Sixth Street Playhouse

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A Playhouse Is Born

At long last, Actors Theatre and Santa Rosa Players have the new home they’ve been hoping, praying and (are still) fundraising for

By David Templeton

At midday on Superbowl Sunday, a peacock is waiting to be born. Sketched in pencil on a large plywood oval leaning up against the back wall of the mostly postconstruction Sixth Street Playhouse, the proud art deco peacock–part of the unassembled set for Santa Rosa Players’ upcoming production of Jerry Herman’s gleefully subversive musical Mame–is still only an outline, an enticing promise of what it will become in just a handful of days.

As such, that unpainted peacock is an apt metaphor for the Sixth Street Playhouse itself, the long-planned theater venue near Santa Rosa’s Railroad Square where two of the North Bay’s oldest theater companies, the Santa Rosa Players and Actors Theatre, will make their collective home. Following years of planning, talking, wishing and fundraising, and after months of frustrating delay, the brand-new 186-seat theater is finally ready for its grand opening.

Well, it’s almost ready.

On this Sunday, a feisty crew of workers, electricians, actors, artists, directors, publicists and various friends of the above–representing not only SRP and AT but a good portion of the North Bay theater community at large–have shown up to lend a hand installing last-minute fixtures and getting the lighting in place, while others set themselves to loading the massive set for Mame.

Neither the Merlo Theater nor the old Actors Theatre stage, both at the LBC, could have handled a set like this, but the new Sixth Street stage, on which you could park the entire old Actors Theatre stage and its lobby and rehearsal rooms, was designed for grandness whenever called for. Mame, the story of a rich, kind-hearted hedonist pretending to be ordinary for the sake of her adopted nephew, requires more than a glimpse of grandness.

That’s what cast and crew hope to deliver, both on and off the stage.

“In my opinion,” enthuses Mame director Kathleen York, who’s been with SRP for 25 years and has watched the company grow and move from home to home over the last quarter century, “this is now the nicest-looking theater in Sonoma County.”

That same enthusiasm and pride is expressed by everyone present today, a steady hum of excitement running just above a more frenetic thrum of optimistic fretfulness. Will the stage lights be up in time for the preview performances? If the set painters get to work at night, when will the cast members get the stage for their final dress rehearsals? When is that peacock going to get its coat of many colors?

“Oh, there’s still a lot to do,” laughs AT executive director Argo Thompson.

“But we’ll be ready for opening night. Later on, when we’ve raised enough money, we’ll install an awning on the exterior, put more lights up out in the parking lot, and a few other things. From the beginning, our vision for this facility is that it would be a gem, an inspiration, a comfortable, beautiful gathering place for the local artistic community, a destination for theatergoers and a showcase for innovative and enjoyable theater that will attract those who aren’t already regular patrons of the theater.”

The attraction factor seems to be working; two full weeks ahead of time, Mame’s opening night has sold out, and with community interest at a high level, it seems likely that the production, with its cast of 20 singing, dancing, 1930s-era bohemians, will have a very successful run.

“What I hope for the Sixth Street Playhouse,” says Thompson, “is that it proves to be good thing, not just for the two companies that will be doing shows here, but for the entire North Bay theater community. I personally hope that the excitement we are seeing will add to the growing public appetite for live theater. In the future, I believe people will look back and say that the opening of Sixth Street Playhouse was a good thing for every theater company in the area.”

‘Mame’ runs Friday-Sunday, Feb. 18-March 13. Friday-Saturday at 8pm; Sunday at 2pm. Sixth Street Playhouse, 52 W. Sixth St., Santa Rosa. $15-$22. Special discount matinee on Saturday, Feb. 26 at 2pm; all tickets are $10. 707.523.4185.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Wine Tasting

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Photograph by Jason Baldwin

All Smiles: Patrons prepare to toast the server at J Winery.

Listen Up!

Winetasting do’s and don’ts for Generation Next

By Ella Lawrence

Not all tasting rooms are of the same ilk; in just one valley, they can range from a quaint barn in a vineyard, staffed by old ladies with puffy-paint sweatshirts, to soaring modern facilities staffed by sometimes surly tattooed hipsters. In order to maximize the winetasting experience, this sometimes-surly-tattooed-hipster-tasting-room-employee-turned-writer has come up with a list of do’s and don’ts for tasting-room etiquette, gathered from a number of tasting-room employees (hereon referred to as “tastrons”).

Do:

Have an opinion about wine and share it. It’s easy to be intimidated by Wine Country, but wine is something that should be accessible to anyone, even those newly indoctrinated to oenophilia. If you get a taste of blackberries in your wine, exclaim, “I taste blackberries!” If the wine has a tongue-puckering effect, holler, “Yowee! That’s got a lot of tannin!” If you’d rather offer up “I’m getting some really subtle nuances of pineapple and guava, maybe some vanilla spice at the end here,” then by all means do so, but don’t keep quiet: they are here to talk to you about wine and anything else under the sun while you’re in fr ont of us, so let the tastron know what you think. But …

Realize the tastrons have heard it all before, so don’t try to impress them. Let me repeat: Do not try to impress anyone in a winery with your knowledge of wine. Only someone who does not know very much about wine will try to impress people whose job it is to know about wine with scanty factoids and banal trivia. Winery employees often know much more about wine than they appear to, and even if they don’t, they will not be impressed by the question, “Sooo … is this wine from American barrels or French barrels?” (By the way, most wineries use a combination of the two.) So please do …

Relate to your tastron as an equal. Do not patronize him or be intimidated by him. Just because the tastron is behind a bar doesn’t make him scary or less of a person.

Be nice; it’s free wine, after all! Being nice includes saying “hello,” “thank you” and “may I?” instead of just “gimme.”

Wipe off your lipstick: the really gooey stuff doesn’t come off in the dishwasher and we curse you as we hand-wipe it from our crystal glassware. Plus, how gauche are hot-pink lip-marks all around the rim of your glass?

Leave the perfume at home. Smell and taste are two senses that are inextricably linked (ever notice how food tastes like cardboard when you have a cold and are stuffed up?). No matter how delightful your Chanel No. 5 may smell on a date, the person who is standing next to you at the winery bar doesn’t want to smell it as they try to get the most scent and taste out of the tiny pours they are drinking.

Talk about something other than wine with the tastron. But don’t say “Wow! What a great view!” if there’s a great view. The tastron knows it’s a great view because she looks at it all day, every day, and then people like you come in and inform her she’s got a great view in case she hadn’t already noticed. Talk to the tastron about where you’re from; chances are, she’s never been there; or if she has, then you’ve got something in common. Talk about your dog. Talk about God. Talk about something! You will be standing in front of your tastron for at least 10 minutes, so do your best to engage with her, for she most likely is an interesting person.

Actually care about the wine you are tasting. Tasting rooms are places where many wineries showcase their finest bottles, and most tasting-room employees are proud to be in this line of work. Show some real interest and watch the tastron open up with friendliness–and perhaps open up a special bottle that’s not on the tasting list!

Designate a driver. Use the following equation: Number of wineries X number of tastes per winery X ounces per taste = far more wine than you think. (For instance, five tastes each at five wineries with five ounces per taste equals 50 ounces–two bottles of wine!)

Meanwhile, as with any customer-service job, those employed behind the counter will amuse themselves endlessly by making fun of customers. Here are some tips to keep you from being the butt of jokes for years to come.

Good Gams: Whoever told you that fallacy about wine and legs is currently falling over with laughter.

Do Not:

Move your glass upward to stop a pour. Don’t ever move your glass around when the tastron has a bottle in their hand. This will make the tastron hate you.

Slurp, smack or gurgle wine. And do not chew gum.

Tell the tastrons how ‘dry’ the red wines are. Just substituting the word “tannic” for the word “dry” will make them think you actually care about wine. Plus, it will impress your friends no end.

Never mention ‘legs.’ Whoever told you this thing about “legs” as a way to distinguish one wine from another is now filled with mirth at the thought of you traveling from winery to winery and trying to impress the employees and your friends with this nonsense phenomenon.

Ask ‘where in the Dry Creek’ a particular fruit comes from, unless you live in the Dry Creek, and grow wine and want to know which one of your neighbors to thank for producing the fruit for this fabulous bottle. Does knowing where the lot is make the wine taste better? Are you going to go visit there?

Rinse your glass with water. Water and wine have different viscosities, and for the small amount of wine you are poured in a tasting room, water will dilute the characteristics of the wine much more than the previous wine. Tasting rooms generally pour their wines from lightest-bodied to heavies, so going from one wine directly to the next is part of the whole experience. If you’re going from a red wine to a white wine, rinse your glass with a little bit of the white wine you are going to taste, then have the tastron pour the white into your glass.

Attempt humor, unless you have been told by many people (who are not your mother) that you are funnier than Margaret Cho. When poured a taste of syrah, never ever, ever say, “Que syrah, syrah!” and laugh at your own wit. Chances are, the tastron has heard that particular line several times already this morning and perhaps is being forcibly restrained by his co-worker from hopping over the counter and kicking your teeth in. One co-worker tells a story of scores of semidrunken customers chuckling, “Heh, heh, naughty,” as he poured a taste of a ‘knotty vines zinfandel.’ While this may have been a shade funny the first time someone said it (and it probably wasn’t), it is very far from funny to someone who has heard it several times a day for the past several years.

State the obvious. Example: “Gosh, you’re tall” (to a very tall tastron). Just as someone who works in a tasting room has heard every “witty” wine-related line before, so does someone who is 6 feet tall know she is tall.

Touch the spit bucket. Just lean over it. Realize what sorts of disgusting things hang out in the spit bucket–old wine that was in other people’s mouths, dead fruit flies–and spit. If you actually touch this foul vessel, the tastron will not want to come within more than a few feet of you, which makes it difficult to pour you more wine.

Let yourself be pressured into purchasing or joining the wine club. Sometimes the tastron can (often without meaning to) make you feel intimidated by the broad wealth of wine knowledge they have. Don’t let the tastron use this unfair advantage to force you into joining the wine club. Tell the tastron you know she only gets five measly bucks if you join the club, so she should just leave you alone and go prey on some other hapless suckers for cash. Unless, that is, you really want to join the wine club, in which case you should by all means ask about it, because wine clubs are good things.

Sarcastically say, ‘Wow, you have a hard job, heh, heh.” This can make tastrons feel demeaned. Sure, it seems like a piece of cake to stand around in front of a beautiful view and drink wine all day long, but it’s actually taxing to stand around and drink wine in front of a beautiful view all day long! Sometimes you have to bring boxes of wine from the back and put them in the front ,and those boxes might be heavy. Well, OK, maybe we tastrons don’t have it so bad after all.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

GE Ban

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Photograph by Scott Hess

Tomato Fish Hat: A volunteer gathers signatures for the GE ban set to go on the ballot.

Closer to Free

Sonoma County is one step closer to ban on genetically modified organisms

By Joy Lanzendorfer

Let the campaign begin. Now that 38,000 signatures have been officially verified and the Sonoma County Board of Supervisors has agreed to set a date for the special election, the battle to ban genetically engineered (GE) crops in Sonoma County is on.

Last week, the Board of Supervisors postponed a decision on whether to immediately implement the measure or to place it on the ballot later this year until a study of the proposal is completed March 1. If the bill passes, Sonoma will become the third county in California to ban the planting of GE crops, following the lead of Mendocino and Marin. If the bill fails, Sonoma will be the fourth county in the state to reject such legislation.

GE-Free Sonoma, a grassroots campaign of over 500 volunteers, collected a record 45,000 signatures–20 percent of local voters–to put the initiative on the ballot. Later this year, residents will vote on the issue in a special election. By itself, the election would cost the county over $500,000, so it will likely piggyback with another special election, such as the one Gov. Schwarzenegger may call for November.

Supporters of the bill say that the time to act on this issue is now, before GE crops are regularly planted in Sonoma County and have a chance to contaminate the environment.

“Once those crops are planted here, there’s no turning back,” says Dave Henson, campaign director for GE-Free Sonoma. “And there is a long list of GE plants in the pipeline that may be released in the near future, like apples, strawberries, lettuce, tomatoes, squash, melons–the list goes on and on.”

But grapes, Sonoma County’s largest crop, are not on the list. Though scientists are developing a grapevine resistant to the dreaded Pierce’s disease, it will be at least a decade before it will be on the market.

However, GE corn is already being planted by local ranchers, according to the Sonoma County Farm Bureau. If the anti-GE bill passes, the ranchers will probably have to pull up the corn and find other means to feed their livestock.

“Banning GE crops would definitely have a large economic impact on farmers,” says Lex McCorvey, executive director for the Farm Bureau, which opposes the initiative. “There aren’t a lot of GE crops grown here right now, but there will be more in the future.”

Opponents of the bill say that banning GE crops could put farmers at a competitive disadvantage. In the last year, the planting of GE crops grew 20 percent worldwide. Much of that was in developing countries like India. Sonoma County farmers could be left out if they too don’t have the option of growing GE plants.

On the other hand, most of Europe has banned the import of GE food, so if the bill passes, Sonoma County will have guaranteed access to this large market. It would also ensure the quality of the local organic labels. Once GE crops are grown here, it will be difficult to tell if they cross-pollinate with organic plants.

GE-Free Sonoma has been working closely with the agriculture community to address these dicey issues. “We thought it was important to work with farmers and other groups on drafting it,” says Henson. “We wanted to avoid making this into an issue of environmentalist versus farmer.”

As a result, the bill contains some compromises. For example, it bans the planting of crops but does not preclude research or development of the technology, meaning that while someone couldn’t plant a field of GE grapevine here, they could still develop the plant.

Additionally, the Board of Supervisors can abolish the initiative with a unanimous vote if future developments make GE crops beneficial. And since the legislation expires in 10 years, it opens the door to the possibility of Pierce-resistant grapevines.

Supporters of the bill say the federal government has been lax on regulating this new technology, allowing it into the food system without sufficient long-term testing. In 2003 alone, there were 100 million acres of GE crops in the United States. The vast majority of that is corn, soybean, cotton and canola.

Much of the soy and corn eaten in the United States is genetically engineered, a fact that makes many people nervous. Most Americans support the labeling of GE foods. The Japanese have even said they will “watch the children of the U.S. for the next 10 years” before they allow the planting GE crops in their own country.

Concerns about GE food are numerous. Such foods may create health problems, such as new allergens or immune-system problems. They may create “super weeds” that are resistant to current pesticides, and force farmers to use even more hazardous chemicals in order to destroy them.

Genetically modified organisms may also breed with native species and take over the ecosystem. A study by Purdue University showed that GE salmon have such a breeding advantage over wild salmon that if 60 GE salmon are released into a population of 60,000 fish, the native population will be extinguished in just 40 generations.

Proponents of the technology say that not only are GE crops environmentally friendly, they are the solution to age-old agricultural problems.

“These products have provided tremendous benefits for farmers,” says Lisa Dry, spokesperson for BIO, the Biotechnology Industry Organization. “They are reducing the use of pesticide, preserving soil through less tillage and using fewer fossil fuels because the farmers are out in the fields much less.”

She adds that GE crops have the potential to end world hunger.

Environmentalists, however, say that GE crops may do the opposite by creating a monoculture where the food supply is too dependent on one particular type of plant. Monocultures are not new. In 1845, for example, a fungus destroyed Ireland’s few varieties of potato, wiping out the country’s major food supply and killing over a million people in what is today called the Irish potato famine.

With GE crops, the monoculture is patent-protected. Monsanto alone has patented over 11,000 seeds, meaning that no one can reproduce the plant without the company’s permission. Monsanto has been regularly filing–and winning–lawsuits against small farmers because, in most cases, its patented seeds drifted onto the farmer’s land and cross-pollinated with existing plants.

In addition, the new “terminator technology,” where seeds are designed to genetically switch off after one planting so that farmers can’t reproduce the seed, is also problematic for ending world hunger.

If the bill passes, Mendocino, Sonoma and Marin counties will create the largest GE-free zone in the United States. Marin has little agriculture compared to, say, its neighbor Napa, which has no movement to ban GE crops. However, the more counties that ban GE plants, the stronger the case for a larger statewide initiative. As it currently stands, there is little support among legislators for a bill banning the planting of GE crops in California.

Last November, GE initiatives failed in Butte, San Luis Obispo and Humboldt counties. All three bills were poorly written, Henson says. Humboldt’s legislation accidentally created jail time for farmers who violated the law. Butte and San Luis Obispo did not make exceptions for research in their bills.

“Those initiatives were worded poorly in part because the organizers didn’t talk to the farming community,” says Henson. “The consequence of that was a lot of ignorance and misinformation out there.”

In addition, the bills saw strong opposition from biotech and agricultural interests. Residents were treated to a barrage of TV, radio and mailer ads from both sides of the issue, something Sonoma County can look forward to in the near future.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Rosco Gordon

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Rosco’s Rhythm: Rosco Gordon recorded much of his posthumously released new album on his own untuned piano.

Rosco’s Song

R&B legend signs off with new CD

By Greg Cahill

When Rosco Gordon died three years ago at age 74, he left behind a suitcase full of sizzling session tapes that served as a fitting coda to a rollicking rock ‘n’ roll legacy. Best known for his seminal 1952 R&B hit “No More Doggin’,” Gordon–recognized for a trademark piano sound that Sun Records chief Sam Phillips branded “Rosco’s rhythm”–is widely acknowledged as one of the founding fathers of rock ‘n’ roll and a prime influence in the creation of Jamaican ska.

Those final sessions have finally seen the light of day with the release last week of No Dark in America (Dualtone), which ranges from the push-pull New Orleans groove of “A Night in Rio” to the string-laden piano ballad “Girl in My World” to the uplifting title track, an affecting post-9-11 rave-up.

The recordings–taped in Gordon’s Queens, N.Y., apartment with overdubs laid down in former Wilco drummer Ken Coomer’s basement, a friend’s living room, and various small studios–are sometimes rough, with false starts and stops and shaky vocals (“All right, put that one in the garbage,” Gordon declares at the end of a feisty taping of “Love on Top of Love”), but there is an immediacy and charm to this highly original artist that is undeniable and utterly irresistible.

Indeed, the album also is a testimony to the perseverance of two friends, Chris King and musician pal Eli “Lij” Shaw. Back in 1997, at the behest of roots-music critic Kevin Roe, the pair jammed their recording gear into a beat-up 1987 Cavalier and visited Gordon, finding an aged and ailing artist all but forgotten by the music world but artistically “on fire.” The two decided to create “field recordings,” capturing Gordon in his cramped Queens apartment singing and playing a badly neglected (and out of tune) piano. “Rosco literally sang himself sick for us,” King recalls in the CD liner notes, “clawing his guitar and banging his decrepit piano like a man possessed, then ending up in the hospital after we left.”

Back in Nashville, King and Lij began to build a band around the crude field recordings they had gathered in the apartment, eventually returning to New York to record Gordon on a better piano owned by Lij’s brother, the jazzman Nate Shaw.

Returning to Nashville with these new solo tapes, the friends discovered that word of the project had gotten out and among those itching to contribute was Coomer, who jumped at the chance to contribute overdubbed drums to the sessions.Gordon liked the results. Over time, a close friendship developed between the once-forgotten legend and the vagabond producers. Gordon even stood up as best man at King’s wedding, and the two whiled away many a lazy summer afternoon at Gordon’s apartment, watching Mets games and quaffing Budweisers.

Most of the sessions lay fallow for years, but the buzz rekindled Gordon’s career. In 2000, he signed a deal with the Stony Plain blues label, recording many of these same songs for the album Memphis, Tennessee, which picked up a coveted W. C. Handy Blues Award nomination as Comeback Album of the Year. Two years later, director Martin Scorsese featured on-screen interviews with Gordon in his ambitious multipart PBS documentary series The Blues, and included several classic Gordon tracks on the series’ bestselling soundtracks. Just weeks before his death in 2002 from heart failure, Gordon returned to the studio with King and Lij to record “Night in Rio” and the title track.

Three years later, No Dark in America possesses a purity of spirit that could only come from a labor of love, a thank-you card from two committed music fans to one of their heroes.

What could be more refreshing in this jaded age?

Spin Du Jour

Bluerunners, ‘Honey Slides’ (Bayou Vista)

Talk about Southern flavor with a twist, the Bluerunners take their name from a Louisiana swamp fish, and the title of their fifth and latest album honors the sweet psychedelic shots that Neil Young used to ingest during the On the Beach recording sessions (a mix of low-grade pot and honey sautéed in a skillet). But you can bet the stinging slide-guitar solos that slice through these zydeco-inflected tunes play at least a small part in that title selection. Fueled by pumping Cajun rhythms, and the music and lyrics (many sung in French) of band member Mark Meaux, who hails from the Cajun heartland of Lafayette, La., the Bluerunners live up to their reputation as leaders of the region’s next generation of roots-music artists. Let the good times roll.

–G.C.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Briefs

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Briefs

Napa Goes Green

While there are plenty of Green Party members in Napa County, until recently, there was no officially recognized Napa County Green Party chapter. As one Napa Green puts it, “We were just a loose band of malcontents that got together to have a few drinks and bitch about the way the world of politics was going.” But all that changed last week when those very same malcontents, under the watchful eyes of state and regional Green Party representatives, met to pass by-laws and elect a Green Party county council for Napa. Newly elected council members include Chris Malan, Bob Moore, Matt Grantham, Keith Heltsley, Paul Dohring and Lowell Downey. The Napa County Green Party’s next county council meeting takes place April 6.

Cutting Adjuncts

Most of the teachers at Santa Rosa Junior College don’t have full-time jobs. These so-called adjunct professors outnumber their full-time colleagues by nearly 3 to 1; there are 900 adjunct professors and just 320 full-time teachers, according to the All Faculty Association (AFA), which represents both groups. Of those 900 adjunct members, 210 take advantage of medical insurance offered by the state. But here’s the problem: the state adjunct medical benefits program has never been fully funded, forcing local districts such as SRJC to make up the difference. Which means, according to AFA president Janet McCulloch, every time contract negotiations roll around in the district, adjunct benefits go on the chopping block. “We want our people and anybody who cares about the SRJC to write the governor and ask him to fully fund the adjunct medical benefits program,” she says. “Every time we get to the table, the district asks how are we going to pay for this?”

Casino Killer

With proposed Indian casinos spreading like mushrooms throughout the North Bay–and with cities seemingly powerless to stop them–Fairfax City Council member Frank Eggers plans to put his proposal for a casino moratorium on the state ballot. Egger’s moratorium would prevent construction of proposed casinos in Cloverdale, Rohnert Park, San Pablo and Oakland. In addition, he says his initiative “sets up a permanent regulatory agency, one that has teeth.” He hopes to qualify the initiative for the special election ballot proposed by Gov. Arnold Schwarzenegger later this year. “What this will do is give us legal say and legal authority over what goes on in our communities,” he says.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Lost in the Grooves’

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Best of Bert: Loving great (or crummy) music makes you cool, even if Sesame is your street.

Bushwhacking the Vinyl Jungle

‘Lost in the Grooves’ a field guide to forgotten greats

By Sara Bir

Record geeks cherish the moment when they encounter an album no one else knows about. This is less about one-upmanship than the thrill of discovery and the intimate connection between artist and listener, a lifeline that keeps neglected music vital and alive.

Kim Cooper and David Smay, editors of Scram magazine, understand this thoroughly, as evidenced in their recently released Lost in the Grooves: Scram’s Capricious Guide to the Music You Missed (Routledge; $19.95). The editors refer to the book as “your own portable geek,” meaning it can be a trusted friend to point obscurity-seekers in the right direction. And obscure in the context of this book is less about rarity in physical numbers than it is about rarity of appreciation.

The somewhat star-studded cast of contributors includes rock historian Ed Ward, novelist Rick Moody, cartoonist Peter Bagge and the formerly Santa Rosa-based Tim Hinley, who’s been producing Dagger zine for nearly two decades.

The entries vary widely in genre–Flo and Eddie’s The World of Strawberry Shortcake shares a page with the Flesh Eaters’ A Minute to Pray, a Second to Die–but most fall into two basic categories. First, there’s “Where the hell did this band come from?” These are artists whose releases will probably never cross the loading dock of a Virgin Records Megastore. Sharp-eyed readers will note the inclusion of John Trubee and the Ugly Janitors of America’s The Communists Are Coming to Kill Us, hailed by contributor Chas Glynn as “both annoying as hell and insanely captivating.” The album was released in 1984, before Trubee left Southern California for the calmer environs of Santa Rosa, where he continues to compose and record music.

The second category is “Hey, I never heard of that Who album!” These entries appear to compose roughly half the book, creating a great space for us to reconsider purportedly substandard issues by popular bands. Pink Floyd, Dolly Parton, the Ramones, Willie Nelson, Lou Reed and Jonathan Richman all rack up mentions. Considering these folks have collectively recorded a zillion albums, it’s not surprising that a few great ones have fallen through the cracks.

I was alternately bummed and smugly pleased to spot a few albums that I already own–for instance, Neutral Milk Hotel’s In the Aeroplane over the Sea. I bet at least half of the people who purchase this book not only own that album but count it among their all-time favorites. It’s a good reminder that we’re in emotional territory here.

Despite the obvious camp appeal of some recommendations, even a casual read of the reviews will indicate that the authors wrote about these records because they honestly like them and cherish their existence. Owning cool music does not make you cool; loving great–or, as the case may be, crummy–music does.

Studded throughout the book are reprints of vintage reviews from classic early music magazines like Creem, plus sidebars of well-selected lists for those who crave to know the “Top 10 Non-Goth Albums Goths Listen To.”

(Is Duran Duran’s Rio part of that list? Hell, yes!)

Lost in the Grooves is hardly encyclopedic. You could ask 75 other rock critics to divulge their favorite overlooked records and come up with a completely different list. It’s sort of implicit that Lost in the Grooves, Vol. II is to be carried out and added to by the hands of eager crate-diggers and attic-explorers that keep the story alive and make it their own. It’s a dusty-vinyl chain letter!

I’ll add three entries to get you started: Nino Ferrer’s Enregistrement Public, Scrawl’s He’s Drunk and Bert’s (yes, Bert the Muppet) Best of Bert. Now get going!

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Wild Gift

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Ours was a relationship fueled by late nights, cold gin, wild dreams, desperate sex and constant rock and roll. We were 19 and in love.

We used to try and chronicle our feelings for each other, she with her short stories and me with my songs, but we both gave up when we discovered the L.A. band X, who suddenly became our favorite band. After hearing songs like “When Our Love Passed Out on the Couch” and “The World’s a Mess, It’s in My Kiss,” why bother trying to capture two hearts crashing together in the urban blight? It had already been said, and far better than we could ever have said it, by Exene and John Doe.

One night, with extra money to burn, we spontaneously ducked into a tattoo parlor, handed over a photocopy of X’s logo, and walked out with matching tattoos on our hips. To this day, it is the only matching tattoo I’ve ever gotten with anybody. Our attachment to X was simply that deep, as no other band conveyed the ups and downs of our relationship with such precision as X did (not even my own band, whose routine comparisons to X were flattering but, let’s face it, gravely off the mark).

We had heard that the band made a film, but finding a copy of The Unheard Music was ridiculously impossible, until a friend who had bought the last VHS copy from a video store closeout loaned it to us. It was just what our lives needed. We lived in an attic, it was hotter than hell, the neighbors fought and we watched The Unheard Music over and over.

An aura is conveyed in The Unheard Music that the listener can’t get from X’s records. There’s an important confluence of art, lifestyle and era in the film, and it was clearly just as responsible for creating X’s music as were the band themselves. This was crucial context for us in the attic, and we studied it down to its finest details.

The members of X, of course, are endlessly fascinating. Drummer DJ Bonebrake, for example, showcases an impossibly zany polyrhythmic drum pattern he picked up by listening to the coffee percolator; later, he compares Lionel Hampton to Captain Beefheart and bemoans the lack of bassoons in rock and roll. And that’s just in the first few minutes.

Exene Cervenka, who consistently looks like someone is hitting her over the head with a lantern or something, recites a poem that she wrote for Percy Mayfield and acts in a silent-movie-style ghost vignette about marriage. Backstage at the Whiskey a Go Go, she reads graffiti and dedicates a pile of broken glass to her deceased sister.

Billy Zoom, a quiet peroxide-blonde pretty boy, fixes motorcycles and plays a mean swing clarinet. He comes off as reserved in every way except in his guitar playing, and we never forgave him for leaving the band shortly after The Unheard Music was completed.

But it was John Doe–the man who put the band together and who taught Exene to sing by practicing Hank Williams songs, who steals metal signs and lets cigarettes fall out of his mouth, the one who every guy wants to be and who every girl wants to do–he’s the one we were drawn to the most.

We drove to Los Angeles to see X, and we had dreams of meeting John Doe. We just wanted to talk to him, and maybe gain some insight into the vast world of mystery conjured by The Unheard Music. Our big plans were put on hold, however, when we promptly got thrown out of the show.

Sitting on a curb in a parking lot after getting thrown out of a show is one of the most dejected feelings in the world. We were ready to pack it in and drive back to Santa Rosa, our dreams deflated, when who do you suppose should see us, talk to us for an hour and get us back into the show?

It was our man, John Doe, the baddest cat that ever walked the earth.

“That movie was made over five years–they would get some money, buy film, rent the equipment and shoot some stuff,” he told us. “And during that time a lot of shit happened: we had put out Wild Gift, we went from Slash to Elektra, so our lives, and what happened to the band, developed the movie.”

Indeed, there are some insightful industry moments in the film. In a hilarious interview, an executive for MCA explains why he passed on signing X and instead is focusing on promoting some dumb band called Point Blank. The smug fashion in which he defends his bottom line summarizes everything that was and still is wrong with the music industry.

One unlikely star of the film is a haunting montage of an enormous house cut in half and gingerly towed through the empty streets of Los Angeles in the middle of the night as the strains of the title song play. The structure is in many ways like X, almost too big for L.A., as it barely scrapes by the traffic signals and burnt-out neon signs of San Fernando Boulevard.

Amazingly, Doe had no prior knowledge the house would be moved. “The guy who filmed that had his 16 mm camera in the trunk of his car,” he said. “We were just driving around and there’s this house being moved, and we thought, ‘This is great!'” They started shooting on the spot.

“I haven’t seen that movie in forever,” Doe admitted, adding that though he owns a copy of it, “it’d be really weird if you just sat around and watched your own movie.”

I haven’t seen it in forever, either, but I’m thrilled to announce that it’s just been rereleased on DVD (Image; $19.99). No bonus features, no commentary tracks, no extra footage–just the original, perfect, 84-minute movie, a slice of life from one of the greatest American bands ever, scraping their way into history the only way they knew how.

It still reminds me of other things, like the long, hot summer 10 years ago and the girl who has my matching tattoo–or, I should say, used to have my matching tattoo.

She got hers covered up in the wreckage of things, shortly after our love passed out on the couch. I haven’t talked to her since.

The Byrne Report

The Byrne Report

Rigged Game

WHEN WE LAST SAW fictional cultural icon Michael Corleone, he was ushering his casino-owning family into the embrace of Wall Street. His 21st-century real-life counterparts have presumably eschewed the garrote and machine gun as instruments of negotiation, preferring to take the law itself into their hands, primarily by larding government officials with cash.

Engineering the social acceptance of organized gambling through the use of legalized bribery may have replaced the dead-horse-in-the-bed routine, but there is something all too familiar about the coldness of a calculation that uses the genocide of Native Americans as the moral justification for circumventing laws set up to protect all people from harm.

Take Station Casinos Inc. of Las Vegas, Nev., as a case study. The public company is the fifth largest gambling corporation in the United States, operating a dozen hotel-casino-entertainment complexes in the Las Vegas Valley alone. It has grossed billions with its trademark “neighborhood” casinos, replete with bowling lanes, family restaurants and round-the-clock childcare services.

In 1997, the Nevada legislature passed a law limiting the number of new hotel-casino projects. Since the half-dozen biggest gambling houses in Nevada collectively control the Legislature, that statute can be seen as a self-interested move to curb overdevelopment of casinos before bullets replace joint-operating agreements.

Station was hit particularly hit by the growth restrictions. Then the Legislature upped gambling-related taxes in 2003. Station’s controlling stockholders, brothers Frank and Lorenzo Fertitta, must have been fed up with the state interference. Flush with Las Vegas cash and desperate to expand, they hooked up with several tax- and regulation-immune Indian tribes to front the exportation of their gambling business outside Nevada.

In California, the brothers Fertitta partnered with the United Auburn Indian Community in 2003 to build Thunder Valley casino in exurban Placer County. The multibillion dollar company guaranteed a $215 million loan to the tribe, which had no money nor any expertise in casino construction and management. Station operates Thunder Valley’s 2,700 slots machines, 98 game tables, 500-seat buffet and 4,500 parking spaces in return for 24 percent of the net. The architecture and ambiance, by the way, are not even remotely aboriginal, but faux Tuscan.

According to U.S. Securities and Exchange Commission filings, Station has signed similar casino development and management partnerships with the Gun Lake Indian tribe in Allegan County, Mich.; the Mechoopda Indian tribe in Butte County, Calif.; the North Fork Rancheria of Mono Indian tribe near Fresno; and the Federated Indians of the Graton Rancheria in Sonoma County, the latter of which seeks to build a controversial megacasino in Rohnert Park.

With tribes in tow, all that is needed to turn California into a full-fledged faux Tuscan Purgatorio is the compliance of federal and state government officials.

In the month leading up to the November 2004 election, which featured two gambling-related initiatives, Station Casinos sluiced $456,000 into the fray, including a gift of $240,000 to organs of the California Republican Party. The Republican governor, Arnold Schwarzenegger, is in charge of negotiating tribal compacts. Station tossed the toothless California Democratics a $20,000 muffin.

The company has retained Darius Anderson of Platinum Advisors LLC to lobby for its interests in Sacramento. (Anderson partnered with U.S. Sen. Barbara Boxer’s son, Douglas, to buy an option on property desired by Station Casinos, but I digress.) In Washington, D.C., where major project-specific decisions on Indian gambling are routinely made, Station is paying hundreds of thousands of dollars to power lobbyists at Patton Boggs and the Federalist Group.

Last year, Station Casinos contributed some $58,000 to federal candidates and parties. Through its political action committee, according to the website PoliticalMoneyLine.com, Station Casinos paid $28,000 to members of the Senate Indian Affairs Committee; Republican Sen. Orin Hatch received up to $2,500; and Senate Minority Leader Harry Reid, the Democrat from Nevada, got a $10,000 chip. The top fundraisers last year from gambling purveyors at large, according to OpenSecrets.org, were George W. Bush ($340,000) and Sen. Reid ($310,000). Performance, not ideology, rules this game.

The brothers are personally very generous. In 2004, according to a Station Casinos spokesperson, Frank handed over at least $47,000 for federal candidates and parties, such as Bush-Cheney ’04 and the Republican National Committee. Lorenzo played with $49,000, hitting hard on Reid and Bush-Cheney.

Frank Fertitta III, aka “Three Sticks,” is only 43; baby brother Lorenzo is 36. Who the heck are these guys? Read more about them next week in the Byrne Report.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Swirl n’ Spit

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Swirl n’ Spit
Tasting Room of the Week

Vincent Arroyo Winery

By Heather Irwin

Lowdown: Some days, Napa is like a rotten boyfriend. It never calls, hits you up for money all the time and treats you like crap. You’ll swear it’s finally over, and for good this time. But then you drunk-dial it and end up in bed having make-up sex–or, in our case, a big, beefy Cabernet that leaves you out of breath and looking for a cigarette. And your love is rekindled. Ah, Napa. Which is how we ended up at Vincent Arroyo’s Winery. We were feeling a little emotionally scarred after having our last $10 pulled from our pockets by a surly tasting-room snob who served us warm wine with a sneer. But we’d heard about this little out-of-the-way place just down the road, Vincent Arroyo, where folks were plain old glad to see you. And they had some darn nice wine. Nothing fancy to look at, Arroyo is basically a big barn, a gravel driveway and a little table set up among the barrels. “Hey, if you don’t like it, go ahead and dump it out,” we were told with a smile by the tasting staff. Simple and homey, Arroyo was just the transition winery we needed to fall a little bit back in love with Napa.

Mouth value: Arroyo’s tiny production and solid winemaking leave most of its signature wine, Petite Sirah, gone before the bottles ever hit the shelves. The ’02 is completely sold out, but you can taste the ’03 (still in barrels) and get on the list. Fortunately, Arroyo has some nice little reds that won’t leave you broke and sniveling. The ’02 Mélange Reserve ($15), made with 70 percent Gamay grapes, has beautiful color and depth with some nice oak on it. Take it to a party.

The ’02 Merlot ($28) is pretty and delicate–which is fine if you like that thing in a Merlot. Frankly, I don’t, and it hit the bucket. The ’02 Cabernet ($30) was the most impressive of the lot, with deep vanilla, cherry and inky dark color. I’d take it home in a heartbeat if it promised to respect me in the morning. The ’02 “Nameless” wine ($27) is a Bordeaux blend that still felt a bit tight, but might take on a little more character after breathing or cellaring a bit.

Five-second snob: We got this straight from the horse’s mouth: “Appointment only” means anything but that. Most of the time, zoning and permit regulations for small wineries don’t allow them to have more than a few people at the winery at any one time, so they are forced to take “appointments,” much to their dismay. Many winemakers say they’re more than happy to host you–appointment or not. If the gates are open and someone’s around to pour, drive on in and pull up a glass.

Spot: Vincent Arroyo Winery, 2361 Greenwood Ave., Calistoga. Open daily, 10am to 4:30pm. 707.942.6995.

From the February 16-22, 2005 issue of the North Bay Bohemian.

© Metro Publishing Inc.

News of the Food

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News of the Food

Bowl of Disaster

By Stett Holbrook

Order a bowl of shark fin soup at a fancy Chinese restaurant, and expect to pay $20 or more. But you get precious little shark fin for your money–just a few stringy strands of the cartilaginous meat. That’s not only bad value, it’s an environmental crime when you consider how those few grams of shark fin got to your soup bowl.

Not only are sharks being harvested in numbers that have caused their numbers to crash by as much as 85 percent worldwide, many of the sharks are caught for their fins only. The rest of the fish is discarded. Shark “finning” is a particularly gruesome practice where fins are hacked off live fish and the bodies are tossed overboard, where the powerless sharks are left to sink, bleed and die.

As a top predator, sharks are slow to reproduce, and some species produce only two pups every two years. The lucrative shark fin industry, which has grown dramatically over the past 15 years, has had a particularly devastating impact on the fishery.

“The shark populations are getting so that there’s not much left,” says Pete Knights, executive director of San Francisco­based WildAid, an environmental nonprofit group waging a campaign to reform the shark fin trade. “It really looks pretty grim.”

WildAid is working to ban finning and promote a sustainable shark fishery. The organization is focusing its campaign on Taiwan, Thailand, China, Hong Kong and Singapore, countries where shark fin consumption is highest.

Several countries have banned finning, including the United States, Costa Rica, Ecuador, South Africa and the European Union. But there are still millions of miles of unprotected waters, and fishing is notoriously hard to regulate. WildAid is working in Central and South America, where fishermen are reportedly raiding marine preserves for sharks.

But with prices for the fins approaching $800 a pound for some species, the trade continues to attract fishermen. The only other way to make as much money is drug trafficking.

“There’s so much money involved,” Knights says.

The fins, which are sold dried, are cooked down until they break into threadlike strands of meat that have little flavor. It’s the chicken broth, ginger, garlic and other ingredients that give the soup its taste. But it’s not really about flavor. It’s a status symbol. Diners think they’re big shots if they can afford shark fin. The soup is particularly popular at weddings, birthdays and banquets where hosts can show off their largess.

But Knights says once consumers become aware of the barbarous practice of finning and the importance of sharks to the marine ecosystem, they quickly loose their appetite for the pricey soup. I know I have.

Send a letter to the editor about this story to le*****@*******ws.com.

From the February 16-22, 2005 issue of Metro, Silicon Valley’s Weekly Newspaper.

© Metro Publishing Inc. Metroactive is affiliated with the Boulevards Network.

For more information about the San Jose/Silicon Valley area, visit sanjose.com.

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