he visited while still in high school in 1981.

“I used to dream about getting a job here as an actor,” he says. “From the moment I saw my first Ashland show to the first time I actually, finally set food on that stage, I never stopped dreaming about this place. For an actor growing up in Northern California, this is Broadway. This whole town is a theater, this town is devoted to theater. There’s nowhere like it, except maybe New York City.”

While the drive from the Bay Area to Ashland takes most Ashland fans about seven to 10 hours, Willingham’s journey took a little longer: he achieved it in just over 20 years.

While in high school, where he admits he began hanging around with a “bad crowd,” Willingham got hooked on theater after taking Elizabeth Craven’s drama class at Santa Rosa High, then doing after-school plays with her husband, John Craven. It was an exciting time to be an actor at SRHS, with the Cravens staging controversial shows like Tobacco Road and Cabaret, the latter of which was notoriously shut down by the school board for its fishnets-and-swastikas realism. Over the next several years, Willingham performed with every North Bay theater company that would give him a part, spending several seasons with the nationally acclaimed Summer Repertory Theater program at Santa Rosa Junior College.

He earned his BFA at the North Carolina School of the Arts, then returned to Sonoma County with the intention of starting his own theater company. That company, formed with his friend Eric Cook, was the Illusion Theater Alliance, which staged two or three shows before Willingham was approached by director Jim dePriest. DePriest had recently acquired a small theater space in Sebastopol and invited Willingham to join him in starting a new theater company, Main Street Theater, the earliest evolution of what would eventually become the mighty Sonoma County Repertory Theatre. In its first few years, Willingham directed and performed in several shows, then–on what amounts to a whim–suddenly decided to see if he could make it in New York.

“My girlfriend at the time was a dancer,” he explains, “and one day she looked at me and said, ‘We’re young, we’re not tied down with a child’–except for me, of course–‘so let’s move to New York.’ Three months later, we were there.” He stayed for six years, during which time he learned everything there was to know about the high pressures of auditioning in the Big Apple and the New York restaurant industry. “I was like a lot of actors in New York,” he laughs. “I didn’t really know how to start my career. I just showed up.”

By the time he left, Willingham had done exactly two shows in New York, both of them off-off-Broadway, one as an actor and one as a director. On the other hand, he’d been doing quite a bit of regional theater over those six years, performing outside of NYC. Eventually, he decided to do the next logical thing for an actor: he went back to school to earn his masters degree, this time landing at the University of Washington in Seattle.

And that’s when the Oregon Shakespeare Festival finally took notice.

Over the years, he’d auditioned for OSF twice and been passed over both times. So when he was asked to come to Ashland and audition, he tried to remain realistic.

“But then,” he says, “they offered me a season, man! I did Demetrius in Midsummer and a couple of parts in Richard II. It was like a fairy tale. It was like, ‘Why do you go to graduate school?’ The answer is not, ‘To get a degree.’ The answer is, ‘So you can work at the Oregon Shakespeare Festival.’ If I’d known that, I’d have gone to grad school a whole lot earlier.”

On this snowy day in Oregon, however, Willingham is once again at a crossroads.

“I haven’t decided if I’m going to audition for next year’s season or not,” he reveals. “That dream of working here in Ashland, that dream I cultivated for 20 years, that’s not my only dream. I also kind of–and I’m serious, so don’t smirk–I want to win an Oscar.” He laughs happily.

“Hey, Ben Affleck has an Oscar,” he adds. “Why can’t I have an Oscar?” Next year could see Willingham in either Los Angeles or London.

This being the day of the Academy Awards ceremony (Willingham is hosting an Oscar party for some friends), the subject of acceptance speeches comes up.

“As someone who actually works on his Oscar speech from time to time,” he states, “I have actually given some thought to this, and to whom I will thank, someday, in my speech. Here’s the deal: I am a very, very lucky actor. When I first got into theater, I can confidently state that I was very definitely going down the wrong road. I was, maybe, a year-and-a-half away from doing some very bad things.

“So, first of all–and pardon me for being corny–I will thank my mom,” he says. “Even when I was going down the wrong road, my mother saw that I was searching for something to fulfill my . . . whatever–my emptiness. When I came to see theater as my calling, she didn’t discourage that. She didn’t suggest I come up with something to fall back on. She just said go for it. The drama class I took from Beth and John Craven at Santa Rosa High School–it literally changed my life. And I’d definitely thank Jim dePriest, who taught me that energy alone can get stuff done, that you don’t always have to have a plan, but you do have to have the energy to implement whatever it is you do come up with. These are the people who helped me become who I am. They are the people who helped get me here, and will be a part of wherever I end up next.”



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Letting Loose

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music & nightlife |

Multiculti bliss: Lila Downs avoids the traps of authenticity.

By Gabe Meline

Man, I hate authenticity these days.

All this media bullshit about Barack Obama not being “black enough” has put me in a fluster over our cultural worship of the authentic background. Every celebrity’s biography, it seems, is geared to prove that dues were paid and obstacles overcome in some vague, holy quest to “stay true.” We’re bombarded with these backstories and we eat them up.

We demand authenticity in music, don’t we? Music that comes from a true source, whether way down in the swamps or high up in the hills, is our cultural grail. We hunger for a living representation of purity, someone upon whom we can bestow the ultimate honor: being the “real deal.”

But this phenomenon’s all-too-common opposite–writing off anything that blurs particular prejudices of geography, economic status or race–is a dangerous practice at large, and extremely limiting for music in particular. What if a milk-faced kid from Tupelo had never discovered rhythm and blues? What if four straight-edge guys from D.C. had enrolled in grad school instead of starting a hardcore band? What if three girls from Texas had never broken through country music’s blind support of the president?

Where would we be then? I’ll tell you: we’d be listening to the same 29 Robert Johnson songs over and over again, stagnating in a pool of self-imagined authenticity. In fact, I know some of these people, and take my word for it, they are not an exceptionally happy bunch.

I don’t mean to be purely reactionary here. I’m simply explaining my own shortsighted judgment when I first discovered that Lila Downs, the sensational Oaxacan-born singer of Mexican rancheros and spirited carrier of the Mesoamerican tradition, had actually been raised in America by a Scottish-American father, graduated from the University of Minnesota, sung jazz in Philadelphia and for a few years–sin of all sins!–followed the Grateful Dead around the country.

My mind reeled. My knee jerked. How could this be? Inside, I felt the distressed pang of being duped.

But I decided to immediately listen again to Downs’ latest album, La Cantina, in an experiment to determine if her music had, in fact, been tarnished by this new revelation. It hadn’t. Moreover, the very elements in her music that betrayed a traditional Mexican heritage–angular big-band arrangements, drum and vocal loops, a cappella choirs–were the same distinctive elements that drew my attention to Downs in the first place and opened me to the powerful emotional range of her rich, throaty interpretations of native Zapotec, Maya, Nahuatl and Mixtec Indian songs. She appears at Yountville’s Lincoln Theater on March 23.

Over the phone from a Hollywood hotel last week, Downs admits that she’s taken knocks from hard-line traditionalists for not being “authentic” enough, but she has the sage detachment to laugh about it. “I’m sure that I do get criticized,” she says. “I’ve heard of some in Veracruz. But of course, nobody tells me to my face.”

Why would they, when every musical tributary that Downs has explored has only enriched her palette? Through singing jazz standards like “God Bless the Child” or “Tenderly” at smoky clubs in Philadelphia, she picked up a deceptively uninflected phrasing that she employs to fragile degree throughout La Cantina. “I think it’s always a point to come back to, the standards,” she explains, “and to somehow always envision that life.”

Through singing tango music in the highly acclaimed movie Frida, Downs was able to reach a wide audience–and to help liven up the Academy Awards show in 2003. “It was kind of a somber time,” she recalls of the broadcast. “I remember that the war had just begun, I think, the day before. So we were all kind of just a little quiet. I remember that Michael Moore was there, and that,” she laughs, “was kind of a relief.”

A move to New York City allowed Downs to assemble an outstanding multicultural band, incorporating electric instruments and modern production. “I really dig the electric guitar,” she says. “It just kind of opens your soul, you know, and it opens lots of different things, the way that you feel about life, and you can let loose.”

There’s one musical avenue that didn’t stick, however. Despite seeing the Grateful Dead night after night, Downs shows an uncanny lapse in memory when it comes to the band’s music. If you can remember it, as the saying goes, you weren’t there, and when asked what her favorite Dead song is, Downs clarifies that she was, in fact, there.

“Yeah, I think I have, uh, several that I kinda, that I like,” she stumbles. “I like, uh, uh, let’s see . . . There’s a song that goes, ‘Friend of the devil is a friend of mine.’ I like that song, it’s pretty cool. It’s renegade, it’s that kind of thing. And that was really one of the reasons that I was attracted to that whole scene, was kind of like droppin’ out, you know, that whole thing that we have to go through in life.”

Has she ever regretted following the Dead instead of pursuing her own music? “I don’t think you can ever turn back once you go in that direction,” she insists. “I mean, for me, it wasn’t ever just a phase. It really made an imprint on my life, and it made me believe in certain things and I try to stick to those things.”

Now, on the eve of an acoustic West Coast jaunt, sandwiched between tours of New Zealand and Spain, Downs is looking forward to spending time, she says, in California, where the Mexican population “has so much to do with who I am as an individual, these issues that have to do with migration and the Mexican-American community.” Downs’ 2001 album Border explored the immigrant experience.

Of course, despite the vineyard-worker population, Napa Valley is for the most part a very upscale area, and I ask if, when she performs in regions like this, she’s still able to connect to the people of the community that gave birth to her music. “I hope so; I mean, that’s one of our challenges–always trying to bring audiences together,” she offers, having earlier in the day filmed a television special for Univision and about to conduct an on-air interview for NPR. “We’re very lucky, our audiences vary quite amazingly.

“The question is finding a way that the music can bridge those gaps between people who are in different walks of life,” she stresses. “I think that’s very important, so that people aren’t so afraid of one another.”

Lila Downs performs on Friday, March 23, at the Lincoln Theater, 100 California Drive, Yountville. 8pm. $25-$50. 707.944.1300.




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Modern Irish Bounty

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Photograph by Robbi Pengelly
Craickin’ on: Fred Astaire’s grandson Kevin McKenzie has a love of fresh Irish cuisine.

By Patricia Lynn Henley

To truly celebrate St. Patrick’s Day, savor mussels cooked in Guinness, leg of lamb baked in lavender and hay, or have some tasty smoked salmon. That’s the real taste of Ireland, explains chef Kevin McKenzie.

“It’s a very pristine, pure, gorgeous country with amazing food,” McKenzie asserts, standing in the sunlight-drenched kitchen of his Santa Rosa home. “I think people just don’t get what Ireland is. Americans equate Ireland with pubs and fried food.”

McKenzie will be exploring what the media has dubbed the “new Irish cuisine” at a March 17 cooking class in Healdsburg and through a tour of Ireland in July, both sponsored by Relish Culinary School.

And while it’s true that Ireland is filled with pubs and their standard grub, McKenzie says, it’s also filled with culinary riches–a coastline brimming with lobsters, mussels, shrimp and fish, and acres of rich farmland, where the concepts of sustainable eating and Slow Food are entrenched, centuries-old traditions.

“The best smoked salmon in the world comes from Ireland,” he proclaims. “There’s a lot more depth to Irish cuisine than people understand. There’s an incredible amount of bounty there.”

The problem, he adds, stretches back about 150 years ago to the Irish potato famine, when they lost their base crop. “I think they lost faith, literally, in their land,” he muses. In a country of some 8 million people, more than 4 million emigrated, many to the United States.

But Ireland’s recent economic revival as a major player in the high-tech world has led for the first time in more than a century to reverse immigration, with Irish people moving back home, embracing new opportunities and old traditions.

“There’s a resurgence and a new faith in their land,” McKenzie says.

There’s also more money. “People with money tend to eat good food.” McKenzie adds that people flushed with financial success will travel and try other cuisines, bringing more sophisticated palates back to their home tables.

“There’s almost like a world menu right now,” he says, adding that there’s always been great food in Ireland. It’s just that people, especially in the United States, are only now starting to realize that.

“It’s like when California cuisine became a buzz word. I think Irish cuisine is finding it’s own focus.”

McKenzie should know. He launched his career at the beginning of the California-cuisine movement, training under such world-renowned chefs as Jeremiah Tower and Jonathan Waxman. McKenzie, now 50, owned the acclaimed Rover’s restaurant in Seattle, and spent several years in Los Angeles as a successful caterer and private chef. His culinary feats included organizing the Academy of Arts and Motion Pictures’ Governors Ball three years in a row.

After suffering through a number of personal losses, McKenzie wanted a simpler life and a chance to renew his passion for food. In 2000, he and his wife relocated to Sonoma County from LA.

“Being a chef and a writer, this area is just heaven for me,” he enthuses, “all the artisans and all the farms.”

In some ways it’s similar to the bounty in County Cork, Ireland, where his parents, Ava Astaire McKenzie (she’s the daughter of Fred Astaire) and Richard McKenzie, bought a farmhouse 30 years ago. The property includes an 12th-century tower.

“The view from there hasn’t changed,” McKenzie says. “It’s been the same for eight centuries.”

The family enjoys the deep Irish connection to the land and the sea. Ava is the author of My Home in Ireland: Cooking and Entertaining with Ava Astaire McKenzie, and Richard wrote Turn Left at the Black Cow: One Family’s Journey from Beverly Hills to Ireland.

Kevin McKenzie visits as frequently as he can, cooking with his mother in her kitchen and savoring all the local culinary riches. After a trip to Ireland last year, he returned with boundless enthusiasm for all that County Cork has to offer, says Relish Culinary School owner Donna del Rey.

“He came back and said we have to take people there, it’s really an amazing place.”

So Relish, which sponsors a number of local culinary tours, is organizing its first overseas adventure, From Farm to Fork: Ireland Culinary Tour this July.

It will be an insider’s look at County Cork and its modern-day, Slow Food cuisine. A few of the planned activities include visits to Ballymaloe Cookery School on its 400-care sustainable farm and a rare public visit to the family-run Gubbeen Farm which cheeses, smoked meats and organic vegetables and herbs.

“As with our Sonoma County tours, we really will let the artisans speak for themselves,” del Rey says.

The schedule also includes a cooking class taught by Ava and Kevin McKenzie, using mussels harvested from the cove on the McKenzie property, produce fresh from Ava’s garden and other local goodies.

As a foretaste, Kevin McKenzie is teaching a class March 17 in Healdsburg on the contemporary Irish supper. The menu ranges from smoked wild Irish salmon on traditional brown soda bread to that leg of lamb baked in lavender and hay.

Except for a few items such as smoked mackerel, almost all the ingredients used in modern Irish cuisine are easily available in Sonoma County, McKenzie says, from mussels and salmon to artisan cheeses. It’s part of the growing Slow Food movement, where people are more aware of how and where their food is produced.

“It’s becoming a way that we’re reconnecting again, because we’re such a splintered society. Food is becoming a way we’re jelling again.”

And it’s a way to reach out to past traditions–real traditions of Irish bounty and abundance, not the stereotypical ones. The corned beef and cabbage dish that many Americans eat on St. Patrick’s Day isn’t even Irish.

“Corned beef and cabbage was actually invented in New York,” McKenzie explains. Irish immigrants wanted to recreate a traditional Irish bacon and cabbage dish, and corned beef by Jewish butchers was as close as they could come.

For a more accurate taste of Irish cuisine both traditional and modern, apparently County Cork is the place to go.

“Cork bills itself as the cultural center of the world, literally–they have signs proclaiming that,” McKenzie laughs.

From Farm to Fork: Contemporary Irish Supper, Saturday, March 17, 5:30pm, Alexander Valley Hall, Healdsburg. $75. 877.759.1004 or 707.431.9999. www.relishculinary.com.



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