Poker

0

: River Card Room dealer Leonard Marshall is among the pros catering to the younger poker player. –>

In which our intrepid reporter discovers the hipster joys of playing poker, makes new friends and, not incidentally, wins 242 bucks

By Kevin Jamieson

For American males under 18, baseball may be said to be the national pastime. When they grow up, it becomes poker.
–Carl Sifakis, The Encyclopedia of Gambling

Sonoma Joe’s is hard to miss, even if you’re not looking for it, its cool-blue neon burning along the trim of the facade facing Highway 101 outside of Petaluma. Inside, the cardroom is bright with overhead lights and white walls, and, unlike in Las Vegas, the noise of slot machines is nonexistent. Instead are the noises of chips clicking and the occasional hiss of cards sliding across felt, interspersed with patches of conversation. Tonight is a tournament night, and the game is no-limit Texas Hold ‘Em, easily the most popular form of tournament poker around today. Forty-five dollars gets you a stack of tournament chips and a plastic card assigning a random seat at one of the low-slung tables.

After handing over my entry fee, I walk through the double doors to the bar, which is darker and just a bit cozy. I order an orange juice and begin my pretournament ritual of boosting my blood sugar. Alcohol isn’t good for poker, anything that clouds judgment is pretty much out. In Vegas, you can drink and play games like blackjack without a lot of trouble, because the odds are always against you: you will lose. But poker is a game of skill, and alcohol doesn’t enhance your poker skills any more than it helps you drive a car.

Before a tournament, I’m always a little bit jittery, kind of like Christmas morning, except you don’t know if Santa is going to leave you a gift or snake a 50 out of your wallet. The orange juice helps, and I’m feeling ready to play when the floor man sweeps through the bar and tells us it’s time to begin.

Everyone starts with the same number of chips, and once you’re out, you’re gone. The only way to win money is to make it to the final table where the order in which you are knocked out indicates the prize you’ll take. The longer you last, the bigger the prize. Looking around the room, it seems like the whole place is filled and it will be an impossible task to last into the money.

There are a lot of young guys like myself, which is encouraging, but that is tempered by the looks I am receiving from some of the more experienced clientele. Sharks can’t drool, but they must have some reaction when fresh chum is dropped into the water.

I play tight, solid poker, meaning that I pretty much fold everything, but pick up a few pots here and there with some strong pairs. Then, the moment arrives: sitting in the small blind, directly to the left of the dealer, I find the best starting hand possible. Two aces. American Airlines. Bullets. It just feels good.

As the initial round of betting cycles around the table, a few people limp in, paying just the minimum in the hopes of seeing the flop, the three cards that will come out after the betting finishes. I know with my pocket aces that I am not going to let them see it without putting in a lot more chips. A few more players fold, and the guy sitting on the dealer button decides to raise it up to about 3,000. Of course, that’s just 3,000 in tournament chips, not actual dollars, but it’s an imposing bet nonetheless.

It’s my turn to act. I don’t even know how many chips I have, but I croak “All in,” and nudge them vaguely toward the center. It’s only a nudge because I am barely in control of my major bodily functions. At this point, breathing certainly doesn’t seem involuntary, and my ears are buzzing with the sound of my lungs and the creak of my chair.

Everyone folds except for the guy who raised. I look over at him, and he’s dressed just like a famous poker professional, Dave “the Devilfish” Ulliot, right down to the slicked-back hair and glasses. The real Devilfish is from Hull, England, and plays an exceptionally aggressive style of poker. This Devilfish is probably from Petaluma, and I have absolutely no idea what he’s thinking right now.

Petaluma Devilfish stares at me for a few moments, and I manage to calm down. I really don’t care if he calls or folds, I’m just happy. Finally, after a few minutes, which were actually probably no longer than 15 seconds, he folds. The dealer gathers the pot and pushes it to me, and now the adrenaline is replaced by relief and the resumption of normal oxygen. I decide to show the table my aces so that when they try to screw around with me in the future they’ll be thinking about those bullets bearing down on them.

“I made a good fold,” Petaluma Devilfish says, looking over the top of his glasses at me. “That’s how I make my living. I read people.”

The absurdity of the statement comes to me in a rush. He’s quoting Phil Hellmuth, the young poker brat and renowned egomaniac who won the 1989 World Series of Poker. We’re sitting in Sonoma Joe’s, not anywhere close to the World Series, and his statement seems hilariously out of context. But I realize that I, too, have been taking this small tournament too seriously. I can’t help it; it’s my body’s natural response. My body doesn’t know that it’s only $45.

“Really?” I say, flooded with relief. “I shit my pants for a living.”

This is truly how I feel every time I go all-in. The table erupts in laughter, and Petaluma Devilfish turns red. Later, at the final table, he will be cursing and angry, tilting like the pinball machines in the bar next door while a beer-toting spectator commends me for my scatological comments. I don’t mind taking the piss out of him and myself at the same time–poker isn’t always pretty like on TV.

After the tournament ends, I think for a bit about just how far away this small-stakes tournament is from the World Series of Poker. While the series was played and won way back in May, it is being meted out in 22 segments each Tuesday night on ESPN through mid-September. Fox Sports Net aired the first live professional poker tournament ever shown in the United States, on a five-minute delay to prevent cheating, last month. And according to ESPN, while some 20 million Americans play golf, a full 50 million play poker.

Ten thousand dollars in cash is required up front for entry into the World Series, but not everyone ponies up the cash directly out of their savings accounts. More and more people win their place at the World Series by winning smaller tournaments called “satellites,” or even smaller ones called “super-satellites.” In 1989, 150 players vied in the series. This year, 2,576 gamers participated, 1,500 more than did last year, a number prompting officials to consider doubling the $10,000 buy-in to discourage amateurs. Many of these amateur satellite tournaments are held at online poker rooms that run tournaments of all kinds day and night with people participating from all over the world.

“Of the 2,500 or so entrants this year, you had at least a thousand who won their entry on the Internet,” says Bill Marsden, the director of gaming operations for Sonoma Joe’s in Petaluma. Online poker satellites were made famous last year when Chris Moneymaker entered one on PokerStars.com for $40 and ended up winning the World Series of Poker main event that year. Moneymaker, whose apt surname is real, has been both criticized and praised. Many claim that he made far too many bad plays and insinuate that his title win was a lucky fluke. Regardless of how he is perceived by other players, he showed the world that an average Joe has a chance to grab the gold.

And so, more and more of those people are showing up at the local cardrooms. “There are two primary reasons: television and the Internet,” says Marsden. “You combine those two and you’ve got a breed of poker player out there now who is becoming more educated about the game and they’re now starting to want to venture out to play against a human face, versus sitting at the computer screen or watching it on TV.”

The increase in human faces is impressive, indeed. “In the past year, we’ve seen 30 to 50 percent growth, and tournaments have run rampant,” Marsden says. “We’ve gone from a tournament where we might have had 30 players to now having 85 players. They come in an hour and a half early to be sure they can get a seat on Tuesday nights.”

Even regular nontournament play is up, Marsden says. “Our live games have picked up an increase that varies from one to three tables of people. I come in five nights a week, and I see new faces every night that I’ve never seen before. Most of them are younger, between 21 and 34 years of age.”

Sonoma Joe’s is on top of the boom. An entirely separate building is planned for the same property, with an increase from eight to 15 tables, a full sit-down restaurant, lounge and bar with a stage for weekend entertainment such as comedy and live music. “It’s going to be glitzy and jazzy, but it’s still going to be a cardroom,” Marsden stresses.

The River Card Room is in many ways the opposite of what Sonoma Joe’s is going to be. Located in the back of Bank Shot Billiards in downtown Petaluma, the first thing you notice walking through the door are the large windows that give a nicely elevated view east toward the freeway. The half dozen tables have plenty of walking space between them, and the room is large enough to accommodate two large sofas, a wide-screen TV and a small table with a chessboard. With plenty of natural light, the atmosphere is relaxed and easygoing.

Although they do play Texas Hold ‘Em at the River Card Room, they also play another game called Omaha. Omaha is very similar to Hold ‘Em, except you receive four down cards initially instead of just two. “Omaha is a much more complicated game and harder for new players to grasp,” says Mike Giacomini, one of two owners of the River Cardroom. “Even experienced Hold ‘Em players have trouble picking up Omaha when they first start. Strong Hold ‘Em hands are mediocre Omaha hands in many cases, and it’s hard for them to visualize that.”

The game has just started this afternoon, and I am by far the youngest and most inexperienced player at the table. I have actually played Omaha a fair bit online, but none of my friends seem to be interested in it, so this is my first time playing live.

The game today is being played “3-6,” which means the first two bets are $3 and the second two are $6, so I buy in for $100. My chips look ready for battle, lined up in stacks of 20. After introducing myself around the table, I begin to pick up the rhythm of the game. Everybody knows each other here, and the ages seem to range from early 40s to late 60s. Plenty of inside jokes and comments fly around, and one player tells a story about a plumber remodeling his bathroom while another asks me if I’ve played Omaha before. From the way I’m holding my cards up in front of my face (instead of covering them with my hands on the table), it’s clear that I haven’t.

In Omaha you’re not supposed to be playing every hand you get, although a lot of players do. There are simply too many “second best” hands you can make in Omaha, and that results in your woodpile of chips being reduced to a splinter fairly quickly. Compared to Hold ‘Em, Omaha has a reputation of being an action game, with plenty of chips flying into the pot. Between the four cards in your hand, the seven other players at the table and the five cards you see in the middle, a lot of different hands can be made, and it seems for the first hour I can do no wrong. I hit flushes, straights and low hands all in a row.

The table begins to wake up and look at me, wondering just what to think. I don’t even know what to think, as the stacks of chips begin to build in front of me. It seems as if I fold at all the right times and make my draws on the last card. I am pumped, I am seeing stars, and after just a few hours, my stacks are forming an impregnable castle wall. Chatting and laughing with the regulars, I can see myself spending a lot of time here.

“People come in here and they’re friends,” Giacomini says. “If the guys didn’t have a good time, they wouldn’t be coming in here three or four times a week to play. They enjoy each other’s company, they enjoy playing off each other and the banter back and forth.” Since the River usually only has one game going on in the afternoon, Giacomini does everything: answers the phone, takes over the deal when one of his dealers needs a break, cashes chips in and out and even plays in the game when there aren’t enough people.

“People think we’re some big company, but we’re not; we’re two local guys sitting here,” Giacomini chuckles. “[Co-owner] Ray Allena and I, our families go back in Petaluma a long, long time.”

With almost everybody able to play poker online, day or night, there has to be something more to coming out to a cardroom. Giacomini explains it in simple terms. “You don’t have to come to my place to gamble. We have to be unique to keep drawing the people to us. We have to offer something; our personality has to make people want to come back and see us again.”

After just two and a half hours, I ask for some clear Lucite racks so that I can stack my chips to cash out. I am dizzy with what to me is such a large win. For any professional, or even the regular guys here, I’m sure this is no big deal. But for my first live Omaha game, I am ecstatic. Sliding the chips across the cashier cage top, Giacomini counts out my winnings in cash. Three hundred forty-two dollars, for a total profit of $242. A smile hurts my face. I resolve to come back to play again real soon.

Over the next week, I get to know many of the regulars at the table, but not many of the great hands I picked up on that first day. Little highs and little lows accumulate, with my first big win still fresh in the back of my head. On my third session, my $100 buy-in is reduced to $60 and then to $40 in a monumentally bad play on my part. I begin to doubt my ability. Slowly, a quotation comes back to me: “If, after a half an hour at the poker table, you don’t know who the sucker is–it’s you.” I’m a slow learner, because it took me damned near a week.

The weekly poker game I go to on Monday nights has doubled from roughly 10 people to 20 in the last month. All of them are out of high school but not a lot are over 25 years old, so they perfectly qualify as the “next generation” of poker players. As we play a $20 no-limit tournament, I realize that the game’s lure comes down to two basic ideas: poker is something to do, and we can do it. We’d normally be plugged in watching TV or playing video games, and this is something to do with our friends that is relatively cheap and easy to set up. It’s something everyone feels they can do.

The television coverage of poker has certainly swelled the number of entrants to the World Series of Poker, but it’s also given people the idea that they can do the same thing in their own house. “It’s spread by word of mouth, too,” says one of the new guys who recently joined our Monday night games.

Considering the price of going out to eat and a movie, a poker night can be an incredible value for money. It’s inexpensive and it’s a way to compete with each other all on the same playing field. We probably couldn’t put together a coherent sports team, but we’re able to play cards, and with the luck of the draw, we all feel like we have a chance to beat each other. But even with this kind of competitive urge, I have never once seen an instance of cheating.

“It’s simple, there are three rules,” says Joel, one of the founders of the weekly game. “Rule number one: no cheating. Rule number two: no violence. Rule number three: rule number two can be broken if rule number one is broken.”

I had a birthday party for my son, and it was a poker party,” says Armand of Ausiello’s Fifth Street Grill, who lets me watch poker on the TV behind his bar. “It was unbelievable. Seventeen kids showed up and they each put in 10 bucks and played for nine hours. They had a great time. Some parents are worried about their kids playing poker, like it will turn into a huge gambling problem.” He pauses and shakes his head.

“Poker is a game about people,” he says, adjusting the TV’s volume, “and this is something that gets kids to sit down and learn about each other instead of plugging into video games.”


Glossary

American Airlines, bullets, pocket rockets: Hold ‘Em slang for a pair of aces, the best possible starting hand.

Bad beat: When the odds are in your favor and you get beat by a statistically worse hand, you’ve suffered a bad beat. It happens all the time, and every player has a million bad-beat stories, some more excruciating than others. Just the other day I had a pair of tens and this other guy had . . . well, you get the picture.

The blinds: If nobody had to put any money in the pot, there wouldn’t be much to fight over, would there? The blinds are bets made by the players to the left of the dealer to start the pot. On the first round, you must call the amount of the blind to stay in the hand. If you’re new to a card room, the dealer will remind you when it is your turn to put up the blind.

Cash games (also called “ring games”): These are played with chips that have actual cash value, such as $1 or $5. When you hand the cashier a $100 bill, she will hand you a rack with 100 $1 chips in it, which you then play. At the end, you hand those chips you still have back in and the card room gives you cash.

Check and knock: Both knocking on the table and saying “Check” indicate no bet.

Flop, turn, river: After the initial deal in games like Hold ‘Em and Omaha, there is a round of betting where people decide whether to stay in the hand by betting or to fold. After that, three cards are placed in the middle of the table (the flop). After another round of betting, the fourth card to come out is called the “turn,” and after another round of betting, the last card is called the “river.” Collectively, these cards are referred to as the “board” or community cards, since everyone can use them in their hand.

The nuts: The best possible hand. In Hold ‘Em and Omaha, it is essential to figure out what the best possible hand is given the cards on the table. Having the nuts yourself is one of the best feelings there is in poker.

Omaha: Like Hold ‘Em, but played with four cards instead of two. You must use two of the cards in your hand with the five on the board to make the best possible poker hand. This is often played high-low, where the highest hand and lowest hand possible share the pot.

Texas Hold ‘Em: Also just called “Hold ‘Em,” this is the most popular poker game played today. Each player gets two cards (called “down,” or “hole” cards) and combines them with the five cards placed face up on the table to form the best poker hand possible.

3-6, 4-8, 5-10: These refer to the betting limits in Hold ‘Em and Omaha at local card rooms. If you are playing 3-6 Hold ‘Em, the first two bets are $3, and the second two bets (the turn and river) are $6.

Tournament: In a tournament, you pay one fee and are issued tournament-only chips. Once you are out of chips, you are knocked out, but the order in which you are knocked out determines your prize. If you are the last one standing, you have won first place.

Cardroom Etiquette

The best way to show that you’re an experienced poker player the first time you go to a cardroom is simple: tip the dealers. When you win a pot, slide a couple bucks to the dealer; dealers rely on tips to make their living. With all of the new players coming in who don’t know this, you’ll stand out as the old shark you are. In general, don’t worry about looking confused. If you need some extra time to decide or make an action, just say the word “time” and the game will pause. When in doubt, ask questions and the dealer or floor man will be more than happy to answer. You’re a customer, they want you there and aren’t trying to intimidate you.

Poker Websites

www.sonomapoker.com: Although Sonoma Joe’s and the River Card Room don’t have websites of their own, Sonomapoker.com can tell you what is happening with tournaments and other events at the local cardrooms.

www.pokersavvy.com: A great resource with articles on improving your game.

www.pokerpages.com: Plenty of articles about the professional poker scene along with online strategy.

www.posev.com/poker/holdem/strategy/index.html: Abdul Jalib’s website about low-limit Hold ‘Em strategy is absolutely priceless for the beginning online player.

www.guinnessandpoker.blogspot.com: A blog by a man named Iggy who always has the best links and stories about poker news with a personal twist.

–K.J.

From the August 11-17, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

David Sanborn

0

: David Sanborn aims to redeem the smooth-jazz sound he helped introduce. –>

David Sanborn stretches out on new CD

By Greg Cahill

David Sanborn heaves a repentant sigh. “Yeah, I’m afraid I’d have to plead guilty to some extent,” says the popular alto saxophonist after being reminded that his commercially successful–and often imitated–pop sound virtually defined contemporary jazz in the 1980s and beyond. “I’m not entirely happy with that,” he laments, speaking by phone while on the road. “If I’m going to be held responsible for the depersonalization of jazz and making the music more generic, then I’m definitely not pleased.”

Over the years, the 58-year-old Sanborn–a six-time Grammy winner and arguably the most successful saxophonist of his generation–has taken his share of abuse from music critics. They’ve knocked him for being musically shallow and spear-heading the vapid lite-jazz movement that spawned such tepid acts as Kenny G and Dave Koz.

Even Sanborn admits that the upbeat, dance-oriented style for which he is known was “self-limiting” and forced him to play in the upper register of the instrument, a situation that he concedes resulted in a certain “sameness” of expression.

“You just can’t explore the full palette of sound available to you as a saxophone player [by playing dance music],” he adds, “because the piano range is eliminated, and that’s where a lot of the warm woodwind quality of the sax exists.”

But Sanborn’s most recent album–his debut on the Verve jazz label after decades with Warner and Elektra–has silenced his critics. Time Again matched him with an all-star lineup: guitarist Russell Malone, vibraphonist Mike Mainieri, bassist Christian McBride and drummer Steve Gadd–on a set of mostly laid-back romantic instrumentals that has been hailed as his best work to date.

“Much of this album is reexamining things from my past,” says Sanborn, who performs this week at the Mystic Theatre in Petaluma. “On Time Again, I’m readdressing songs that have meant a lot to me over the years, some of which I had heard when I was growing up in St. Louis.”

Indeed, most music fans are unaware that Sanborn’s roots are deeply grounded in the gritty St. Louis blues and R&B scenes. Sanborn–who overcame childhood polio–honed his chops by jamming with such then up-and-coming local avant-jazz players as Oliver Lake and Lester Bowie. He also worked with bluesman “Little” Milton Campbell and was influenced by soul-jazz saxophonists David “Fathead” Newman, King Curtis and Hank Crawford (who was the saxophonist for the old Ray Charles band)–hard-driving honkers and midnight balladeers who crossed back and forth between the blues, R&B and jazz scenes.

In the late 1960s, Sanford moved to San Francisco and joined the seminal Paul Butterfield Blues Band, even performing with them at Woodstock. He later hooked up with Stevie Wonder, who used the distinctive Butterfield horn section on his breakthrough 1972 album Talking Book.

In the mid-1970s, Sanborn became a much sought-after sideman, touring with Wonder, Linda Ronstadt, James Taylor and David Bowie, among others. He also moved to New York, where he met Michael and Randy Brecker, the fraternal team of hot jazz session players. “That’s when I started playing fusion,” he recalls. “You know, before ‘fusion’ was a dirty word.”

In 1975 he launched his solo career with Taking Off and has recorded almost two dozen albums, including the bestselling 1986 album Double Vision with pianist Bob James.

Sanborn used that mainstream success to help showcase fringe acts, hosting a short-lived but highly credible network TV show called Night Music, that spotlighted Miles Davis, NRBQ and Sun Ra, and was known for once-in-a-lifetime pairings of acts like jazz colossus Sonny Rollins, singer-songwriter Leonard Cohen and quirky popsters Was (Not Was).

Sanborn also hosted a nationally syndicated radio program that gave airplay to traditional jazz usually shunned by participating adult contemporary stations. In his own musical tastes, he’s remained steadfastly eclectic.

“I grew up listening to music with an open mind and drawing on different elements, which is what I’m continuing to do on this latest record. Whether I’m playing Joni Mitchell or Stanley Turrentine, Time Again reflects the attitude I’ve always had: if it’s good, it’s good.”

David Sanborn performs Friday, Aug. 13, at the Mystic Theatre, 21 Petaluma Blvd. N., Petaluma. Rolando Morales opens the show. 8pm. $35. 707.765.2121.

From the August 11-17, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Absinthe

0

Chasing the Green Fairy

Absinthe, and perhaps its accompanying madness, is on the rise again

By Seth Donlin

Never drink absinthe with a man from Prague.

While you may never have heard this particular maxim before, believe me, it’s right up there with “Look both ways before crossing the street” and “Never get into a van with a stranger.” It’s the kind of information that can save your life or, at the very least, your dignity–take it from someone who’s learned the hard way.

This may sound like rather bizarre advice as you sit safely at home or on the bus or enjoying a pint in a comfy pub, but the truth is that absinthe is in the midst of a world-wide resurgence, and, scary as it may seem, there are men from Prague who are at this very moment trying to figure out how to make you drink it.

Of course, drinking absinthe isn’t really a problem. In fact, it’s quite enjoyable. Mixed with cool water and a lump of sugar in the traditional French manner, absinthe has a pleasant licorice flavor reminiscent of Sambuca or Pernod and provides an interesting clear-headed high that in some ways mimics the physical sensations of a good painkiller.

The problem lies in the way the Czechs have come to drink absinthe. Forget the cool water. In Prague, they’ve done away with that sissy stuff and replaced it with the much manlier, much more evil, fire. Yes, instead of dissolving the lump of sugar in the traditional manner, Czechs simply dip it in the absinthe and then light it on fire.

Sitting suspended over the glass on its slotted spoon, alcohol fumes feeding the blaze, the sugar bubbles away, dropping caramelized bits into the absinthe below until the drinker drops what’s left of the flaming cube into the glass, blows out the fire and tosses the now hot drink down his throat. This may sound cool, and will probably impress members of the opposite sex to no end, but it’s not worth it. One or two shots like this, and you’ll find yourself outside a nightclub desperately trying to claw your way into a sold-out emo show but not really understanding why.

Of course, all this may be right up your alley, in which case, disregard everything I just said. Hell, far be it from me to tell people how to enjoy the Green Fairy.

Absinthe, romantically known as the Green Fairy, though not distilled in the modern manner until the late 18th century, can trace its roots as far back as ancient Greece. The famed philosopher and mathematician Pythagoras recommended wormwood soaked in wine to aid labor in childbirth, while Hippocrates, the forefather of modern medicine, prescribed a similar concoction for jaundice, rheumatism, anemia and menstrual pains.

A half-century later, the Roman scholar Pliny the Elder recommended absinthe as an elixir of youth and cure for bad breath, at the same time noting that it had become customary for the champions of chariot races to consume a cup of wormwood leaves soaked in wine to remind them that even glory has its bitter side. By the time of England’s Tudor Dynasty of the 1500s, a sort of absinthe called “purl” was being consumed by the country’s working classes.

Despite its long and ancient pedigree, however, it wasn’t until the end of the 18th century that modern absinthe was invented. Many believe that modern absinthe was first distilled by a French doctor named Pierre Ordinaire in 1792. Dr. Ordinaire was living in Switzerland at the time, and it was during trips through the Swiss Val-de-Travers mountains that he supposedly “discovered” the wormwood plant, which he later developed into a drinkable recipe and marketed as a modern cure-all called Le Fée Verte–the Green Fairy. Upon his death, the recipe for absinthe was said to have been left to two French sisters named Henriod, who sold the recipe to Major Henri Dubied, father-in-law of the founder of the famous French distillery Pernod. Others dispute this history, however, contending that Ordinaire’s tonic was made from chicory rather than wormwood.

Another story has the Henriod sisters as the actual inventors of modern absinthe, though this particular story seems to arise from confusion with another Henriod–this one named Henriette–who was associated with a wormwood-based product known as Mére Henriod. Critics of this history point out that the particular Henriod sisters in question were still young children in 1800 and therefore could not have been the inventors of modern absinthe.

Either way, one thing is for sure: by late 1797, Major Dubied and his son-in-law Henri-Louis Pernod had established a partnership, and began distilling absinthe. In 1805, Pernod established his own distillery in Pontarlier, France, and enjoyed modest success until 1830 when the French invaded Algeria and the absinthe industry really took off.

It was in Algeria that the French first began drinking absinthe in large quantities. Absinthe was issued to the army as a preventative for malaria and other diseases, and when the soldiers returned home, they brought the Green Fairy with them. Soon absinthe was all the rage in Paris, where the hours of 5pm to 7pm were soon known as the “green hour,” a time when people would meet in a cafe and share a glass or two of absinthe with their friends. In fact, by 1866, the practice had become so popular that some people described the Parisian night as actually smelling of absinthe.

It was during this period that Europe’s artists brought absinthe to the world. The most famous and popular artists and writers of the day were well known to have received their inspirations while drinking it. Van Gogh, Toulouse-Lautrec, Paul Verlaine, Oscar Wilde, Picasso and Baudelaire all increased the popularity of absinthe through the works they created. The myth surrounding the creative properties of this drink was so strong it continued to influence future generations of artists such as the American ex-pats of the Lost Generation.

As popular as the Green Fairy had become, however, its days were numbered.

In 1905, a farmer in French-speaking Switzerland named Jean Lanfrey went on an all-day drinking binge that eventually culminated in the murder of his family. Lanfrey, drunk on absinthe, brandy and wine, shot his pregnant wife and their two young children, and then tried to kill himself. People familiar with Lanfrey claimed that this degree of violence was entirely unlike the farmer, though he was prone to occasional violent outbursts, and blame was eventually fixed on the two glasses of absinthe that he had consumed during his daylong bender.

The Lanfrey episode, combined with a working theory that absinthe’s artistic properties were also the stuff of madness (van Gogh allegedly cut his ear off while tippling the stuff), boded badly for the Green Fairy. Within 10 years, absinthe was outlawed in much of Europe. It became illegal in France in 1915, and most of the world, including the United States, followed suit by 1923.

Now, however, absinthe is making a comeback. No longer illegal throughout Europe (in fact, it was never outlawed in Spain), there are a number of websites that will ship absinthe into the United States. This practice is only quasilegal; while it is illegal to export to or sell absinthe in the States, it is not illegal to buy or possess it. All of which means that it’s perfectly safe to purchase a bottle or 12 from an online retailer such as Prague’s Greenfairy.org.

Websites such as this one offer various brands of absinthe of various alcoholic strengths and with various levels of thujone, the THC-like compound that gives wormwood (and therefore absinthe) its kick. Typical absinthe is distilled at a whopping 70 percent to 75 percent alcohol by volume, making it nearly twice as strong as the average vodka, whiskey or rum, and contains somewhere in the neighborhood of 10 parts per million of thujone, though some have considerably more. Some brands, such as Absinthium 1792, are reputed to have thujone levels that can exceed 100 parts per million, depending on the batch. Greenfairy.org sells an absinthe under their own label they claim is even higher in thujone concentration.

Of course, on the other end of the spectrum lie offerings like Fruko Schulz Liqueur, which weighs in at just 30 percent alcohol by volume and roughly 5 parts per million of thujone, making it perfect for the curious but timid. But since the main point of drinking absinthe is for the thujone high, you might as well just skip right to the big boys and see what this absinthe craze is all about.

Just be sure to keep one eye out for men from Prague. Call me paranoid, but they’re out there. You’ll see.

From the August 11-17, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Swirl ‘n’ Spit

0

Swirl ‘n’ Spit
Tasting Room of the Week

Toad Hollow Tasting Room

By Heather Irwin

Lowdown: Admittedly, I’d been by the tasting room a handful of times, passing it off as, well, a little precious. The whimsical frog cartoons on the labels are certainly charming, but this, I thought, was no serious wine. I was wrong. Sort of. Because Toad Hollow isn’t serious wine, in the sense of taking itself seriously. Founded by Todd Williams (Robin Williams’ half-brother) and Rodney Strong, the winery has always been about having a good time and selling some nice $10-$14 wines. But since having two of its wines favorably reviewed in the national press–the New York Times and, most recently, the Wall Street Journal–Dr. Toad, as Williams refers to himself, has found himself with many new admirers, myself among them.

Vibe: The tasting room sits off Healdsburg’s main square and is a cozy affair with lots of cute frog kitsch. The staff is young and eager to chat, and Williams–an affable former restaurateur–makes frequent check-ins and stints behind (and in front of) the bar. Frankly, it’s refreshing after some of the pretension nearby.

Mouth value: Absolutely don’t miss the Eye of the Toad Dry Pinot Noir Rosé ($7.99). The Wall Street Journal named it the best of its rosé tasting. And before even reading the article, I had fallen in love. Crisp and dry with lots of bright fruit, it has no oak (not even a hint), being fermented in steel tanks. In fact, Williams is a huge proponent of low or no oak, preferring to let the fruit speak rather than the wood. His flagship Chardonnay ($12.99) is also steel-fermented with lots of crisp apple and none of the oaky, buttery flavors typically associated with Chardonnay–making Toad Hollow’s great for food pairing. Also interesting is the Amplexus Cremant Brut Sparkling Wine ($14.39), imported from a winery in Limoux, France. Again, the fruit shines with low yeast and tiny bubbles, but with a hint of almond. Reds aren’t quite as dynamic. Best of the bunch were the 2001 Cacophany Zinfandel ($12.59), loaded with lots of spice and jam that starts at the nose and tangos on your tongue through a long finish, and the 2001 Russian River Pinot Noir ($19.99), the oakiest of the wines with lots of dark fruit and a contemplative gentleness.

Five-second snob: Amaze your friends by pointing out the tiny frog hidden in the Chardonnay label. It moves to a different spot on the label each year. Trouble finding it? It’s in the far right corner.

Spot: Toad Hollow Vineyards Tasting Room, 409-A Healdsburg Ave., Healdsburg. Open daily, 10:30am to 5:30(ish)pm. 707.431.8667.

From the August 11-17, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Romeo and Juliet’

0

: Dan Saski and Sarah Hernandez rehearse. –>

Shakespeare’s star-cross’d lovers take their lives–again

“Never. Never directed it before, but always loved it, and always wanted to do it,” director Scott Phillips says, describing himself in relationship to William Shakespeare’s Romeo and Juliet, which he is finally getting a chance to direct, as the season finale of Sonoma County Repertory Theatre’s 2004 Shakespeare in the Park event.

Somewhere not far away, a gaggle of geese begin hissing with frightening vehemence. A car alarm goes off in the distance. A balloon-toting family arrives to set up for a birthday party in the nearby picnic grove.

Phillips loves such auditory background additions, and insists it’s all part of what Shakespeare in the Park is all about.

“This is live theater, in the most alive possible setting,” he laughs. “It’s wonderful.”

While a number of cast members work through a dance scene on Ives Park’s one-year-old outdoor stage, Phillips stands several feet away from them, watching the players dance, or attempt to, as the foggy early morning light slowly gives way to full sunshine. At his feet, spread out on the dewy grass, is a large rectangle of burlap, on which are laid an assortment of evil-looking weapons: swords and daggers with intricate hilts and surprisingly believable blades.

Later today, once the actors have mastered the steps required in the famous Romeo-meets-Juliet party scene (“She doth teach the torches to burn bright!”), they’ll be running through the play’s numerous fight scenes. It’s funny–for a play that rates as one of the most enduring and tear-inducing love stories ever written, there is an awful lot of death and bloodshed in it.

As everyone knows.

Which brings up an important question: is it possible that there is anyone alive who doesn’t know that Romeo and Juliet die at the end of the play? And if everyone does know, what can a director do to the play to make it seem fresh and surprising?

“Actually, I’m approaching it the other way,” Phillips says. “I told this to our cast the first day we worked together. I want to approach this play as if no one has ever seen it before, as if it’s 100 percent new and nobody knows the story.

“Even if no one knew the ending,” he continues, “right at the beginning of the play, the prologue tells you what’s going to happen: ‘A pair of star-cross’d lovers take their life.’ It’s not like it was ever intended to be a surprise. But I think if we do the play as if it will be a surprise, the power of the piece will come across.”

Phillips production will feature a mix of traditional and modern touches: Elizabethan costumes, but with all-American accents; evocative, Elizabethan-inspired music, but with all action taking place on a relatively bare stage against a background of black scaffolding and sheets or red fabric.

“This is one of the greatest stories ever performed onstage,” Philips says, “and my job, and the job of the cast, is to present it so that the audience–even if they’ve seen it 10 times before–will get caught up in it all over again and will still be affected when Romeo and Juliet, right on cue, end their lives.”

Phillips returns to the subject of the outdoor setting, one other benefit of which, he says, is its hospitable environment for theatergoing families. When the Rep staged Hamlet in the park a few years ago, even the kids, many of them lined up in the front row with their mouths open, remained silent and awe-struck as that bloody family tragedy unfolded before them.

“They were so involved in the story,” Philips says. “It was wonderful. That’s why we love for kids to come to Shakespeare in the park. That’s why kids 12 and under are free. Even if we’ve become jaded about a story, even if it’s a show we know so well we’re getting tired of it, having the kids there with wide eyes is almost like getting to see it for the first time again. The language doesn’t seem to be a barrier. They get caught up in the story anyway.”

‘Romeo and Juliet’ runs Friday-Sunday, Aug. 13-15 and Tuesday-Saturday, Aug. 17-21, at Ives Park in Sebastopol. The park opens at 5pm; play is at 7pm. Theatergoers are encouraged to bring picnics, blankets and low-slung chairs. $18; children under 12, free. 707.823.0177.

From the August 11-17, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Possible Vote Fraud

A World of Suspicion

Napa County supervisor appeals court decision of possible vote fraud

By Tara Treasurefield

Only a few months ago, Napa County supervisor Mike Rippey was at ease in a world based on trust. He assumed that the voting system was reliable, secure and accurate. But now, like thousands of other Americans for whom election results just don’t compute anymore, he resides in a world of doubt and suspicion.

Rippey’s sudden change of residence occurred soon after the March 2004 primary, when he lost his Fifth District supervisorial seat to challenger Harold Moskowite. Moskowite received 3,328 votes to Rippey’s 3,220, winning by a margin of 108 votes. Debates about why he lost are meaningless to Mike Rippey, because he’s convinced that he won and the election was stolen from him.

“I think the evidence is overwhelming that a crime was committed,” Rippey says. To rectify the grave injustice that he believes has been done to him and to Napa County’s Fifth District voters, Rippey challenged the March 2 election results in court. Though the judge ruled against him, Rippey is still fighting for a rerun of the election. “I’ll go until I can’t go any further,” he says.

Rippey’s attorney is Lowell Finley. In making Rippey’s case, Finley stresses some 52 votes were very likely intended for Rippey but that he can’t legally claim them; that 132 late absentee and provisional paper ballots mysteriously disappeared a few days before the final vote was tallied; and that 38 votes ostensibly cast for Rippey’s opponent, Harold Moskowite, were actually marked by someone other than the original voter.

The first mishap occurred when someone in the Napa County Elections Department sent the Fourth District absentee ballot to 90 Democrats in the Fifth District. Fifty-two of them dutifully voted for the Fourth District incumbent Democrat supervisor, apparently not noticing that they had received the wrong ballot.

Napa County registrar of voters John Tuteur and his staff learned of the mistake three weeks before the election and contacted the residents of one street. They did not contact other voters who received the mistaken absentees, nor issue press releases or place announcements of the mishap in print or electronic media.

If those 52 votes had gone to Rippey, Moskowite’s margin of victory would be 56 votes instead of 108.

In February, thousands of voters began returning absentee ballots to the Napa County Elections Department that were stored in unsealed boxes in unlocked rooms. On the election day evening of March 2, an optical scanner counted the absentee ballots, and the results were added to the electronic votes from the touch-screen voting machines.

The combined total of paper absentee ballots and electronic ballots was 2,900 votes for Moskowite and 2,848 votes for Rippey, placing Moskowite ahead by a margin of 52. These results weren’t final, as the absentee and provisional ballots that came in on election day still had to be counted. Those last ballots–still sealed in their envelopes–were stored in unsealed boxes in an unlocked storeroom.

On Friday, March 5, as elections staff processed the remaining paper ballots, Tuteur and two staff members told observers from the Rippey and Moskowite campaigns that there were 552 Fifth District ballots left to count. At the end of the day, election workers sealed the ballots in boxes and stored them in a locked room on another floor with an alarm system. But when Rippey supporters Linda Scott, a political consultant, and former Napa County supervisor Ginny Simms came to the Elections Office on March 9 to observe the scanner count of the 552 ballots, those security measures were no longer in place.

“When we walked into the office, those ballots were in a box with no lid and no seal,” says Scott. “I asked John [Tuteur], ‘Why isn’t this box sealed?’ He didn’t answer me.”

The count proceeded, and the results increased Moskowite’s total to 3,109 and Rippey’s to 3,059, a margin of 50 votes in Moskowite’s favor. But there were problems. Although three election workers had said that 552 ballots were to be counted, the scanner tallied only 420 votes. “That’s 132 missing,” alleges Rippey. “Somehow they disappeared, accidentally or otherwise.”

Though some voters may have left the supervisorial race blank, it’s mathematically unlikely that 132 voters would have done so. In the election as a whole, the overall rate of “nonvoting” in the Fifth District was only 6 percent, and 6 percent of 552 ballots is only 33, not 132.

Moskowite’s 50-vote margin after the March 9 count surprised election observers for another reason. When they had watched workers examine the ballots on March 5, they had counted at least 12 more votes for Rippey than for his opponent. But Moskowite’s winning margin decreased by only 2 votes, to 50 votes.

“At that time, we knew that 52 people were disenfranchised [because they received the wrong absentee ballot]. They were all Democrats, all from Coombsville, Mike’s strongest area of support. If anyone were to choose an area where Mike is strong, it would be the Dems in the Coombsville area,” says Scott.

On March 12, Tuteur announced that a legally required hand count of 1 percent of the precincts had revealed that, due to a calibration error, the optical scanner missed some votes because it couldn’t “see” certain types of ink. The scanner was recalibrated, and on March 17 and 18, all the absentee and provisional ballots from the election were recounted by scanner. The final certified statement of the vote showed 3,328 votes for Moskowite and 3,220 votes for Rippey, a winning margin of 108 votes, an increase of 58 votes over the 50-vote margin of March 9.

The extremely close and oddly fluid election results baffled Rippey and Finley, and they hired forensic document examiner David Moore to examine the optical scan ballots in preparation for the trial. Moore found that on 38 of the ballots, someone other than the original voter had added a vote for Moskowite. One tip-off was that the Moskowite votes were marked in a different type of ink than on the rest of the ballot. Another tip-off was that the 38 ballots were clustered together in the boxes.

“Someone went through the paper ballots, found those that were blank for our race and filled them in for Moskowite,” Rippey alleges. What’s more, says Finley, “We also contend that many more [fraudulent ballots] could have been proven if our expert had more time to thoroughly examine them all, and/or if the court had not twice denied our motion for a court-appointed expert to examine the suspect ballots for palm prints.”

During the trial, it was revealed that records show a good deal of nonbusiness-hour activity at the Elections Department between March 12, when Tuteur announced that a total recount would be taken, and March 17 and 18, the dates of the recount.

The Elections Department has no video surveillance system and no alarm system, and it can be entered through any of four doors. Two of these doors are kept locked during nonbusiness hours, and both can be unlocked with the same key. In addition, an unlocked door connects the Health and Human Services Department and the Elections Department.

Before business hours on Tuesday, March 16, two Elections Department staffers, working separately and without observers, went through the opened ballots. The ballots were then left overnight in the unlocked Elections Department storeroom. Both employees admitted that they “over-marked” some ballots.

“Over-marking” is taking a pen and making a darker and more complete mark over the original mark made by the voter, to improve the odds that the optical scanner will pick up the mark. During the trial, Tuteur testified that he didn’t know about the practice until sometime during the counting in the primary. Finley says, “Testimony was consistent that [over-marking] was done, that there were no policies or standards, that no supervisor approval was required and that election staff were not required to be working in teams when they did it. Under the guise of this practice,” Finley continues, “a staff person could make an entirely new mark for one of the candidates in a race that voter had left blank.”

Tuteur’s office refused repeated requests for comments. Similarly, Moskowite referred the Bohemian to his public-relations consultant, Victor Ajlouny. In explaining Moskowite’s victory over incumbent Rippey, Ajlouny reasons that “Harold Moskowite knocked on a vast majority of the doors, if not all the doors, in the district. He was out walking constantly.”

Regarding problems with the election, he says, “Simply put: human error. I sat through much of the trial. There was a lot of innuendo and speculation. I’m sympathetic to the registrar because of all the budget crunches. . . . Every election I’ve ever heard of has had mishaps like this. Unless you get to a point where the election is so close, you never hear about the problems. It’s just a little more focused because of the net result.”

Napa environmentalist Lowell Downey has a different take on the outcome of the election. “A tremendous amount of money from special interests affected this election,” he charges. “They got rid of Mike Rippey. I think it’s a land-use group that has a tremendous amount of money.”

Moskowite has a history of alleged wastewater abuse stemming from his winery operations. Ajlouny insists that Moskowite is not anti-environment, and that as supervisor of the Fifth District, he will have an open-door policy. “I don’t think [that] just because people may not have voted for him means they can’t communicate and work on issues together,” he says. “If that were the case, we’d have problems from the presidency on down.”

On Aug. 6, Lowell Finley will present the case to the San Francisco Court of Appeals. If the court agrees to take the case, oral argument is likely to be set sometime in the next week. In the meantime, the California secretary of state’s fraud division is investigating the March 2 primary for possible criminal activity. The statute of limitations gives the office a year to seek misdemeanor charges and three years for felonies.

As he settles into the world he now inhabits, Mike Rippey’s sense of what’s required to make elections reliable, secure and accurate is deepening. “We have had some close elections in this county, and now I wonder if they were really that close,” he says. “We’ll be completely revamping how elections will be done here. This will take time, and I may not be part of it. But it needs to be done.”

From the August 4-10, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Wine Test

0

Thursday Night Flight

Ten wines, one roll of paper towels, two really bored people

By Heather Irwin

It’s Thursday night, and we’re eagerly staring down 10 paper towel-wrapped bottles of modestly priced Sonoma County red wine. We’ve hidden the labels and any identifying information to keep us from being unduly influenced by cool label art, price or recognizable brands. Our mission: to find the one that sucks the least.

We’ve purchased 10 wines ranging from a very meager $5.99 to the meagerly extravagant $13.99, though most are between $6 and $8. In the spirit of adventure and a helping hand when you’re scratching your head at the Bottle Barn, here are the results of our totally unofficial Thursday night winetasting. Santé!

The ratings:

*****: Girls love you. Men worship you. You are the wine superstar of the evening.
****: A solid choice. You’ll be invited back.
***: Acceptable, especially when inebriated.
**: Bring this, and you’ll need to leave early. Out the back door.
*: This is what evil must taste like. Give to people you hate.

Grove Street 2001 Sonoma Cabernet, $7.29 **

We say: Fruitier than Carson Kressley. Lots and lots of heavy, dark cherry and berry with lots and lots of vanilla. We mean lots of vanilla. Like a Madagascar shipping dock.

Cheat sheet (what the experts say): Wine Spectator: “Heavy tannins and vanilla-scented oak overpower the fruit flavors within.” They rate it 79 out of a possible 100.

Pair with: Tame the tannins by pairing with bitter foods like kalamata olives, char-grilled meat or bitter salad greens.

Party cred: The classy label and winery’s red-wine cred will impress most people–like your mom and your Uncle Gus.

Forest Glen 2001 Shiraz, $5.99 ***

We say: Bright and tart with an easy mouth feel. Christina Aguilera in velvet underwear.

Cheat sheet (what the experts say): The 2000 Shiraz won kudos for its bright flavors. The current vintage has yet to win much acclaim, but Forest Glen (despite its ubiquitousness) is almost always a solid choice for reds.

Pair with: Grill up something bloody and raw.

Party cred: So, you stopped at Safeway on the way over, right?

Seacliff 2000 Cabernet, $6.99 *

We say: Hints of urine cake and barnyard matched by cloying fruit.

Cheat sheet (what the experts say): Anyone? Anyone at all? There’s not much ink on Seacliff.

Pair with: You’re slumming it, so crack out the pork rinds and Cheetos. It actually works.

Party cred: Leave it in the brown bag and hide it in the back. Maybe no one will notice.

Murphy-Goode 2002 Tin Roof Syrah, $6.89 ***

We say: Screw tops are cool. Lots of dried fruit and spice with a nice long finish despite a little off-flavor. Our choice for dinner at the Love Shack. Tin Roof, rusted, baby.

Cheat sheet (what the experts say): Houston Chronicle: “Lots of blackberry fruit and few tannins. Chill it slightly and twist that cap!”

Pair with: Mix it up by serving this blue-collar wine with some stinky, runny French cheese.

Party cred: You’re so cutting-edge with your screw-top Murphy-Goode. Old-school winos will snicker. You’ll just sip smugly.

Dynamite 2001 Cabernet Sauvignon, $11.79 *****

We say: Inky-smooth and just a little bit mysterious. The coffee and toffee flavors are luscious and decadent. This is James Earl Jones in a bottle. Hands off, Jedi, or you’ll lose ’em to my light saber!

Cheat sheet (what the experts say): Liquorama: “Firm, with a core of blackberry, chocolate and Bing cherry flavors. Cedar and smoky vanilla from toasty oak linger with solid structure.” See, we told you. The wine is aptly named for the method of creating the vineyard–namely blowing up rocky Sonoma Valley slopes.

Pair with: Lamb. Beef. Tofu hot dogs.

Party cred: You’re such an insider. This is a cultish wine without the cultish price.

Forestville 2000 Alexander Valley Reserve Merlot, $7.29 ***

We say: Like a romp through the forest with Halle Berry.

Cheat sheet (what the experts say): Wine News: “Big bouquet of blackberry, ripe plum, black coffee, cedar and the warmth of alcohol. Spicy red cherry resonates in the finish.”

Pair with: Pizza, chicken taquitos or M&M’s. They all work beautifully.

Party cred: You’re so over Two Buck Chuck–you thought. Yep, another great wine brought to you by the folks from Bronco Winery (creators of the $1.99 Charles Shaw).

Rosenblum 2001 Merlot, $7.99 **

We say: So much exotic spice, it’s like a Hong Kong strip show.

Cheat sheet (what the experts say): Experts don’t have much to say–they’re too busy fawning over Rosenblum’s Zinfandels.

Pair with: Pork-fried anything.

Party cred: You just bought the McVeggie sandwich of wines.

Rodney Strong 2001 Cabernet, $9.99 **

We say: Smells like feet.

Cheat sheet (what the experts say): “The nose captures your attention with an essence of a dark Lincoln rose, white chocolate and a hint of cumin.” Oh, maybe that’s what we smelled.

Pair with: Grilled steak, Odor-Eaters.

Party cred: Strong is a solid party selection. Just explain the smell as “rosy”–then again, you know what Andre 3000 says about roses.

Clos du Bois 2001 Sonoma Merlot, $13.99 ***

We say: Luscious and fine like crème brûlée or those airbrushed kitty panties at the fair.

Cheat sheet (what the experts say): We couldn’t find much about this wine–even on Clos du Bois’ own website.

Pair with: A naked lover.

Party cred: Hey, Long’s Drugs has some nice wines!

Cline 2002 Zinfandel, $7.59 **

We say: There’s some funk in the trunk on this one. Could it be eau de engine room?

Cheat sheet (what the experts say): “An intensity marked by dusty wild berry flavors and peppery tannins.”

Pair with: Pepperoni pizza, grilled meat, a dustpan.

Party cred: Solid party choice. Hey, Zins are supposed to be a little funky, right?

From the August 4-10, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Richie Havens

0

: Richie Havens stays true to his ideals. –>

Richie Havens savors the ’60s ethos

By Greg Cahill

What if Treebeard–the musty, soulful über-baritone-singing ent that kept watch on the forest of Fangorn in Tolkien’s Lord of the Rings–could strum a booming jumbo acoustic guitar with all the ferocity of history crashing in around our ears and offer fiery interpretations of folk, rock and pop songs? He might sound a lot like Richie Havens, a folksinger with roots firmly planted in the hippie ethic of the Summer of Love and who rose to fame through his electrifying 1969 appearance at Woodstock.

But there’s nothing musty about Havens.

The 63-year-old troubadour has managed to stay true to his ideals, musically, spiritually and politically, through turbulent times that have seen his contemporaries embrace the fads of the ’80s and ’90s. Remember the Grateful Dead’s 1980 flirtation with disco on “Feel Like a Stranger”? Or Neil Young’s apparently passing but nonetheless embarrassing embrace of neo-con patriotism “Let’s Roll”? And how about Bob Dylan’s recent TV ad for Victoria’s Secret, in which the aging minstrel teamed up with a steamy Brazilian supermodel to hawk ladies’ underwear?

Havens, the New York-born singer, songwriter and guitarist known for his visceral folk-rock guitar style and positive but often bittersweet lyrics, got his start playing at Cafe Wha and other Greenwich Village clubs in the mid-’60s during the heyday of the folk revival. His breakthrough came with 1968’s Something Else Again, an album that propelled Havens onto the charts and sparked sales of his overlooked first three albums. You knew he had become an icon when comedian Christopher Guest sang a cutting portrait of the folkie on National Lampoon’s 1973 album Lemmings. None of that fazed Havens, who went to record a string of albums that blended folk, rock, soul and even jazz in tribute to Dylan, the Beatles and others.

But it was his 1969 Woodstock performance–35 years ago this month–that defined Havens, even as it introduced him to a new generation weaned on the psychedelicized pop of the Beatles and the crashing garage rock of such British invasion bands as the Who and the Kinks. Havens was the opening act at the landmark three-day counter-culture gathering in upstate New York, performing eight songs in the early morning of day one that included his show-stopping original “Freedom,” a runaway train of a tune later included in filmmaker Michael Wadleigh’s hugely popular 1970 documentary about the festival.

Since then, Havens has never strayed far from the spirit of those three rain-soaked days during which more than a half million mud-splattered and acid-sated youths celebrated peace and love on Max Yasgur’s farm. “The events of those three days in August of 1969 were unprecedented,” he wrote on the liner notes to 1999’s Time, a seven-song self-produced recording commemorating the festival. “More than 700,000 people of every age represented the spirit of our times . . . peace instead of war, love instead of hate. Harmony. To us, it was obvious–we were already living it.

“From that weekend on, millions more of us than ever before realized for the first time that the lines are nonexistent. A positive new horizon is visible, and it is up to us to reach it.”

Richie Havens performs Friday, Aug. 6, at the Mystic Theatre. 21 Petaluma Blvd. N., Petaluma. 8pm. $25. 707.765.2121.


Spin Du Jour

Courtney Pine, ‘Devotion’ (Telarc)

British saxophonist Courtney Pine’s career has been all over the map since he emerged in the 1980s under the banner of the next Wynton Marsalis. This promising reedman–and, as evidenced on this disc, talented multi-instrumentalist–has great credentials: he fell under the tutelage of jazz messenger Art Blakey for a spell, toured with George Russell and roamed the post-bop landscape with fellow traveler John Stevens. But his flirtation with hip-hop jazz hybrids and other fusion projects sometimes soared ecstatically but just as often veered into creative ruts. In some ways, this new 12-track disc mirrors the frustration felt by his fans, meandering somewhat aimlessly from electronica and funk to soul jazz and Quiet Storm-type ballads. But it is the flashes of musical innovation and brilliant production that recommend this disc, most notably the dubwise Afropop of the title track, the dreamy cool of “With All My Love,” the scintillating Bollywood jazz of “Karma” and especially “Translusance,” with its sensuous blend of searing soprano sax, snaking sitars and simmering tabla beats. Imagine an entire album of modern world music of this kind with Pine at the helm. I’d book a flight on that trip.

–G.C.

From the August 4-10, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Renaissance Faire

: There’s more to the Ren Faire than turkey legs and wenches. Really. –>

Guerrilla theater, Elizabethan-style, at Ren faire

Believe it or not, there is more to a good Renaissance fair than beer, low-cut outfits and gamespeople who ask if you’ve played with your balls lately. For all its advertising emphasis on turkey legs, jousters and bosom-exposing wenches, the fair, at its heart, is all about theater.

Consider the North Bay’s own Heart of the Forest Renaissance Faire, created by the Patterson family, as in the family of Phyllis Patterson, who jump-started the whole Ren fair movement back in the ’60s with the original Renaissance Pleasure Faire in Los Angeles and, locally, at Blackpoint in Novato. The original fairs began as opportunities for Patterson’s theater company to do its thing, and that tradition is still woven into the fabric of the place.

The entire fair, of course, is a stage, with hundreds of actors in period garb cavorting about doing Elizabethan improv in the streets, but connoisseurs of guerilla theater know that there are pleasures to be found–and, yes, the occasional pain to be endured–at the fair’s five main performance stages, each of which provides a nonstop stream of theater, musical revues and other acts all day long.

Among the highlights of this year’s event is a show called Shakespeare’s Bloody Bits. Presented by the theatrical combat troupe the Albion School of Defense, and created by actor and fight choreographer Michael Cawelti–a kind of comic-violence visionary–Bloody Bits is one part Reduced Shakespeare Company, one part Monty Python and one part every-cool-swordfight-you’ve-ever-seen. Bloody Bits is, unsurprisingly, all the parts from Shakespeare’s plays that involve violence and/or death, tossed together into a stew of 16th-century silliness, anachronistic asides and vigorously bad puns.

Not quite as funny but just as full of action is Robin Hood, Prince of Leaves–also performed by the Albion School of Defense–a comic variation of the old legend that takes a lot of liberties but is still 100 percent better, and certainly funnier, than that embarrassing Kevin Costner movie. At the very least, these guys can do the English accent.

Speaking of accents, Kevin Costner at least tried to speak the speech. In a show titled One Rude Fool, the fool in question is a juggler and comedian who, while talented enough at tossing fake bowling balls and making off-color jokes blue enough to get the show an R-rating, makes little attempt to fit in with the Renaissance theme of the place. Admittedly, I rather enjoyed One Rude Fool, but beyond a show-opening greeting to the attending “lords and ladies,” this could have been performed in a used car lot, where this fool’s thoroughly modern maxims like “Ya ready for this?” and “You guys are sick!” would not have stuck out so badly.

The Stark Ravens Historical Players present a pleasant fractured fairy tale titled Dumlin and the Magic Goose, which has several funny moments but could have been much funnier and a good deal tighter. I’m sorry to have missed the Stark Ravens’ presentation of something called Doctor Arlecchino, or The Imaginary Autopsee, which was sadly not being staged the weekend I attended, nor was the same group’s 30-minute comic condensation of Richard III. Based on that mysterious name alone (The Imaginary Autopsee–so Grand Guignol, so very, very Kit Marlowe), I’m seriously tempted to go back again just to see what I missed.

“I hate to repeat gossip–so listen closely,” says one of the members of Blame It on Eve, a harmonious all-female singing trio who mix storytelling (more like strings of one-liners) and enthusiastic onstage beer drinking with authentic Elizabethan songs about, well, drinking, as well as, of course, sex. Not since the late ’70s have bawdy singers so blatantly consumed alcohol onstage, but it’s a charming show and easy to hum along with.

My all-round favorite performance, though, took place not on a stage but in a rectangular box. The Piccolo Puppet Players’ traditional–and decidedly non-PC–performance of Punch and Judy is possibly the most authentic, anachronism-free show at the fair. Energetic and jaw-dropping–all those puppets! all that violence!–this is one puppet show that really packs a punch.

The Heart of the Forest Renaissance Faire runs Saturday-Sunday through Aug. 15 at Stafford Lake Park, Novato. 11am-7pm. $6-$20. 415.897.4555.

From the August 4-10, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Springsteen’s ‘County Fair’

0

: Has rock stopped being the music of good times? –>

Springsteen’s darkly light ‘County Fair,’ a should-be summer classic

By Karl Byrn

Are we having fun yet?

Isn’t that what we expect from the currently running Sonoma County Fair–a chance to simply enjoy? Our times are filled with uncertainty, uneasiness about our leaders, the economy and an irresolute war, so we need the guarantee of thrill that the fair offers. The fair unites our expectations in a community experience, but there’s a little bit of a let-down built into every anticipation; the fair moves on and we have to go back to routine.

There’s an obscure Bruce Springsteen song about this, a real gem titled simply “County Fair.” This detailed portrait of a small-town, end-of-summer fair, taken from sessions Springsteen recorded in 1983 after his fabled Nebraska album, was a bootleg favorite for years before surfacing officially on the Columbia Records’ Essential series. “County Fair” is tucked away on the third disc of The Essential Bruce Springsteen, which follows two straightforward best-of discs with an often roaring, often somber set of the Hall-of-Famer’s rockabilly, soundtrack and B-side miscellanea.

“County Fair” plays as whimsical, relaxed folk rock, sentimental and childlike. There’s a palpable sense of shared desire in the opening lines: “Every year when summer comes around / They stretch a banner ‘cross the main street in town / And you feel something happen in the air.” From there, Springsteen lays on the good stuff: the roller coaster, “the pipe organ on the merry-go-round,” winning stuffed animals on the midway–even laughing at himself while searching for his car in the parking lot.

What’s striking about “County Fair” is that it isn’t about all that. The artist is looking for something deeper. And what he finds is something that’s closer to our common expectations and enjoyment, a whole cycle of hope and dissatisfaction. The song is really a desperate prayer for eternal life. He names the act at the open-air bandstand “James Young and the Immortal Ones,” places the site of the fair at “Soldier’s Field,” and tries to “steal a kiss in the dark” (not get or give, but steal). By the final line, Springsteen doesn’t hide the prayer: “I lean back and stare up at the stars / Oh, I wish I’d never have to let this moment go.”

The final blow is a simple musical trick. “County Fair” is written in a standard, easy-going, roots-rock chord progression that goes G-C-D, with an E minor tossed in for pensive effect. It’s the four-chord template of the Drifters’ “There Goes My Baby” and the Marvellettes’ “Please Mr. Postman,” a pattern varied slightly on other classics like Van Morrison’s “Brown Eyed Girl” and Bob Seger’s “Night Moves.”

Usually, the E minor comes in the verse or chorus. But here, Bruce omits it until after the final line, strumming it suddenly and purposefully into a ghostly rumble, an unresolved tag that dramatically shifts the mood of “County Fair” from fond community celebration to bitter dread.

Though recorded 20 years ago in the Reagan era, this song still tells us about our present. Why does fun seem like an illusion? Why are we haunted by irresolution? Is joy merely slippery and temporary? Perhaps there’s just too much in our imbalanced world that’s too hard to take. The county fair is an archetypal tradition, a symbol with a huge comfort factor, an annual chance to put uncertainty aside. But as our world gets more extreme, we may expect too much of our fair experience, so much that its thrill becomes an exaggerated promise with the painful price of having to reluctantly let it go.

“County Fair” is an example of how powerful rock music historically plants itself on a tightrope between redemption and disaster. It stares uncomfortable reality straight in the eye, asserting joy while acknowledging imperfection. This song may belong in rock’s amusement-park tradition of songs like Freddy “Boom Boom” Cannon’s “Palisades Park” or the Drifters’ “Under the Boardwalk” or with the fun-in-the-summer theme of any number of Beach Boys classics, but “County Fair” is a closer kin to the current rock mode of confessional doubt.

Rock may have stopped being a music and culture of fun. Hip-hop and country hits still try to party, but the important rock acts of our day–Radiohead, Metallica, Jack White, Dave Grohl–sing more about mysteries than anything close to simple enjoyment. Rock songs celebrating fun are a rarity. But Springsteen’s should-be summertime classic does both jobs, touching a nerve of incompleteness, but with the fond reminder that the teddy bears and rides may be the bottom line after all.

From the August 4-10, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Poker

: River Card Room dealer Leonard Marshall is among the pros catering to the younger poker player. -->In which our intrepid reporter discovers the hipster joys of playing poker, makes new friends and, not incidentally, wins 242 bucksBy Kevin JamiesonFor American males under 18, baseball may be said to be the national pastime. When they grow up, it becomes...

David Sanborn

: David Sanborn aims to redeem the smooth-jazz sound he helped introduce. -->David Sanborn stretches out on new CDBy Greg CahillDavid Sanborn heaves a repentant sigh. "Yeah, I'm afraid I'd have to plead guilty to some extent," says the popular alto saxophonist after being reminded that his commercially successful--and often imitated--pop sound virtually defined contemporary jazz in the...

Absinthe

Chasing the Green Fairy Absinthe, and perhaps its accompanying madness, is on the rise againBy Seth DonlinNever drink absinthe with a man from Prague.While you may never have heard this particular maxim before, believe me, it's right up there with "Look both ways before crossing the street" and "Never get into a van with a stranger." It's the kind...

Swirl ‘n’ Spit

Swirl 'n' SpitTasting Room of the WeekToad Hollow Tasting RoomBy Heather IrwinLowdown: Admittedly, I'd been by the tasting room a handful of times, passing it off as, well, a little precious. The whimsical frog cartoons on the labels are certainly charming, but this, I thought, was no serious wine. I was wrong. Sort of. Because Toad Hollow isn't serious...

‘Romeo and Juliet’

: Dan Saski and Sarah Hernandez rehearse. -->Shakespeare's star-cross'd lovers take their lives--again "Never. Never directed it before, but always loved it, and always wanted to do it," director Scott Phillips says, describing himself in relationship to William Shakespeare's Romeo and Juliet, which he is finally getting a chance to direct, as the season finale of Sonoma County...

Possible Vote Fraud

A World of SuspicionNapa County supervisor appeals court decision of possible vote fraudBy Tara TreasurefieldOnly a few months ago, Napa County supervisor Mike Rippey was at ease in a world based on trust. He assumed that the voting system was reliable, secure and accurate. But now, like thousands of other Americans for whom election results just don't compute anymore,...

Wine Test

Thursday Night FlightTen wines, one roll of paper towels, two really bored peopleBy Heather IrwinIt's Thursday night, and we're eagerly staring down 10 paper towel-wrapped bottles of modestly priced Sonoma County red wine. We've hidden the labels and any identifying information to keep us from being unduly influenced by cool label art, price or recognizable brands. Our mission: to...

Richie Havens

: Richie Havens stays true to his ideals. -->Richie Havens savors the '60s ethosBy Greg Cahill What if Treebeard--the musty, soulful über-baritone-singing ent that kept watch on the forest of Fangorn in Tolkien's Lord of the Rings--could strum a booming jumbo acoustic guitar with all the ferocity of history crashing in around our ears and offer fiery interpretations of...

Renaissance Faire

: There's more to the Ren Faire than turkey legs and wenches. Really. -->Guerrilla theater, Elizabethan-style, at Ren faire Believe it or not, there is more to a good Renaissance fair than beer, low-cut outfits and gamespeople who ask if you've played with your balls lately. For all its advertising emphasis on turkey legs, jousters and bosom-exposing wenches, the...

Springsteen’s ‘County Fair’

: Has rock stopped being the music of good times? -->Springsteen's darkly light 'County Fair,' a should-be summer classicBy Karl Byrn Are we having fun yet?Isn't that what we expect from the currently running Sonoma County Fair--a chance to simply enjoy? Our times are filled with uncertainty, uneasiness about our leaders, the economy and an irresolute war, so we...
11,084FansLike
4,446FollowersFollow
6,928FollowersFollow