Ghee Whiz

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Photograph by Felipe Buitrago
Bar Naan: When it comes to hot Indian bread, follow this secret culinary technique: buy it.

By Audrey Gardiner

As a culinary-school student, a willful prep cook and, now, a line cook at a busy restaurant, I spend most nights in a hot kitchen next to a bunch of sweaty men showing off my mastery of Western culinary technique. On a nightly basis, I steam mussels, sauté greens and coax risotto into creamy perfection. All that cooking at work means I rarely cook at home, but I still enjoy it when I have the time. I can cook just about anything I set my mind to. Anything, it seems, but Indian food.

In spite of my professional training, mastering the complex sauces and techniques has always eluded me. And so, in a recent fit of culinary pride, I determined to wrestle Indian food into submission.

My first stop was an Indian grocery store. Not finding what I needed in the North Bay, I drove to Dana Bazar in Fremont. But standing there in the store amid fresh produce, an array of spices, a wide variety of lentils and rice, an extensive frozen food section and a helpful staff, I was lost. I had originally thought that I could shop the way I shop at other grocery stores: Go in, see what looks good and work from there. This is not the case with Indian markets.

I learned my first lesson: Be prepared. It’s tough to wing it, so I returned armed with recipes and found just about everything I needed, except something called jeera. What the hell is jeera?

I dug through piles of spice bags, jars and boxes at multiple stores but came up empty handed and stuffy headed. I Googled the word at home and learned that jeera is cumin–something I keep in my cupboard at home. Lesson No. 2: Look foreign words up first.

During my foray into Indian cooking, I made the serendipitous acquaintance of an Indian woman who loves to cook and talk about cooking. Determined to pick her brain, I told her of my Indian cooking quest and my misadventures with naan, the soft bread that’s a staple of Indian food. Naan, she told me, is difficult to make at home, but using the right amount of yeast and yogurt is key. Or so she said. My efforts failed. Clearly, I was not ready to master the great secrets of naan.

We chatted about food, and she described how she makes perfect Indian rice. I’d like to pass the technique on to you, but she lost me in the first two minutes. The only thing I got was that onions should be cooked with the patience many Americans lack, and to use lots of butter. In fact, the most valuable and surprising thing I learned from this confident woman is everything needs butter or the clarified butter known as ghee, and lots of it. I guess I shouldn’t be surprised, as butter is the “secret” ingredient that makes nearly all restaurant food delicious.

Slowly, I was beginning to see that, like so many things, good Indian cooking is the result of trial and error, and I would have to wander the path on my own.

There are two ways to go about making Indian food at home: starting from scratch or taking a short cut and using prepackaged mixes to which meat, rice and/or vegetables are added. I wanted to try both, so I set out to make a meal that included some of my favorites: biryani rice, mili juli sabzi (a vegetable dish), chicken tikka masala, naan and tandoori lamb. I tried biryani rice two ways: one with a spice packet and one without. Both ways are easy and delicious, provided you actually know how to make rice.

You’d think a professional cook like me could make rice with my eyes closed. Making it in the microwave should have posed no problem. But it did. I’m a bit of a purist and always cook rice on the stove, but hoping to save a little time, I grabbed a microwavable container and followed the directions on the basmati rice package. When the timer beeped, I peeked to see how my easy, no-fuss rice had turned out.

The lid of my so-called microwave container had melted like lava over the burnt grains. The charred rice had fused the bottom of the container to the rotating glass plate. An acrid smell accompanied the sight of the formerly white interior of the microwave. I closed the door and made rice on the stove. Once I’d finally made a batch of edible rice, I added frozen peas, French green beans, potatoes and cauliflower, and then finished it with cashews. Turmeric, garam masala, bay leaves and a little ghee helped produce fluffy, mild, yellow rice.

Some of my efforts yielded food that wasn’t quite right. The flavor was off or the sauce had an unusual texture. The chicken tikka masala proved to be one of these difficulties. The marinade turned the chicken into pale, brownish gray chunks, which were difficult to avoid overcooking in the simmering liquid. The mili juli sabzi took me a couple tries to get right. The vegetables, I learned, have to be blanched and then simmered in the sauce. I like my vegetables somewhere in between California crunchy and Midwest mush, so the challenge lay in cooking them so that they weren’t too mushy or too al dente. Eventual success came from blanching raw vegetables to just underdone and defrosting frozen vegetables with a one-minute dunk in the water. This allowed them to soak up flavor in the sauce later without turning them into a squishy, unidentifiable mess.

I don’t have an oven that reaches the blast furnace temperatures needed to make naan and tandoori meats, but I was determined to give it a try. The recipe for lamb that I finally came up with works best for chops on the grill. It’s crusty, spicy and downright delicious. My adventures with unattainable homemade naan drove me to near insanity. I thought it would be like making bread, a time-consuming but ultimately easy process. At home in my regular old gas oven I produced cooked rounds of dough that looked like badly made pita. But the restaurant I work in has a brick oven that hovers around 600 degrees, so hot that holding your arm in it for 10 seconds yields a burn that looks like a sunburn and feels like a bruise.

Under the watchful eye of my chef, I attempted to make naan in his brick oven. If you have ever tried to make tortillas at home, you can imagine the thick, flour-flavored disks produced by this failed experiment. This experience led me to a third and final lesson: you can buy naan. It’s available fresh at the farmers market, frozen at the store or piping hot from your local restaurant. Skip the microwave, throw it in the oven and let the smell fill your home–as though you had made it yourself. That’s what I will be doing.

Tandoori Lamb Chops
Adapted from ‘The Best American Recipes 2005-2006’ by Mario Batali, Fran McCullough and Molly Stevens

2 pounds lamb rib chops, 1-1 1/2 inches thick
8 medium garlic cloves, minced into a paste
1/3 inch piece of ginger, minced into a paste
1 tbsp. paprika
1 tbsp. garam masala
1 tbsp. toasted cumin seeds, coarsely ground
1 tsp. salt
1/2 tsp. cayenne
1/4 tsp. mace
1/4 tsp. nutmeg
3/4 c. plain yogurt, drained in a cheesecloth or coffee filter (save time by substituting 1/2 cup Greek yogurt)
1/4 c. malt vinegar
2 tbsp. canola oil
3 tbsp. melted butter
juice of 1 lemon

Method
Cut three to four slashes in each of the chops. Mix all the remaining ingredients except oil and butter in a bowl large enough to hold the chops. Add the chops and toss to coat with marinade. Put the chops in a large resealable bag and refrigerate overnight.

Light the grill. Add the oil to the bag with the chops and reseal. Massage the bag between your hands to oil the chops. To grill the chops, remove from marinade and grill five minutes on each side. Let rest five minutes off the grill. Brush with butter and grill five minutes more on each side for medium rare.

Passage to India
A few places to pick up the good stuff

Apna Bazaar, 7500 Commerce Blvd., Cotati. 707.665.0333.
Asia Market, 1774 Piner Road, Santa Rosa. 707.542.3513.
Asian Market, 5 Mary St., between Third and Fourth streets, San Rafael. 415.459.7133.
Dana Bazar, 5113 Mowry Ave., Fremont. 510.742.0555.
Hatam Restaurant & Grocery, 821 B St., San Rafael. 415.454.8888.
New Asian Market, 1390 N. McDowell Blvd., Petaluma. 707.794.9532.



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Quick dining snapshots by Bohemian staffers.


Winery news and reviews.


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


Recipes for food that you can actually make.

News Briefs

November 1-7, 2006

Phil Lesh ill

Grateful Dead bassist Phil Lesh, 66, is scheduled for prostate cancer surgery in early December. “Since we’ve caught it very early, and it’s small and slow-growing, I fully expect to have a rapid and complete recovery,” Lesh says in an Oct. 26 announcement on his website (www.phillesh.net). A longtime Marin County resident, Lesh underwent a liver transplant in 1998. Routine tests revealed the cancer. “I urge everyone to become an organ donor to help save lives,” Lesh says. “Now I am also urging all men: speak to your doctor about having periodic regular PSA screening for early detection of prostate cancer–you may save your own life.”

$7,500 letter to editor

In June, Napa resident and constant city council critic Jarvis Peay gave the city a doctor’s letter outlining the particulars of his disability in order to receive special accommodation at meetings. Copies were apparently given to city council members, including Napa Sentinel publisher Harry Martin, who is running for his fourth term on the council. Among his activities, Peay is a constant letter writer to the Sentinel, and in a recent one he accused Martin of racism. Martin’s wife responded with her own letter to the editor, concluding that Peay couldn’t help himself due to his specific disabilities. Peay filed a claim against the city for revealing his confidential diagnosis, settling for $7,500 and an apology. “It was one of those situations where we felt we needed to move as quickly as possible in order to limit the city’s liability,” says mayor Jill Techel. Martin, who lost last year’s mayor’s race to Techel, claims he got a copy of the letter but never showed it to his wife, who says she learned of Peay’s problems from other people. Martin alleges Techel authorized distribution of the doctor’s letter, which Techel denies.

Cracking down in S.R.

Santa Rosa police officers begin watching this week for dangerous drivers on Stony Point Road between Sebastopol to Occidental roads, the site of at least 25 collisions from January 2004 to December 2005. This is the first safety crack-down funded by $347,000 in state and federal grants, says Sgt. Don Hasemeyer of Santa Rosa’s traffic bureau. The two-year grant will pay for salaries and equipment to increase enforcement, including eight DUI checkpoints and 12 DUI saturation patrols. Among other items, a new “Hot Sheet” program will help identify chronic DUI offenders. “Anything that we as a department can do to try to reduce traffic violations, accidents and DUI offenders is a benefit to the community,” says Hasemeyer. “That’s our ultimate goal.”


New Weird America

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November 1-7, 2006

Imagine what popular music would sound like if Harry Smith hadn’t turned the world on to the old weird America. Smith, an irascible record collector and musicologist with encyclopedic powers, compiled the multi-album Anthology of American Folk Music, released in 1952, and provided a road map for a generation of folk revivalists and their progeny. Without Smith’s offbeat collection of eccentric hill-country ballads, field hollers, spirituals and blues, Bob Dylan might have stayed in Hibbing, Minn., selling used cars; the Carter Family could have slipped into obscurity; John Fahey may have failed to spark the solo-acoustic-guitar revolution; and the editors of No Depression magazine probably would be waiting tables.

There would be no alt-country movement. No Gillian Welch. No Uncle Tupelo. No Moby delving into folktronica.

The anthology remains an essential set for any serious Americana aficionado, and required listening if you have even a passing interest in freewheeling hillbilly music. “The Anthology was our bible,” folk guitar great Dave Van Ronk once said. “We knew every word of every song on it.”

The newly released four-disc box set The Harry Smith Project: Anthology of American Folk Music Revisited, produced by Rani Singh and Hal Willner, pays homage to that legacy in a neatly packaged audio and video celebration of the folk arts, replete with a 40-page annotated booklet.

The two audio discs feature 33 tracks recorded at a series of tribute concerts held between 1999 and 2001 in New York, Los Angeles and London. Among the rock, blues, alt-country and jazz performers are Elvis Costello, Wilco, Richard Thompson, Beck, Steve Earle, Beth Orton, Nick Cave, Marianne Faithfull, Geoff Muldaur and Lou Reed, to name a few.

There are once-in-a-lifetime pairings: Sonic Youth teams up with avant-jazz trombonist Roswell Rudd; Todd Rundgren joins Seattle art-house singer Robin Holcomb; and Van Dyke Parks meets the Mondrian String Quartet.

The supporting bands included guitarist Bill Frisell, keyboardist Garth Hudson of the Band and drummer DJ Bonebrake of X, among others.

The mostly acoustic-oriented material is pure Americana, though oen delivered by rootsy Brits, Canadians and Australians, a testament to the far-reaching influence of Smith’s original Anthology.

The result is a richly satisfying musical experience, celebrating not only the great American songbook, but the eccentricity that permeates this nation’s psyche—just check out Dave Thomas of Pere Ubu’s wildman delivery of “Way Down the Old Plank Road.”

The concert footage can be seen on a companion DVD; a second DVD features the film documentary The Old Weird America and includes three of Smith’s own films and interactive music selection by Philip Glass, DJ Spooky and Mocean Worker.

Despite this tribute, Smith remains an unheralded bohemian genius. He moved to the Bay Area in 1948, smoked pot and developed an insatiable appetite for vintage vinyl. He eventually sold many of his best records to the New York Public Library and Folkways label chief Moe Asch, whose own voluminous archive is curated by the Smithsonian Institution.

While Smith is little known outside of hardcore collectors, academics and a small circle of musicians, this new box set is hardly the first time he’s been feted. If you have a chance to pick one up, revisit The Harry Smith Connection: A Live Tribute to the Anthology of American Folk Music (Smithsonian/Folkways). That excellent 1997 single CD, recorded live at the barns at the Wolf Trap, includes unique collaborations with Roger McGuinn, Jeff Tweedy and Jay Bennett.

And don’t ignore the original source material.

As Rolling Stone magazine noted at the time of the 1997 reissues, “It’s impossible to overstate the historic worth, sociocultural impact and undiminished vitality of the music in [Harry Smith’s Anthology].”


Ask Sydney

October 25-31, 2006

Dear Sydney, about six months ago, I loaned my cousin some money. She and her husband had fallen on hard times, and at the time, the $500 I loaned them was a lot to them and something I could afford. Since then, things have stabilized for them, but they have made no effort to pay back the debt. I am a very understanding person. I have tried asking for it directly and have made indirect comments on my current lack of money. All of this has only been made worse by the fact that my cousin, who is what I would call “high maintenance,” is constantly showing off her new clothes, shoes, hair colors and–my favorite–a handbag costing more than the amount she owes me.

I know that all of these items are bought with credit cards and not real money, but it still bugs the crap out of me. What should I try that I haven’t already? We are a very close family and see each other often, so I feel torn. Should I just chalk it up to a lesson learned and forget about the money? It’s not the money as much as just feeling disrespected–that and the fact that I would love a handbag like hers, but I can’t afford it.–Funny with Money

Dear Funny Money: This is one of those tragic situations where, discovering that you have loaned money to the wrong person, you now have to figure out how to get it back. Well, here’s the thing: You can’t get it back. The only way to get it back is for your cousin to give it to you, and it doesn’t seem that she is planning on it. And honestly, even if she did give it to you now, after you have been forced to raise a stink about it, you will never trust her with money again.

Your cousin may be wrong to behave in this manner, but some people are just funny about money, and the best thing you can do is not loan them money ever again. Just consider it a lesson learned. Five hundred dollars is a nice bundle of cash–who wouldn’t want $500? But it’s also not irreplaceable.

Try to let it go. Even consider it a gift. It’s not worth losing family over. Let her know you feel let down, but don’t give up on her entirely. In other words, don’t give her the PIN to your ATM card, and don’t buy her an expensive Christmas gift, but when it comes to Thanksgiving, have her over and ignore the stupid purse. It’s only a purse, and you should feel nothing but pity for someone with such appalling spending habits, as things will undoubtedly continue to be difficult for her.

Dear Sydney, why must we feel so much pain? My insides are hollowing out and there is so much emptiness. I feel as if I’ll never again be happy.–Seeker

Dear Seeker: Picture your mind as a complex and very expensive video game. Twenty-four hours a day, 365 days a year, you are playing your mind. You move from level to level, you process information quickly, you never stop overcoming obstacles and gaining and losing points. Some levels are fun, some lonely, some incredibly hard, some are scary. This is not life that I’m talking about here; it’s your mind, your thoughts and feelings, and how you process what comes at you from the outside on the inside.

Life can be miserable, I’m not going to deny you that. And constantly comparing yourself to someone living in Iraq never helps. Whoever spread the false rumor that you can feel better about yourself by imagining the suffering of others had her head up her ass. But what you can do is to keep getting better at the game and gain some control. Figure out the cheat for happiness. Switch levels. Make changes. Upgrade your expectations. In other words, don’t let yourself become hollow inside. You can see life as it is, but then you have to make something better out of it. Otherwise there’s just nothing to look forward to in playing the game.

Dear Sydney, my partner and I have a three-year-old. I work full-time and my partner stays home with the kid and tends house and cooks, but does not have a steady job that brings in money. We are pretty happy with this set-up. Aside from being a little broke, we feel like our kid is getting a good beginning in a rather rough world. However, both of our folks (and our grandparents, too) think my sweetie should get a job. This would entail putting our daughter in daycare. At this point she does go to a daycare just a few hours a week, which gives my partner some freedom (I work about 80 hours a week, so they don’t get much space from one another). Also, in a year or so, my partner is planning on going back to school. At that point, our kid will need to start a more formal and time-consuming daycare. The question is, are our parents right? Or, do we continue with our lifestyle that makes us happy? Money is a stress, I will not lie, but we think having our kid have this great start is worth the struggle. Also, how do we make it more palatable to our parents? Thanks.–Broke and Happy

Dear BAH: Pursue the lifestyle that makes you happy! If your partner wants to stay home with the baby, if this is what you want as well, and you can do it without ending up starving or homeless, then keep it up, and congratulations! It’s not an easy feat to support a family on one income. In fact, many believe it to be a near impossibility unless one of you is making the big bucks. Good for you, for being willing to make time with your child the priority.

On the other hand, there is the reality of bills to pay, and to that end, things could be a little easier if your partner made just a little income. Even an extra couple hundred bucks a month can make a difference, and if you keep your monetary expectations modest, there are many ways to pull in extra cash.

But either way, it’s up to the three of you, and making it palatable for your parents is unnecessary. It’s not any of their business to tell you who should be working and who should be staying home and when the baby should go into daycare. Unless, of course, they’re giving you regular sums of money–but then you have another question on your hands entirely.

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


First Bite

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October 25-31, 2006

I came to Pazzo to experience Moroccan cuisine as it’s presented in the heart of historic downtown Petaluma. And why not? The new restaurant also features food from Spain, Southern France, Italy and Greece, but to my stomach, Morocco seemed to have the most interesting address.

Mmm. A bit of Pazzo’s chicken Marrakech ($18), perhaps, the young bird goosed with Moroccan spices, garlic, onions, tomatoes, eggplant and almonds. My sister Elisabeth, visiting from Japan and burned out on sushi and such, was all over it when I suggested the full-flavored African stuff for dinner.

My mom would always be in the mood, you betcha, for Pazzo’s couscous primavera ($14), envisioning aromatic grains tossed with sautÈed seasonal vegetables, tomatoes, fresh herbs and a drizzle of rich, nutty argan oil.Blame it on a seductively written menu. We never got past Italy that night. Pazzo owners Bill and Beverly Woodbridge are as skilled with their pens as they are with their cooking, and their name for a veal dish layered with prosciutto, mozzarella and sage sautéed in a Marsala demi-glace was simply too sexy to pass up: “Veal That’ll Jump into Your Mouth” ($18).

After my first bite, I wasn’t sorry I had defected, either. The dish was exquisite, altogether mellow, salty, creamy, smoky-wine-kissed and briskly pungent with fresh herb. A mound of basil-flecked mashed potatoes demonstrated what all ambitious spuds dream of becoming.

Elisabeth had been stopped in her tracks by the linguini prawns ($18), smitten by the ravishing-sounding sauce of sun-dried tomatoes, shiitake mushrooms, arugula, roasted garlic and olive oil topped with crumbled feta. It was beautiful, in fact, with four meaty shrimp and so much tangy cheese that we spread the extra feta on our bread, dipping it in excellent (not sugar-sodden!) balsamic.

As for mom, well, she had abandoned our African adventure just as soon as our waiter described an evening special of a “huge, juicy filet mignon, crusted in black peppercorn, over creamy risotto with mixed vegetables.” Food like this, he swore, was one of the reasons he works at Pazzo–that steak ($28), his favorite lobster bisque ($7). It was “all so good, I’m not lying,” he promised with such charming sincerity that I had to boost his tip when the bill came.

Bless the sampler platter ($14). The dish, whose composition can change depending on the mood of the kitchen, was on this night anchored by intensely herby grilled lamb slices, and redeemed our mission by allowing us to claim at least a taste of Morocco in our meal. Sharing the big plate were lovely fluffy spinach-stuffed spanokopita, more feta, lemony dolmades, hummus that was pleasantly chunky like cookie dough, and a mound of dried apricots, dried figs and mixed olives.

It’s a fine place, this Pazzo, set in a vibrant space of cobalt and mustard walls pulsing with Putumayo global music. I came here to explore Africa, and discovered much broader continents of outstanding cuisine.

What a wonderful world.

Pazzo, 132 Keller St., Petaluma. Open for lunch, Monday-Friday; dinner, daily. 707.763.3333.


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

Melodies of Jack

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October 25-31, 2006

Keep a tight hold on your opera glasses. Beginning Nov. 11, this stereotypically staid art form gets a lively update in Every Man Jack, which uses a vaudeville format, a cast of six who perform 50 different roles and everything from a harmonica to a chamber ensemble to present the compelling story of author and adventurer Jack London, his life and times, and his struggle with alcohol. Commissioned by the Sonoma City Opera, this original work is created and performed right here in the North Bay–where London lived and worked–by talented national and international artists. Renowned tenor Rod Gilfry plays the title role.

Grammy award-winning composer Libby Larsen and librettist Philip Littell were commissioned to craft this new work for the Sonoma City Opera, to be performed as part of the Green Music Festival.

“What I wanted is a palette of the kind of musical world that surrounded Jack London, so that when I created music for London himself, I could create a very human music placing London in the framework of the world in which he lives,” Larsen explains by phone from her Southern California home.

The bulk of London’s writing was completed at the turn of the last century, from the early 1900s to 1916, when he died at age 40.

“That particular period of time is a real fascination of mine for many reasons,” she says, “most of them having to do with the fact that the world we live in now–which is the world of transportation, roads, music brought to us by electricity and the communications system–were all at the crossroads of their beginnings during Jack London’s life.”

The gramophone was the iPod of its day, Larsen reminds, bringing with it the notion that you could have the world of music at your fingertips in a boxed set of RCA Victor red-seal records. London himself owned a gramophone, and took it with him on his sailing ship, the Snark.

“One of the reasons I became so interested in Jack London and the world in which he lived is that it feels very similar to what we’re experiencing right now,” Larsen says. “It’s a world of great change. We don’t have many anchors.”

Based on London’s own John Barleycorn, which is as close as London ever came to writing his autobiography, the opera is performed in American English. “What excites me is that by really working with the language itself, we have come up with a piece that is genuinely 21st-century American without any Americana in it. The singers are so excited about the fact that the words and the music have an energy that speaks to us right here, right now. It’s in modern language.”

Such modernism was written by librettist Philip Littell, who created the Sonoma City Opera’s first original work, 1996’s The Dreamers, an opera detailing the later life of General Mariano G. Vallejo. Speaking to this paper a decade ago, Littell said, “I think that human beings get very big when they’re painted very real. The warts-and-all really does give [them] much more stature than the idealized father-of-our-country stuff.” With London’s vibrant life, of course, Littell had plenty to work from.

Larsen explains that the words that Littell penned shaped her melodies. “The music of any culture comes from the language the people speak, both their verbal language and their body language,” she says. “That’s really what makes Italian opera sound Italian and French opera sound French. American English produces its own music in the rhythms and the shapes of the melodies.”

It’s been a five-year process putting together the highly collaborative new piece, says Antoinette J. Kuhry, artistic director of the Sonoma City Opera. “I think [Every Man Jack] is a really important event because of the level of the artists and because of the subject matter,” she says.

For Every Man Jack, Sonoma City Opera has brought together Littell, who wrote the libretto for the San Francisco Opera’s acclaimed staging of The Dangerous Liaisons and Andre Previn’s A Streetcar Named Desire; Larsen, who has created a catalogue of more than 200 works spanning virtually every genre; musical director Mary Chun, who is principal conductor for the San Francisco-based ensemble Earplay; and stage director Joseph Graves, the artistic director of the Beijing Institute of World Theatre and Film in China. Lyric soprano Ilana Davidson is a Grammy winner. This is no regional small-town affair.

Pulling this all together on a $400,000 budget takes tremendous effort for this teeny-tiny semiprofessional opera company, says Hillary Costin, executive producer and board president. The company scrimped by such measures as having the artists housed by host families in the Sonoma Valley.

“Commissioning an opera on Jack London and hiring the caliber of artists we have hired took Sonoma City Opera out of its comfort zone and into regional and national opera, and international opera,” Costin says. “The way we arrived at Every Man Jack was much more in the mode of ‘Hey, kids, let’s put on a show’ and less like a huge opera company which turns to its million-dollar donors.”

Among other funding, there’s a federal grant to bring four Russian opera company directors here to view a rehearsal, speak with the artists and watch one of the shows. Jack London is a popular author in Russia.

“We hope that they will be interested enough in Every Man Jack to bring it to their companies in Russia, and that we will continue to have this kind of cultural exchange in Sonoma County,” Costin says.

She adds, “Everyone who is involved in this is at the peak of their profession. They are professionals, and they are used to dealing with difficult situations. Having them here for six weeks is incredible.”

‘Every Man Jack’ runs Saturday-Sunday, Nov. 11-12 and 18-19 and Wednesday, Nov. 15, at the Sonoma State University’s Person Theater. Saturday at 8pm; Sunday at 3pm; Wednesday at 7:30pm. 1801 E. Cotati Ave., Rohnert Park. Opening night admission with reception, $75-$99; other performances, $34-$68. 707.939.8288. Philip Littell appears to discuss the ‘Confessions of Jack London’ on Monday, Oct. 30, at the Jack London Reading Room of the SSU Library. Noon. Free. 707.664.4240. www.sonomacityopera.org.

Legend of John Barleycorn

There has always been a great deal of confusion and controversy about Jack London’s drinking. Several biographers have painted him as not much more than a fall-down drunk. But the fact remains that he did die at a relatively young age from kidney failure. His kidney problems may have been caused by the mercury-based medication (Salversan 606) he was taking for venereal disease, but London wrote quite often, usually with unapologetic bravado, about his drinking:

“By truly heroic perseverance, I finally forced myself to write the daily thousand words without the spur of John Barleycorn. But all the time I wrote I was keenly aware of the craving for a drink. And as soon as the morning’s work was done, I was out of the house and away down-town to get my first drink. Merciful goodness!–if John Barleycorn could get sway over me, a non-alcoholic, what must be the suffering of the true alcoholic, battling against the organic demands of his chemistry while those closest to him sympathize little, understand less, and despise and deride him!”

Jack went long stretches, usually at sea, completely sober. He also built a farm, tramped around the world and was a productive and prolific writer. Was he truly alcoholic or was it just bravado, hype and his own need to be a man’s man? We’ll never know, but his contemporary Oliver Madox Hueffer succinctly explains Jack’s relationship to booze:

“Among the apocryphal legends attached to his name, and founded very possibly on his own statements, was that of his almost superhuman drunkenness. That at one time or another he drank too much I can believe–certainly in all the time of our acquaintance he never showed any sign of it. He was by no means a teetotaler; but I never saw him drunk. Nor did he boast of his drinking prowess in my presence.”

–Rob Loughran

Rob Loughran’s screenplay about Jack and Charmian London, ‘Voyage of the Snark,’ is in preproduction with the Piper Down Production Company.


Museums and gallery notes.

Reviews of new book releases.

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

Reviews and previews of new dance performances and events.

American Psychos

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October 25-31, 2006

Dead cats hanging from poles / Little dead are out in droves / I remember Halloween
–the Misfits, “Halloween”

Every year, as the frost spreads its proverbial icy fingers across the pumpkins, and drug stores haul out garish, cutesy battery-operated skeleton hands, the urge comes. No, not the urge to eat candy–that never goes away–but one more sinister, seductive, inescapable: the urge to listen to the Misfits.

Halloween belongs to the Misfits. You can play “Monster Mash” and “Thriller” and your novelty CD of spooky sound effects till the zombies come home. They are but trifles, trinkets as unthreatening as itinerant nuggets of candy corn. The Misfits meant business–horror business, in fact. This is a band that named their signature coiffure–the “devil lock,” a twisted, greased-up shock of hair that dangled down between the eyebrows of each Misfit–after Satan.

The band formed in Lodi, N.J., in 1977 and saw their share of nom de punks–Bobby Steele, Joey Image, Robo–pass through their ranks before their demise in 1983. But it was the charisma and outlandish pseudo-toughness of 5’4″ lead singer Glenn Danzig that solidified the Misfits’ image. Danzig is the embodiment of the scrawny kid in high school who sat in the back of the classroom doodling winged demons and flying skulls on his notebook–only he started a legendary punk band, lifted weights to bulk up and gained a cult following. Show me a punker kid loitering in front of the local all-ages venue who doesn’t have a Misfits patch safety-pinned to the ass-flap of her black jacket and I’ll show you someone who hasn’t done her homework.

I bought my first Misfits cassette at a combination gift shop/record store in Cody, Wyo., the summer I worked in Yellowstone National Park. The store featured mostly moose-motif fleece throws and overpriced lilac-scented lotions, and among this was the eerie skull cover art of Collection II. I felt a duty to rescue the tape from this otherwise frilly store, and the rest of the summer I spent driving past geothermal attractions with names like Sulfur Cauldron and the Boiling River while blaring “Devil’s Whorehouse” and “Children in Heat.” It felt so right.

The allure of the Misfits lies divided between the primal thrash of the band’s elementary musicianship in contrast to Danzig’s dexterous navigation from croon to bellow–the dude isn’t nicknamed Evil Elvis for nothing. There’s something genuinely desperate and sinister in the Misfits’ scrappy punk, enough to convert their blatant campiness to credible menace. Something dark and unwieldy lurked beneath their panda-bear eye makeup and monster-flick posturing.

Perhaps it was the abysmally tinny recording quality of their singles, which seemed to be beamed in from another planet via an Outer Limits episode. Or it could be the almost naÔve Gothic grandiosity of Danzig’s lyrics, which, at their best, are simultaneously absurd and acutely poetic. Take, for instance, this couplet from “Where Eagles Dare”: “Her omelet of disease awaits your noontime meal / Her mouth of germicide seducing all your glands.” Um, what?

The Misfits’ original discography is scattershot with now-rare singles and EPs, making compilations the best option for neophytes. A 1996 Caroline Records box set came packaged in a coffin, natch, but the CDs Misfits, Collection II and Legacy of Brutality offer the cream of the Misfits’ crop, and should satisfy all but the most fiendish of fans.

Post-Misfits, Danzig is an interesting figure, a caricature of himself–as is the current manifestation of the band, which guitarist Jerry Only reformed in 1996 with extra emphasis on their cartoonish B-movie aspect. Though Misfits Mach II have their fans, their albums don’t resonate with the same lo-fi growl and youthful, standoffish spirit; in short, they don’t sound like they were recorded in a cave or underground bunker. Of course, caves and underground bunkers are exactly the places you’d expect to find a Misfit.

So in between TiVo-ing It’s the Great Pumpkin, Charlie Brown and purchasing an unnecessarily large bag of Fun Size Snickers, don’t forget to listen to the Misfits and revel in death, decay, spiritual corruption and punk rock–the true spirit of Halloween.


Morsels

0

October 25-31, 2006

Sidestepping all the hype from that movie, Pinot Noir’s resurgence is actually quite deserved. Unlike the Godfather-like commitment that Cabernet Sauvignon requires, drinking Pinot is like watching a light-hearted caper with a subplot. It’s refreshing, but red; it’s light, but spicy. To bathe gourmets in this jaunty sensation, the second annual Pinot on the River festival gathers fans Oct. 26-29 for a celebration in the Russian River Valley, the heart of Pinot country. High rollers can fork out $625 to attend almost all of the events, from a gala winemaker dinner and winery field trips, to blind and vertical tasting seminars and a buffet lunch, and the list goes on. For $59, Pinot-loving peons can just attend Sunday’s Artisanal Pinot Noir Grand Tasting event from noon to 4pm. It features wines from over 75 Pinot producers, along with gourmet samples concocted by local chefs. The long, lush-ious weekend rages red from Thursday, Oct. 26, through Sunday, Oct. 29, at the Vintners Inn/John Ash & Co. Culinary Center, 4350 Barnes Road, Santa Rosa. For full schedule, call 707.922.1096 or visit www.pinotfestival.com . . .

As Thanksgiving draws nigh, 1350 KSRO radio throws a little healthy, American competition our way. The radio station’s 20th annual Good Food Hour Recipe Contest will be sifting through your stuffing recipes, looking not only for traditional standouts, but also for those with “real personalities, and even family histories.” Entries must be received by Wednesday, Nov. 1 (mail those un-stuffy, stuffing gems to NEWSTALK 1350 KSRO Stuffing Contest, P.O. Box 2158, Santa Rosa, CA 95405; fax them to 707.571.1097; or e-mail them to jo*****@**ro.com). Five finalists will meet for the taste-off (Saturday, Nov. 4, at G&G Supermarket, 1211 West College Ave., Santa Rosa; 11am-noon), which will travel the airwaves during the Good Food Hour. Judging the contest are co-hosts Chef John Ash and Steve Garner, along with a panel of others. Prizes include $250 cash, cooking classes, cookbooks, wine and gifts.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

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

Recipes for food that you can actually make.

News Briefs

October 25-31, 2006

Coping at COPIA

With its fifth anniversary approaching, COPIA in Napa is making cuts and sharpening its focus to emphasize fee-based wine and food education. The goal is to break even after losing as much as $10 million annually because of operating costs and loan payments. The center is selling its five-acre South Garden to a developer for an undisclosed amount. COPIA has also laid off about 25 of its 85 workers. The main exhibit art area will be converted into a conference center (although a spokesperson says there will still be plenty of arts programs), and the center is refinancing $68 million it owes on a $70 million tax-exempt bond. COPIA opened Nov. 18, 2001 on 12 acres provided by Robert and Margrit Mondavi, who also donated $20 million. About $45 million was raised by 2000, and the bond money covered the rest.

Med pot rules

Sonoma County’s medical marijuana users have new guidelines effective Nov. 1. “It’s pretty much the same, they just increased the plant number from 25 to 30,” explains Sgt. Chris Bertoli of the Sonoma County Sheriff’s Department. Bertoli says deputies try to enforce the spirit rather than the letter of the law. “When we go into these houses, we do all we can to determine if it’s a medical need.” Sonoma County created medical pot rules 10 years ago, but users were subsequently arrested under harsher federal standards. On Sept. 26, the Sonoma County Board of Supervisors approved new rules. Qualified patients can have up to three pounds and grow a maximum of 30 plants within 100 square feet. California law allows counties to set more liberal standards than the state limits of eight ounces or 18 plants.

Affordable Marin?

Habitat for Humanity, which uses volunteer labor and sweat equity to build affordable homes for low-income families, is eyeing Marin County. A Habitat affiliate in Marin closed its doors in the 1990s because of difficulties getting community approval for proposed projects. Habitat for Humanity San Francisco is now actively pursuing leads in Marin County. “We adopted the area in 2003,” says executive director Phillip Kilbridge. “In 2005, we established a steering committee of Marin County residents who are working diligently to find land.” They’re talking with county and city officials about potential projects on government-owned properties. In addition, the county requires new housing projects to devote 20 percent to affordable units, so developer Pan Pacific Ocean Inc. hopes to satisfy that rule by giving Habitat 0.85 acres in an unincorporated area of Tiburon. Habitat would build four affordable three-bedroom homes and Pan Pacific Ocean would construct three market-rate houses on the remaining 15.7 acres.


From the Ground Up

0

October 25-31, 2006


This story about failure and success begins on a 30-acre ranch. Here, on the outskirts of Sebastopol, Dan Smith–local kid turned wizard and farmer–grows all organic strawberries, raspberries, escarole, frisée, corn, peppers, leeks, cherry tomatoes, zucchini and much more. Over the last year, he’s poured tons of compost–a mix of rice hulls and duck manure–into the soil to make it more productive. He’s invented a precision seeder that makes the sowing of vegetable seeds nearly effortless. He’s built a huge barn, restored a couple of 1946 tractors–built the same year he was born–and put up a Japanese tea house near the top of the ridge.

This sunny morning in October, he’s running late, and as usual is doing more than one thing at the same time: brushing his teeth while fastening the belt that holds up his faded jeans. Summer squash has to be harvested, winter cabbage planted, weeds weeded. Smith wants to figure out how to grow frisée without brown spots, and the best way to serve the Bosc pears and the Mission figs from his farm at the French Garden, his new restaurant in Sebastopol, one that he intends to make into a destination for foodies from around the world.

Smith thrives on adversity, and over the past 30 years, he’s provided himself with an array of problems to work out in his head and with his hands. He’s failed, perhaps as often as he’s succeeded, and his failures, he says, have led to his success. A college dropout from Sonoma State University and a conscientious objector during the Vietnam War, he’s been a building contractor, a computer programmer, a financial whiz, a founder of the Sonoma County Beekeepers’ Association and the president of the Laguna de Santa Rosa Foundation.

“The creative element gets me up every morning,” he says. “Learning excites me.” He pauses a moment, gazes at the sunflowers in the field and adds, “I think of myself as a painter. I paint in vegetables, software, bee hives and buildings.”

Smith, who has lived almost all his life in Sonoma County, was born to 20th-century pioneers. His mother, Jean Farmer, worked as a potter and an artist. His father, Ralph Smith, painted movie sets in Hollywood, including the Yellow Brick Road for The Wizard of Oz. Then, during the Red Scare and the congressional committees that investigated subversives in the movie industry, his father lost his job, and moved with his wife to Petaluma, where he became a housepainter.

Dan Smith grew up poor in the 1950s. For three years, while his parents built a home, the family lived in a canvas tent with a wood stove for heat and cooking. Dan, his two brothers and his sister did almost all of the gardening, with shovels. They planted and harvested, took care of the goats and sheep, and almost all of the food they put on the table came from the garden and the farm.

“I never saw or even heard of a TV dinner,” he says. “We ate our own goat meat and drank goat’s milk. Mornings, I milked the goats before I went to school. In the fall, my brothers, my sister and I picked pears and apples. My mother gave us big cans and sent us out to pick blackberries. ‘Don’t come home until they’re filled,’ she’d say.”

When he wasn’t doing chores at home, he worked for the neighboring Petaluma chicken ranchers, many of them socialists like his parents.

Dan graduated from Petaluma High School in 1963, the time depicted in the movie American Graffiti. He attended college briefly, studied math, physics and biology, then moved to Mendocino County, where he lived on a commune, worked in a lumber mill and operated a fork lift.

“I had no plan whatsoever,” he says. “Jesus, man, it was the 1960s! I wanted to stay out of Vietnam, and I did almost anything and everything that came along. When I received my induction into the military, I appealed to the draft board in Santa Rosa. ‘I won’t take orders to kill someone else,’ I told them. They gave me conscientious objector status, and I worked at Pacific State Hospital for the mentally ill to fulfill my service.”

When he returned to Sonoma County, he started a construction company and built houses, and commercial structures at Matanzas Creek Winery on Bennett Valley Road, and La Gare French restaurant in Santa Rosa. Then, on a rainy winter morning, he fell off the roof of a building and landed in the mud.

“I couldn’t move,” he says. “I thought I was paralyzed. The woman who owned the house we were remodeling came out and stared. ‘Can I do something?’ she asked. I told her to call an ambulance and bring me a blanket.”

During the year it took him to recover, he created the Master Builder, a software program for builders that includes accounting, bookkeeping, payroll and estimates for jobs. Though he didn’t know anything about computers when he started, he learned quickly, and, like almost everything else in his life, he learned by failing and failing again, until he succeeded. In 2001, he sold the company, which had grown to over a hundred employees, to Intuit for a bushel of money, though the deal, which was set for Sept. 13, had to be postponed in the wake of 9-11.

“I’ve learned there are no straight paths in life,” Smith says. “Opportunities come along. We seize them or we don’t. The gifts we’re born with are not ours to keep for ourselves.”

In 2001, his life took another radical turn, while waiting for a flight at San Francisco Airport. By coincidence, Smith met an 84-year-old cancer survivor named Woody Strong who wore a baseball cap that said, “Be a Doer, Not a Talker.”

“I was 55,” Smith remembers. “I listened to Strong describe the schools, hospitals and water systems he helped to build in Nepal, and I could see I was a slacker. I said to myself, ‘This is who I want to be,’ and I thought, ‘It is possible to do the impossible.'” Within weeks, Smith came up with the funds to build a monastery for the Tibetan Buddhist monks living in exile in Kalimpong, India. It’s going up right now.

Closer to home, on a Yellow Brick Road he’s paving himself, Smith hopes to create a local model for sustainable agriculture that might be applicable around the country, and around the world. Along with his wife, Joan Marler, a sixth-generation Californian, and a pioneer in the field of archaeomythology, he’s determined to buck big agribusiness, cultivate crops, bring back lost varieties and transform the ways we eat.

“I know we’re not the first to try,” he says. “But we have an ideal spot. We can grow food that tastes incredibly good and that’s healthy. We’re learning every day. Sometimes, we try to grow something–like Napa cabbage–that doesn’t work. It’s as though the land says, ‘Look, stupid, you can’t grow Napa cabbage in the summer. You have to plant it early in fall and cultivate all winter.'”

Later, the same day, at the French Garden, his elegant Sebastopol restaurant, Smith wears his best shirt and pants. In the kitchen, chef Stephane Roy prepares a soup from cauliflower and apples grown on the farm. The menu features a beet salad with homegrown ingredients and there’s a gazpacho made from tomatoes, cucumbers, purple onions and chives picked just that morning.

“Nothing on the menu has pesticide,” Smith says. “Nothing has been trucked from far away or stored in a warehouse for weeks. This is as fresh as it gets, anywhere. We’re going to keep on making connections from the ground up. We’re going to bring people together, and to link all of us to the land, and to the food we eat.”

The French Garden Restaurant and Brasserie is located in the former Marty’s Top of the Hill historic structure, 8050 Bodega Ave., Sebastopol. Open for dinner Wednesday-Sunday. 707.824.2030.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

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

Recipes for food that you can actually make.

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October 25-31, 2006 Sidestepping all the hype from that movie, Pinot Noir's resurgence is actually quite deserved. Unlike the Godfather-like commitment that Cabernet Sauvignon requires, drinking Pinot is like watching a light-hearted caper with a subplot. It's refreshing, but red; it's light, but spicy. To bathe gourmets in this jaunty sensation, the second annual Pinot on the River festival gathers...

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October 25-31, 2006This story about failure and success begins on a 30-acre ranch. Here, on the outskirts of Sebastopol, Dan Smith--local kid turned wizard and farmer--grows all organic strawberries, raspberries, escarole, frisée, corn, peppers, leeks, cherry tomatoes, zucchini and much more. Over the last year, he's poured tons of compost--a mix of rice hulls and duck manure--into the soil...
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