Growing Up in Public

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Home grown: Community gardens help people flourish.

Splitting his time between Guerneville and Manhattan, acclaimed consultant Clark Wolf graces these pages with the occasional diatribe of the periodic local.

“Don’t wash those strawberries,” says Nancy Skall of Middleton Farm on Westside Road. “They haven’t been touched by anything but my foreman Sam’s hands and the warm Sonoma sunshine.”

Wise words in a land of plenty that takes plenty of hard work. Wild fennel by the roadside, raging berry brambles, even some of the grapes are indigenous. We are truly gifted with luscious soil–the upside of winter floods that overflow those banks and blanket the region with freshened, fertile ground. But not every garden is a private jewel of a farm like Nancy’s. Some are so life-changingly public that they deserve to be celebrated. Here in western Sonoma County, we have many more than we realize, more than we acknowledge, more to discover and preserve.

Community gardens come in all sorts of shapes and sizes, in surprising nooks and crannies. You may have heard a little something about one long tended in a vacant lot down in L.A., now more valuable and so in developers’ cross hairs, that sported a mighty oak bearing strange fruit (OK, Daryl Hannah without makeup). Eventually, the splashy actress had to climb down and wander away. Public-domain debates aside, this was private property on temporary loan to a neighborhood hungry for dirt to dig and fresh wholesome food for its inner city kids.

Right in our own front yard, we’re just about to say goodbye to another golden plot, this one in Rohnert Park. The particular couple of acres in question have been ripe with produce and, alas, real estate possibilities since it was first shared in the mid-’80s by the city’s school district that owns it. Now budgets require a cash-out, and so buckets of soil, tomato plants and melon vines are on the move, looking for a new home.

Teaching gardens located right on main school grounds may fair better. Out behind the sports field at the Guerneville School, near the Russian River, there’s plenty of sweet space, way too far from the road to be an appealing land grab. Some talk of yet more sporting fields gave way –with the aid of donations and a grant–to a truly lovely teaching garden for all of the kids, K through eighth grade. It’s right on the crest of wetlands and grasslands, trailing up to redwood groves and glorious forests. What a place to learn where zucchini comes from!

On a smaller scale, the charming little Monte Rio School has a sweet corner garden at the edge of a crescent of redwoods. There’s a tended pond and a stone bench for sitting contemplation. The kids harvest their treasures and add it to goods from local farms for their monthly luncheon “salad bar.” Like the Guerneville School, this effort is made largely possible by a grant, this one run by an intent, fallen-away school teacher who has preserved her love of kids and gardening. Jane Harris presides over her westward earthly plot; Ruth Roberson commands hers at the Guerneville School.

One of the best and first well-known and highly productive garden spots in the region is just off Main Street in Forestville. For those who don’t yet know, Food for Thought is a grass-roots food bank started in 1988 to help feed people with AIDS, way back when it was still a frighteningly taboo topic. Not content to just protest or toss glamorous A-list fundraisers, these folks got down and dirty, and the result was a big bucket of tomatoes and squash. Today they feed some 500 clients and act as inspiration to us all.

One special confluence of efforts is Tierra Vegetables, with its farm stand at the edge of a nearby urban garden, just east of Highway 101 off Airport Boulevard. Planted on Sonoma County Open Space District land, it’s another sort of community crisscross.

Another beloved teaching idyll is run by the folks at the Occidental Arts and Ecology Center. (It was they who helped plant that Forestville Food for Thought garden in their spare time.) The OAEC’s School Garden Program has trained nearly a hundred schools and three times that many individuals all over Sonoma, Alameda, San Francisco and Marin counties and other points NorCal.

This is a group of biologists, artists, activists, educators and horticulturalists. (No wonder I made fun of another erstwhile institution when they anointed a “curator of gardens.” Puhleeze, get me a farmer or some other down-to-the-earth type.) Their Mother Garden–now there’s a title–“has been a resource and inspiration to gardeners, teachers, healers and activists throughout the world,” to quote their otherwise generally unassuming materials. Can’t help but agree.

Back in Monte Rio, a sweet village I think of as the crossroads of the Russian River resort area, there’s a garden we found struggling to peak through the high spring grasses. Our New Year’s flood swept much of it away and crushed the rest with dross and sludge. We expected it to be soaked with toxins and made unsafe for at least one full season. Special herbs, flowers and leafy plants known for their ability to draw the poisons from the earth were planned but they turned out to be unnecessary. Even so, it’s been an uphill battle to rebuild and replenish.

That’s why I admit to getting cranky when I see so-called news photos of adults juggling heirloom apples. Food is fun and sexy and delicious and precious and transcendent and humble and–well, critical to our existence. If we’re reduced to juggling it, we’re screwed.

Oh, the glories of harvest time on this slice of our weary earth that Luther Burbank was once quoted about saying, “I firmly believe from what I have seen, that this is the chosen place of all the earth, as far as nature is concerned.” Now that’s tasty.

Clark Wolf is the president of the Clark Wolf Company, specializing in food, restaurant and hospitality consulting. He moderates the “NYU Critical Topics Series: Wining and Dining in Las Vegas” panel discussion, book signing and reception on Saturday, Sept. 16, at COPIA. 500 First St., Napa. 2:30pm. $15-$25; free to students with ID. 707.259.1600.

Middleton Farm 2651 Westside Rd., Healdsburg, CA. 707.433.4755.
Food for Thought 6550 Railroad Ave., Forestville, CA. 707.887.1647.
Tierra Vegetables farm stand Located at Airport Blvd. and Hwy. 101 (between Hwy. 101 & Fulton Rd.), Santa Rosa CA. 707.837.8366.
Occidental Arts and Ecology Center 15290 Coleman Valley Rd., Occidental, CA. 707.874.1557.



SEARCH AVAILABLE RESERVATIONS & BOOK A TABLE

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Quick dining snapshots by Bohemian staffers.


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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.

First Bite

“I don’t eat anywhere I can’t pronounce,” someone recently snootily said at a party. She was talking about Occidental’s newest restaurant, the Bistro des Copains. I hadn’t been there yet, but I should have told said antisnob to get over it. It’s so old-school, or should I say passé, to sneer at the French. Now that I’ve been, I’d assure her she doesn’t have to get her mouth around the nasalized vowel (Copains is pronounced “co-painh,” not like the dead grunge star) to get it around some seriously delicious, homey, ProvenÁal food, à la Sonoma County, for not too much argent.

Bistro des Copains is the collaboration of two college buddies, Michel Augsburger and Cluney Stagg, hence the rough translation into “Buddies’ Bistro.” Along with chef de cuisine Melissa Gonyea, they celebrated their grand opening in Occidental on Bastille Day. (That’s July 14 for you Francophobes.) By late August, it had lost its rough edges and taken on the luster of an anniversary-worthy restaurant. On our visit, we were welcomed by a friendly maitre d’ amid décor like a Renoir, warm and honeyed.

We went on a Wednesday when oysters are a dollar, and so began with a dozen Kumamotos. They were fresh and sweet, with a dab of horseradish, delicious with or without the accompanying vinaigrette. To wash them down, we chose a wine flight, three three-ounce pours of similar wines ($10). These flights are increasingly popular at restaurants, and I can see why. It’s fun to have your glasses arrayed in front of you in their little labeled circles for comparison and discussion.

Focused on Sonoma County and French wines, the wine list overall is interesting, varied and extremely reasonably priced.Next to arrive to our table, as part of the tasting menu (price varies), was a summer vegetable soupe au pistou (French for “pesto”). It featured a light but flavorful broth full of carrots, tomatoes, potatoes and barley interlaced with basil. The beet salad ($6.75) one guest ordered was quite good, but not what she’d expected, with the beets unsliced, just roasted and arranged on the plate.

Our entrées were nearly perfect. Julia Child said one can measure the excellence of a restaurant by its treatment of the humble roast chicken. Copains’ roasted Rosie ($17) sang the restaurant’s praises. Neither grandstanding nor retiring, it evoked one’s childhood kitchen (no wonder it’s named Grandmother’s chicken): tender, juicy, with judicious salt. Magret de canard ($17.50), duck breast with green peppercorn sauce, was luscious and rich; la pissaladière ($10), a pizza with caramelized onions, goat cheese, black olives and anchovies upon request (we did) was a perfect mingling of sweet and salty, with a serviceable crust; boeuf en Danube à la Provençale ($17)–beef braised in wine–was savory, if a little fatty.

Be sure to save room for dessert ($6-$7). They were uniformly impressive and comforting, and on the night we were there, they included a fruit galette with seasonal local fruit and buttery crust, pot de crème–a bowl of creamy regression–and flourless hazelnut chocolate gateau, a molten mound of amour.

Mmm is mmm in any language.

Bistro des Copains, 3782 Bohemian Hwy., Occidental. Open for dinner nightly; lunch, Saturday-Sunday. 707.874.2436.



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

The Byrne Report

September 13-19, 2006

According to Wikipedia, the only interesting things that occurred in Petaluma during the last half century were Polly Klaas’ 1993 murder and the fact that alleged pedophile John Mark Karr briefly lived there several years ago. Karr’s ex-wife, Laura, still resides there, near chez moi. As the press boiled around her house recently, a neighbor told me he saw the back of his very own SUV on national television!

His glee vanished when I said the “Iraq” word, adding, “Richard Allen Davis and John Mark Karr have nothing on George Walker Bush for ambition when it comes to murdering children.”

“I forgot about all that,” said the neighbor, his face falling.

Are we so desperate as a nation to forget about the hundreds of thousands of children we murder in Iraq via blockades, invasions, occupation and the sparking of civil war that we gladly focus our attention on the pathetic Karr to escape the horror of our own deeds?

Refusing to accept responsibility for our own war on children, we go ga-ga over an idiot who knows we want a scapegoat for our sins, while we do nothing to prevent the enslavement, rape, torture and economic exploitation of hundreds of millions of children all over the world, often caused by American business interests.

The United States and Somalia are the only nations in the world that have not ratified the Convention on the Rights of the Child. Somalia has not done so because it has no government (we destroyed it in the 1990s). Here in the United States, Congress has refused to sign off on the historic treaty for 11 years. The Bush administration is on record against it because it mandates the provision of social security for children and outlaws the execution of minors.

The treaty also upsets a large element of Bush’s so-called Christian voting base, which, according to the National Center for Home Education, objects to the convention’s “guarantee of freedom of thought, conscience and religion.” These home-schoolers also object to the requirement that “all ratifying countries protect children from . . . corporal punishment.”

Even more to the point, the convention outlaws sexual and economic exploitation, torture or other cruel, inhuman or degrading treatment of children. If the United States were to ratify the treaty, we would have to withdraw from Iraq, Afghanistan, North Africa and the Philippines, not to mention hundreds of military bases around the world serviced by child prostitutes.

Human Rights Watch (HRW) has published dozens of reports detailing the abuse of children by corporations and governments. One recent report exposes U.S. governmental organizations as telling African masses that condoms cause AIDS. Another report shows that the Coca-Cola Company brutalizes child sugar-cane farmers in El Salvador. Yet another details how U.S.-backed paramilitary forces in Colombia are relying on child combatants.

There are Moroccan kids as young as five who labor 100 hours a week as domestic housekeepers for 70 cents a day with no rest breaks or days off. Hundreds of thousands of Rwandan children were orphaned after America turned a blind eye during the Rwandan massacres and left to roam the streets without a farthing from us. In 2002, half of the chocolate produced in the United States was linked to the use of child laborers (some of them slaves) in West Africa.

Did you know that the Congo, Pakistan and Iran have now outlawed state execution of juveniles? The United States is the only country left that regularly puts juvenile offenders to death.

In India, HRW reports, exported silk is made by “children as young as five years old who work 12 or more hours a day . . . making silk thread [by] dip[ping] their hands in boiling water that burns and blisters them.” Under American occupation, Afghani women and girls are routinely subject to rape and repression without recourse. “Children working in agriculture in Egypt, Ecuador, India and the United States are endangered and exploited on a daily basis,” HRW states. Chiquita, Del Monte and Dole import bananas farmed by eight-year-old children. Palestinian-Arab citizens of Israel are educated in racially segregated, vastly inferior schools to those run solely for Jewish Israelis.

In conclusion, reports HRW, “in every region of the world, in almost every aspect of their lives, children are subject to unconscionable violence, most often perpetrated by the very individuals charged with their safety and well-being.”

And let us not forget that the U.N. documents that some 14 million children die every year from malnutrition and preventable diseases.

And we sit around cooing over JonBenet Ramsey, waiting for the backs of our SUVs to make us famous.

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Wine Tasting Room of the Week

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Sure it’s got some arty associations–Keats, Chopin, a couple of the Brontës–but rest assured, tuberculosis is a drag. It’s also one of the reasons entrepreneur Josephine Tychson moved her ailing husband to the dry climes of Napa Valley in 1881, though not the only reason. The consumption-injunction was curtain dressing for Tychson’s enological ambitions, which, after a purchase of a 147-acre parcel of land, began to take shape, making her the first woman to own and operate a winery in the valley.

A century and a quarter later, her name has all but been scrubbed from the venture, the current name of which isa mash-up of Freeman, Marquand and a dude named Albert who apparently went by “Abbey.” The three were SoCal businessmen who resuscitated the St. Helena winery in 1939 following its 20-year Prohibition hiatus. I suppose it’s better that Albert’s nickname was “Abbey” instead of, say, “Al,” in which case the joint might be called “Freemark Alley,” which sounds like a place to exchange hypodermic needles.

You may scoff at me worrying over this point, but St. Helena will have you know that word choice is important in this tony burg. After all, this is where terms like “price point” (Napanese for “how much?”) and “Dude, where’s my helicopter?” originated. I bet.

Freemark Abbey’s price points are mostly in the mid-$20s, a deal, really, for the fine caliber of wine it produces. Among them, the 2005 Napa Valley Sauvignon Blanc ($24), the winery’s first foray with the varietal, proved a smashing inaugural outing. This fine sipper is made for a day with a canoe, a parasol and some keen 78s cranked on the Victrola. The grass and melon notes would pair well with barbecued oysters and won’t stain your seersucker jacket.

Likewise, the 2004 Napa Valley Viognier ($27) is the ailing sister in a Jane Austen novel–a smidge of clove and thistle honey–on the brink of either death or marriage, which is to say that it’s wonderfully melodramatic and worthy of indulgence. Drink it in the bath paired with a leisurely breakfast of lemon pancakes. The 2003 Napa Valley Pinot Noir ($28) has the pleasant aroma of wet cedar, rather like crawling out of a hot tub at some woodsy spa retreat and groping for a towel, musty from one’s excursion in the tub.

The big gun at Freemark Abbey, however, is the 2001 Cabernet Sauvignon-Bosche ($65)–pure kapow! in a bottle. Sourced from the fabled Bosche Vineyard seated on the Rutherford Bench, this wine has powerful dark berry notes and the dusty loam taste for which this region is known. It will make you want to be buried in a vineyard.

Freemark Abbey, 3022 St. Helena Hwy. N. (Highway 29 at Lodi Lane), St. Helena. Open daily, 10am to 5pm. $5 tasting fee includes logo glass. 800.963.9698.



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Poetry Goes to War

Dystopia Now

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the arts | visual arts |

Sage of anxiety: Christy Rupp’s work reflects consumers’ concerns about the safety of our mass-market food supply.

By Gretchen Giles

On a beautiful early August morning, Arizona artist Matthew Moore was knee deep in plumbing. Trying to solve a leak at the former pet-grooming building adjacent to the Sonoma County Museum, Moore patiently untangled some tubing. His wife, the painter Carrie Merrill, her hair held back by a railroad cap, was up on the building’s roof laying down outdoor lines of irrigation.

Toiling in Santa Rosa rather than their home near Phoenix, their materials often stolen off the site, Moore and Merrill were working on a perfectly fine, already existing roof–to make a roof. A roof of green. A roof of history. A roof, that is, of hops.

As a part of the Sonoma County Museum’s ambitious new exhibit, “Hybrid Fields”–a compilation of some 14 artists and collectives addressing food and agriculture in surprising, disturbing and sometimes funny ways–Moore conceived a plan to plant the roof with hops along runners trained to create an A-frame. The piece speaks to the disappearance of the American farm and Sonoma County’s own fickle agricultural history, its fields regularly changed to accommodate hops and prunes and apples and grapes. As for the hops themselves, well, they’ve not proven receptive to long-distance conceptual challenges. But no matter, Moore’s vision more than compensates for irrigation woes and sulky weather patterns.

A fourth-generation farmer, Moore, 29, has spent the bulk of his artistic life tracing the disappearance of his family’s farm as the land his great-grand uncle first acquired in 1932 is gradually sold off to developers. Seeing his land as a palette, Moore has documented that loss by acting like a farmer. When a 35-acre parcel that the family had leased for generations was sold a few years ago with plans to develop it into housing tracts, Moore obtained the building plans. Exactly following the tract’s outline, he last year planted an adjacent field of grain on his remaining land to directly mimic the development. Called Rotations: Moore Estates, black wheat outlined the asphalt roads, reddish brown grain was laid down for each proposed home and white wheat created background spaces.

Leaving his plumbing problems aside for a moment, Moore says, “It’s difficult to watch what you had turn into something you don’t.” In the next breath, he explains the farmer’s natural end to Rotations: Moore Estates.

“I disked it.”

For Moore, the paving over of American farmland is more than just a personal woe; he wonders where our food will be grown if arable acreage is merely tract housing waiting to be developed. He mourns a way of life that’s sustained his own family for some 80 years. He aims to reflect the uneasy duel of food against shelter by attempting to build a roofline of hops.

And he feels totally responsible for it all.

“Agriculture is culpable because we provided the impetus by, in the case of Arizona, turning the desert into farmland and by taking down the natural landscape,” he says. “Developers are just the next wave.”

Moore and Merrill anticipate selling the rest of the farm next year. After much research, they’re planning to move to Sonoma County and lease farmland in Marin. With his Arizona homestead gone, Moore’s palette will change, as will his art. But he’ll still keep farming. “I’m in agriculture. That’s my job,” he explains. “The processes I use are dictated by the history of agriculture. I’m trying to be really conscious that I’m a part of this.”

Hops are not the only plants actually growing at the museum as part of the “Hybrid Fields” exhibit. Bay Area artist Susan Leibovitz Steinman has planted five apple trees next to the institution’s entrance, housed in a planter shaped like a pentagram to honor the star shape in which apple seeds align. Mulched in pink quartz, the trees will remain in place through the end of next year, the seeds of their resulting fruit propagated, and new saplings added.

Creating a freakish, controlled urban mini-orchard, bound as it is by salvaged human-made materials, exemplifies the creepy goodness of the exhibit’s boundaries as conceived by curator Patricia Watts. Apples, after all, will bolt the instant they’re allowed to, each tree capable of creating five genetically diverse variations of itself in the first generation.

Painter Alexis Rockman contributes The Farm to “Hybrid Fields,” a work that was recently exhibited at London’s Camden Art Centre. Painted in bright, playful colors and at first looking like a jolly cartoon, Rockman’s ghastly portrait of farm life actually features a genetic-farming disaster of the near future where vegetables grow preshaped for packaging and the animals are too lurid to describe.

Speaking to Greenpeace International in 2004, Rockman explained, “The stuff that may not be noticed–for instance, the geometry of the landscape in The Farm–to me, is far more scary than an albino hairless mouse with cartilage growing on its back. I am also trying to make an emotionally resonant image that reaches people. I try to make it as credible as possible without making it boring.”

Christy Rupp, who works mainly with the signage and consumer anxiety shown in the “Hybrid” exhibit, is currently re-creating extinct bird species through sculptures constructed of fast food chicken bones sucked clean of every last greasy bit. And then, of course, there’s the collaborative oddness of the Oakland-based team JohnKo Systems/Old World Innovations. Actually known as John Colle Rogers and Mariel Triggs, the duo propose Mouvinte, the wine of a cow, as a modest proposal for a fabulous new Wine Country product that could serve both old and new agricultural models.

As a side note, one of the interactive artistic models of “Hybrid” is a call for all cooks to submit their homemade preserves to the exhibit. Oakland artists Susanne Cockrell and Ted Purves will preside over the preserves, which will be tasted, judged and exhibited, certainly evoking the county fair tradition but also mimicking the canonization of objects routinely collected and displayed in a museum.

Sweet stuff, and heady, too.

“Hybrid Fields” exhibits Sept. 16-Dec. 31. A reception is slated for Saturday, Sept. 16, from 5pm to 7pm. Events crowd each of the following months, including soil bar tastings for terroir (Oct. 6, Nov. 3); a beer tasting and history of hops discussion (Dec. 2); a seed exchange (Oct. 29) and panel discussions (Oct. 28, Nov. 11, Dec. 10). 425 Seventh St., Santa Rosa. 707.579.1500. www.sonomacountymuseum.org.



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Madonna/Whore

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September 13-19, 2006


Cross ventilation isn’t working in the stuffy conference room. Dozens of women in stiff metal chairs (if they managed to snag a seat) flutter makeshift paper fans. They’ll be sweating through the next hour, and not just because of the hot air.

They’ve convened in San Jose on this sunny July weekend for an international gathering of women bloggers called BlogHer. The current discussion is about “mommybloggers,” a new wave of women writing about everything from the toils of parenting to the politics of vaccination. The tension rises to a boiling point when one mom mentions a nasty Internet post written by someone at the conference:

“I’ve spent one evening in San Jose . . . near a handful of obnoxious ‘mommybloggers,’ and I already want to rip their fucking ovaries out,” wrote a 30-year-old blogger named Sherri. “I don’t want to hear about how many times a day your retarded kid poops or stabs itself in the eye with its own foot. I don’t want to hear about how it was extracted from your smelly, overstretched vagina.”

A chorus of indignation erupts from the crowd. It’s starting to feel like a TV talk show in here, charged with attitude and doused with splashes of comic relief. One speaker with a microphone says that the offending blogger must have hatched from an egg, because she couldn’t possibly have a mother and say such things. Another woman yells from the back of the room, “Bring her to us!”

Then the mom who brought up this explosive topic tries to quell the flames. She advises the angry crowd to walk away and “deflect the bullshit.” The flustered women agree that they’re giving the “hateful post” too much attention. They move on to the next can of worms.

A panelist named Mir describes herself as an “overeducated, underappreciated, divorced mom of two,” and sarcastically says she is hated because she supposedly set back the feminist movement by choosing to stay home to raise her kids. “In my opinion, the point of the feminist movement is to have choices,” Mir says. The crowd goes wild.

Jill Asher and Beth Blecherman from the Silicon Valley Moms Blog (www.svmoms.com) are two of the women clapping in agreement. Six months ago, they helped launch a website that has become a virtual haven for working professionals turned full-time moms.

“I’m the product of a feminist,” Asher says in a later interview. “I’m very fortunate that I have the ability to choose if I want to work or if I want to stay home with my kids.” She left the corporate world to raise her two daughters and lead a family life that she shares with the world on her blog.

Over a thousand visitors land on the Silicon Valley Moms Blog everyday, and the numbers are growing. It’s a microcosm for the way the explosion of blogs on the Internet is propelling the private details of women’s lives into public debate–kicking up a storm of feminist politics and igniting a push for a gender-equal cyberspace.

In the process, this virtual social movement has made strange bedfellows.

Take 28-year-old sexblogger Melissa Gira, who found herself relating to 19 mommybloggers during an informal discussion at last year’s BlogHer conference. They all felt unfairly judged for the uncensored details of what they were writing. The moms got flack for swearing. Gira got burned for being erotic.

“There are clearly parts of women’s experience that most people think are just obscene or dirty if you talk about them in public,” Gira says. “But for us, they’re not scandalous. They’re just our everyday lives.”

Mommybloggers and sexbloggers are both trying to get the world to take them more seriously. But cleaving through the Internet can be messy. Make way for onscreen bitch fights, biting opinions and all the dirty details that sprout when the niceties reserved for face-to-face Starbucks chatter disappear.

Blog Equality Now

Hundreds of women swarm around a sapphire pool set against a sunny backdrop of palm trees and high-rise office buildings. There’s hardly a man in sight. Pregnant women wearing knit T-shirts that hug their round bellies kick back on chaise lounges. Twenty-somethings sporting summer dresses talk animatedly while biting into ripe peaches. Forty-somethings wearing khaki capris nurse laptops while chatting with online friends they’re meeting in person for the first time.

It’s a far more tranquil scene than earlier in the day, around 7:30am, when cranky bloggers ran around searching for coffee. Technical difficulties also delayed the day’s first presentation, forcing three speakers to cover with a shaky rendition of “All You Need Is Love.”

When things were finally up and running, conference co-founder Elisa Camahort announced the booming attendance: 750 bloggers, more than double the number at last year’s debut meeting (which sold out and left 100 people on the waiting list).

The idea for a women’s blogging conference bloomed in February of 2005 in response to a question that was circulating throughout the online community: “Where are all the women’s conversations?” Camahort, Lisa Stone and Jory Des Jardins–all female bloggers and entrepreneurs–came together to try to answer that question. They used their personal blogs to advertise the conference and sparked a surprising amount of interest.

The initial event’s success led to the creation of the BlogHer website (www.blogher.org), which has connected a community of women bloggers. Camahort describes the site as a blog version of the telephone book and TV Guide. Sixty editors write blurbs highlighting hot blog topics and have built up a directory of 5,000 bloggers listed by category. The goal of the site, Camahort says, is to create more opportunities for women and to give their blogs greater visibility.

Although 56 percent of the 52 million blogs out there are created by women, only 12 of the top 100 blogs are written by women, according to Technorati, a San Francisco-based search engine. Those stats could soon be changing. Visibility at this year’s BlogHer was only a problem if you sat behind a tall woman. So many people wanted to attend that the location had to be moved to a bigger hotel. Conference-goers flew in from as far away as Saudi Arabia.

For many of these women, blogs have become a megaphone to air their issues. The mommybloggers have empowered themselves to reclaim the word “mommy,” and the sexbloggers have banded to reclaim online sex from a massive porn industry marketed to men.

Sexologist and author Susie Bright says blogs are an inherently subversive feminist force because they make the personal political. She returned to her home in Santa Cruz after the conference and wrote about it on her website: “The hand that blogs the cradle informs the world–this, the blog-her generation, is the crux of women’s liberation that I thought had passed its due date.”

The Blog of Sex

As the poolside lunch crowd at BlogHer disperses for the afternoon sessions, one room attracts a steady stream of women. They range from college students chronicling their sensual adventures to middle-aged moms wondering how much to reveal about their marital relations. They crowd the back wall after the seating has overflowed. They all want to talk about sex.

Except one lady.

She stands up midway through the steamy discussion and says, “I don’t talk about my sex life. I don’t do sex blogging, and I’m not going to.” Then she chides the four panelists for “overpoliticizing” sex and scaring off women who don’t feel safe inviting cyberspace into their bedrooms. “I’ve been a sex educator for probably longer than some of you have been getting your period,” she says.

A few boos and hisses rise from the audience. This is not what most of them came to hear–although it probably isn’t the first time they’ve been shushed for sharing intimate details. Many have been called “sluts” and “whores” by online trolls for blogging their personal diaries. It’s not porn, they say. It’s not even X-rated. It’s just life.

“Sometimes you just have to push that line and put yourself out there as a completely full person and say, ‘Fuck them!'” says Christine Keith, an audience member and self-described lesbian blogger.

“If you want to discuss sex frankly, politically or from the female point of view, you are going to face a prejudiced kind of backlash,” says Bright, a panelist at this session. She has often been censored for writing about anatomical truths. One of her most controversial essays broke the silence about sex during pregnancy. “Everyone knows that a pregnant woman’s breasts swell in accompaniment to her belly,” Bright wrote, “but why had no one told me that my genitals would also grow?”

Despite sneers and name-calling from Internet critics, Bright stands her ground: “I don’t have a single drop of patience for anti-sex phobia that comes about because women are talking about real life.”

That includes the freedom to be quirky and kinky and everything in between.

“Why not put sex and lasagna together?” jokes another panelist, Halley Suitt. “I’m a CEO with a real life that I want to write about across the board.” Suitt says women are redefining their sexuality through blogging. “Guess what?” she adds. “Yeah, we can.”

Mommy Things

Kate Sanford’s lean frame hovers near 5 feet 10 inches. A charcoal-colored ponytail snakes down her back, blending with her fitted black T-shirt and workout shorts. With intense blue eyes, she describes herself as a threat to other women: she drives a big, expensive car and lives in a big, expensive home.

Despite this intimidating demeanor, however, Sanford asks that we not reveal her real name. “I blog ‘high concept,'” she says with a smirk, boasting of her forays into cyberspace while she’s nursing a writing career on hold. Her work on the Silicon Valley Moms Blog allegedly transcends wordy accounts of domestic mini-dramas.

The 45-year-old author and consultant says she started working at 15 as a columnist for a northern California newspaper. After writing a novel and a screenplay, she took three years off to devote herself to “mommy things.” That would be for her now-six-year-old son, whose trinkets and unconventional toys are strewn across Persian rugs. Late-afternoon sunlight streams in through the kitchen windows, illuminating buttery yellow walls and lending a sharp contrast to Sanford’s smoldering presence.

Blogging, she says, is a way to deal with what she calls immense financial and social pressure that comes from living among Silicon Valley’s elite. Her eyes widen as she rails on the “toxic” female culture, where cliquey mothers make sanctimonious statements at play groups like “I only feed my kid organics.”

“All the girls you couldn’t stand in high school are moms,” she says, “and they’re on the playground with their sucky little kids.”

“They’re baaaack,” she adds in an eerily accurate Poltergeist II impersonation.

Instead of letting these opinions fester, Sanford created a parenting manifesto for her blog. The 14-point treatise includes tips like “Eat real food,” “Trust your judgment” and “Don’t hyper-stimulate your kid.”

After a trip to Nordstrom’s one day, Sanford posted an entry about watching a two-year-old girl being prodded to pick out her own shoes. The kid will turn into a “high-maintenance spoiled brat beast,” she wrote. Her advice? Let children get as dirty as possible.

The conveniently anonymous blogosphere gives women like Sanford a place to vent–and to be honest about times when they screwed up. “We absolutely do not want to hear about anyone’s perfect parenting,” says Asher of the Silicon Valley Moms Blog. “You can go on anyone else’s site and read about how they are a perfect parent, but we don’t care and we don’t want to hear it.”

One mom admitted that she let the f-word slip in front of her preschooler and then felt relieved when another kid got in trouble for saying the same thing in class. Now the teacher wouldn’t suspect her of being the foul influence. Other mommybloggers go a step further to stir up controversy.

“Dear Hippie Mommy Who Refuses to Give Vaccinations and Then Allows Your Children to Run Free in the World, Exposing Disease to Other Children: I hate you,” began Rebecca Eisenberg’s heated post. Her baby had just been exposed to chicken pox the day before a long-awaited vacation to New York and Hawaii.

When Asher, one of the website moderators, found this rant in her inbox, she hesitated. Instead of posting it right away, she sent an e-mail to Eisenberg suggesting she “tone it down a bit” and warned her about potential hate mail. A minute later, she changed her mind. “You know what, you don’t tone it down,” she wrote. “This is your voice. Go for it.” Finally, she added, “Ok, I really love it. I don’t want to censor anything.”

With the click of her mouse, Asher set off one of the most contentious debates on the Silicon Valley Moms Blog.

The pox post drew a string of comments, some encouraging, some furious. “I hope someone pointed out to you that you in fact are the extraordinarily selfish person who is whining like a little baby because her precious vacation might be ruined,” one reader responded.

“You people don’t actually think vaccines are 100 percent effective, do you?” another mom wrote. “Who will you blame when you catch something after you’ve burned all the ‘hippies?'”

Brain Tease

Melissa Gira doesn’t look anything like a sex worker. At least not according to the street-hardened, lipstick-laden image burned into our minds by Hollywood.

The petite blonde curls up on the couch in a plush San Francisco hotel lobby. Her fair skin and blue eyes show only faint traces of makeup, and her feminine clothing adds to her soft aura. Ballet flats on her feet peek out from under a camel-colored, knee-length skirt. Her black blouse plunges well below her neckline, revealing a sliver of her lacy bra.

Gira says she’s wanted to work in the sex industry ever since she was a kid. “It wasn’t like I woke up one day and said, ‘I am a prostitute at my core,'” she says, “It was more like, ‘That would be a job I could do.'”

So she began exploring her adult dreams as a young college student at the University of Massachusetts Amherst in the late 1990s. Gira became a stripper and dabbled in porn modeling. Eventually she found her niche: web cams. The Internet-based technology gave her control over her environment and allowed her to reach a national clientele from the safety of her bedroom.

Blogging went hand in hand with her web-cam work. Gira found her first sex worker community on LiveJournal.com, one of the earliest online forums. There she met women who could openly share advice about their trades, including prostitution, pornography and stripping. She also wrote prolifically on blogs, weaving her experiences and thoughts into stream-of-consciousness diatribes tinged with political and erotic undertones. But she is careful to distinguish her writing from porn.

“I so don’t do ‘top 10 sex tips,'” she says, waving her hand. Unlike the in-your-face T&A on X-rated websites, Gira prefers alluring obscurity. She tucks provocative details into reflections or intellectual musings.

“I would get very vulgar and explicit, but I did it in such a poetic and abstract way that people were, like, ‘What the hell was that? What was I reading? I’m turned on and I don’t know why,'” Gira says about her earlier writing.

For many women, sexblogging has become a political expression because it brings matters of the flesh down to a realistic level. By telling the story of someone’s life, sex blogs indulge in intimacy that porn just doesn’t deliver. “Why are people always setting off sex over here as this separate thing?” Gira asks. “Why can’t it just be a part of everything that you’re doing?”

And everything she does, Gira says, has something to do with that three-letter word. She still calls herself a sex worker, even though she’s retired from stripping and now serves as the development director at the St. James Infirmary in San Francisco, a health clinic for sex workers.

“You don’t need the full-on gynecological shot of a vagina to be turned on,” she adds. “You can see it wherever.”


Sequin Resequence

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September 13-19, 2006

Earlier this year, I wrote a combo review of a pile of new heavy rock discs, including Yeah!, the first notable effort in almost two decades from ’80s hair-metal titans Def Leppard. Yeah! is an all-covers tribute to ’70s British glam rock, and I gave it a backhanded compliment noting that it “acts proud to be part of a trend that’s not even happening.”

It’s time I apologize to the Leppard lads and take that back. There is a glam revival in progress, even if it’s simply a phlegm-ball in the overall trend that keeps leading new rock back to classic rock. What’s the surest sign of new interest in glam? The well-received recent disc of new material by the New York Dolls.

Are you kidding me? The notorious, short-lived New York Dolls, mythologized as elemental precursors of glam and punk, have actually put out their third studio album after 32 friggin’ years? Even with only two original Dolls still living, this is tantamount to hell freezing over. Better yet, their new disc, One Day It Will Please Us to Remember Even This, is a damn fine rock record, full of history and insight, spitting itself out with genuine flair, style and drama.

The new Dolls disc sits nicely with the latest by another glam-punk icon, grand mama riot grrrl Joan Jett. Her new disc, Sinner, is also a potent, personal and persuasive return from nonproductive remission. Can we expect other glam rock heroes to re-emerge? How about a Mott the Hoople reunion tour?

Canada’s Crash Kelly sincerely mimics T-Rex, Thin Lizzy and KISS on their second effort, Electric Satisfaction, which includes a cover of Alice Cooper’s glam-goth novelty nod to necrophilia, “Cold Ethyl.” Like the Dolls, Jett and another revivalist group Towers of London, Crash Kelly hold a clue to the musical basis of glam, which is the familiar Chuck Berry riff ‘n’ shuffle. But the Berry style exists in rock history independent of glam, which leads us back to the bigger picture: current rock’s fascination with classic rock.

Neoclassic rock sustained itself with depth for the first half of this decade. The White Stripes, the Hives and the Dirtbombs revived garage rock. Heavy metal bands like the Sword, High on Fire and Priestess pull ideas not from thrash or grunge but from the Sabbath/Zeppelin axis. Drive-By Truckers and My Morning Jacket have given a new face to Southern rock. Even the debut by Jack White’s new group the Raconteurs clearly echoes the Who and the Beatles.

At this point, I should confess my true agenda. I’m prattling on about glam and the classics because I’m really looking forward to the imminent sophomore disc Shine On by Aussie rockers Jet. This confession is a sacrifice of any hip credentials I may have; I should be pining for the new Shins album or discussing emo leaders like Talking Back Sunday, chamber-pop heroes like Sufjan Stevens or edgy indie duos like Fiery Furnaces.

Those acts all have cool albums out this year. But emo is the new mainstream, while chamber-pop and indie duos come preapproved as hip models for new rock. That leaves neo-classic rock as a real alternative. Jet are often derided for being derivative, sounding first like AC/DC and then like Oasis trying to sound like the Beatles. I’d like to gratefully add that my boys also sound like Bachman-Turner Overdrive, David Bowie, acoustic Stones and Aerosmith. Jet’s glam-punk cowbell-driven new single “Put Your Money Where Your Mouth Is” also inspires me to quote my pals in Def Leppard by shouting out a big fat “Yeah!”


About Face

0

the arts | stage |

Twin set: Suraya Keating, Andrew Fonda Jackson and Brandon Roberts are so bad they’re good.

By David Templeton

It sounds like a headline from the Weekly World News: “Two Sets of Identical Twins Swap Wives, Fortunes and Identities!” Flagrantly absurd and ridiculous, that’s also the basic plot of William Shakespeare’s Comedy of Errors, recently launched as the season-ending production of the Marin Shakespeare Company’s summer festival in San Rafael.

Why anyone would choose to perform Comedy is a mystery, since it is as famous for being one of Shakespeare’s least-accomplished works as it is famous for . . . well, that’s pretty much what it’s famous for. That and the two sets of identical twins. So I’m a bit dumbfounded that this production of Comedy, directed by Bay Area treasure James Dunn, is not only the best production of the play I’ve ever seen, but the best Shakespeare production I’ve seen so far this summer.

But first, let’s talk a bit about bad Shakespeare.

Assuming you attend as many live Shakespeare plays as I do, the law of averages suggests that you have seen a mix of the Bard’s greatest hits (Hamlet, King Lear, Romeo and Juliet–aka, the good plays) and his less frequently performed works (Titus Andronicus, Cymbeline, King John and Comedy of Errors–aka, the bad plays). You’ve probably noticed how frequently Shakespeare’s good plays are given bad productions. What gives?

Some of the worst Shakespeare I’ve ever seen onstage, from L.A. to Ashland, from Equity houses to Junior High School auditoriums, have been stagings of the Bard’s best and loftiest plays. I still suffer nightmares from one Romeo and Juliet I saw on the stage of some since-condemned theater in Los Angeles, a show so slowly paced, drawn out and simply bad that the actor playing the apothecary actually apologized to the audience during his brief appearance before the stunned audience. By the time the star-crossed lovers had killed themselves, I’d grown murderously resentful that they all had weapons and I did not.

In contrast, some of the most breathtaking productions of Shakespeare that I have ever experienced have been stagings of his lesser plays. I recall in particular an Oregon Shakespeare Festival production of Henry VI, Part 1–arguably Shakespeare’s least pulse-inspiring history play–that was so inventive, energetic, gorgeous and bold that the entire audience forgot they were watching a “bad” play and leapt to their feet at the show’s complex conclusion.

All of which brings us back to Comedy of Errors.

Two sets of identical twins, both named Dromio and Antipholus and separated at birth, find themselves being confused for one another in the coastal town of Ephesus. Both sets of twins are played by Brandon Roberts (the Dromios) and Andrew Fonda Jackson (the Antipholi), with a different voice and body language for each.

Lost at sea as children, one of the twin-sets has set up a life in Ephesus, with Antipholus now a wealthy businessman and Dromio his servant, while the other twin set, a pair of adventurers from Syracuse, come to town looking for wealth and love. Subconfusions involve Antipholus of Ephesus’ wife, Adriana (played like a young Phyllis Diller by Mary Knoll), and her sensible sister, Luciana (LeAnne Rumbel).

Staged outdoors, Dunn’s concept is to take the “comedy” in the title, slap a funny accent on it and work the show for all it’s worth. With classic vaudeville and old Marx Brothers films as its apparent inspiration, this is the kind of show in which off-color one-liners (after all, Shakespeare was their nasty master) are accompanied by rim shots banged off bya grinning woman with a missing tooth.

Mel Brooks would have approved of the way anachronisms (7-11 cups, Coke machines) collide with pseudo-historical costumes (turbans, helmets, unraveling togas). Everyone speaks in funny voices. Pratfalls abound, and even the actors in the smallest roles get a chance to give hilarious performances. High kudos to Jack Powell as a cash-strapped merchant appearing in a variety of pan-handler guises to foil the cops, and Stephen Dietz as the duke of Ephesus, pulling off one of the funniest drunken-toga-wrapping scenes in recent memory.

Fans of good bad-Shakespeare will want to catch this show, because the bad good-Shakespeare will be back before you know it.

‘Comedy of Errors’ runs Friday-Sunday through Sept. 24. Friday-Sunday at 8pm; also Sunday at 4pm. Preshow talk with scholars or company artists, every Friday at 7:30pm. Forest Meadows Amphitheatre, Dominican University, San Rafael. $15-$30. 415.499.4488.



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Last Exit

September 13-19, 2006

Just as wishing didn’t make Snakes on a Plane a better movie, politeness to the aged won’t make The Boynton Beach Club more profound than the ordinary teen-date movie–even if the characters are prepping for their upcoming date with the Reaper. The romantic problems of these retirees cannot distract us from the wide segment of cinema history director, producer and co-writer Susan Seidelman encompasses onscreen.

Seidelman was one of the first indie filmmakers to emerge from New York, with 1982’s Smithereens and her 1985 Desperately Seeking Susan. Boynton Beach Club, co-written with her 75-year-old mother, Florence, is a tag-team movie, set in a plush development for senior citizens in Florida, not to far from Boca Raton.

At the beginning, Marilyn (Brenda Vaccaro) loses her beloved husband in a traffic accident. The death leads her into the true social circle at Boynton Beach, the Bereavement Club, where those who have lost their mates find shoulders to cry on–as well as new mates. Women there include the sixtyish hottie Lois (Dyan Cannon). Cannon has had much work done, and is today as unnervingly sleek and voluptuously lipped as Mick Jagger. The best line in the film is Marilyn’s assessment of Lois, when she’s all dressed up: “The men will all be drooling.”

“Big deal,” Lois replies, “most of them already are drooling.”

King among men in the area is Joe Bologna as Harry. He is the local senior-citizen stud, a kid in a diabetic candy store. Another resident, the grieving Jack, is played by Len Cariou, the most convincing performance here. Cariou is the one who plays the scene of getting Viagra from the pharmacy; it’s a late, maybe the last, version of the ancient teen-movie gag about getting condoms from the nosy pharmacist.

Seidelman has eliminated all of the parts of Florida that don’t match the real-estate pamphlets. And it’s hard to get a sense of what sort of lives these people had before they retired. As scriptwriters, the mother and daughter team have eliminated all the more interesting parts of aging: the wars with the insurance companies, the sometimes angry relations with their kids and the chance for volunteer work. While Boynton Beach Club assures us old people are vibrant and interesting, it focuses on the most commonplace part of their lives.

All we can do to fill the hollows is to remember how we all once felt about the performers. There’s Cannon, who was married to Cary Grant, right in the same movie where Jack rebukes himself, “Who do you think you are, Cary Grant?” In one scene, Sally Kellerman bares her breasts. Instead of thinking, “How brave, at her age,” we think, “That’s what the gang in Altman’s M.A.S.H. worked so hard to get a look at.”

Vaccaro, with her throaty voice and succulent flesh, was once romanced onscreen by Robert Mitchum. In 2006, she’s every inch a sit-com nana. Being disinterested in Boynton Beach Club is not a matter of refusing to accept the reality of what age did to these actors. Rather, it’s a case of not having a convincing enough fantasy to displace the older, more vivid images, left behind by previous movies.

‘Boynton Beach Club’ opens at the Rialto Lakeside Cinemas on Friday, Sept. 15.


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