Robert Ellison

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Top of the World: Ellison’s ‘Arch’ frames the view.

Sense of Place

Sculptor Robert Ellison shapes the world

By Gretchen Giles

Getting lost on the way to interview artists at their studios is always part of the fun. It’s easy to tell when, for example, after some vicious time spent driving pointlessly through rural Sebastopol, one has arrived at musician Johnny Otis’ house: his name is emblazoned in cursive metal script across the driveway gates.

Getting viciously lost on rural roads on the way to sculptor Robert Ellison’s home studio, on the other hand, provides chance jack rabbit encounters and views of the blonde, rolling Cotati hillsides and the massive white steel Arch (shown above) as assurance that one has finally, thank goodness, arrived.

With its instantly recognizable style, Ellison’s Arch may as well spell his name out in cursive metal script. This is undeniably his place. Huge steel sculptures–one resembling a piece of Swiss cheese with macaroni stuck through the holes, another an oversized metal cigarette stubbed out to the ground–are rather carelessly placed around the hilltop property. Heavy cacti bearing prickly pears protect two handmade greenhouses containing troves of unusual African succulents. Several, perhaps a thousand, rottweilers bark anxiously at a new arrival from their enclosed run.

Meanwhile, the artist rides merrily by on an industrial forklift, accompanied by his studio assistant, 18-year-old James Christianson. They’re currently working on a massive, perforated steel deck for a wealthy family in the South Bay, the kind of family who can afford to hire a nationally known sculptor, one who specializes in those civic monuments that mark and personalize public places, to make their outdoor flooring. Retrieving a heavy steel sawhorse, Ellison admits the irony.

“There aren’t too many places outfitted to do this kind of work,” he says modestly.

“This kind of work” is much more than artful decking. Ellison, 58, is one of just a handful of artists whose work is primarily constructed to serve the public. Specializing in massive monumental works that help to shape and define civic spaces, Ellison has some 20 oversized sculptures on permanent display in the Bay Area and a U.S. map filled with other commissions. A display of his maquettes–small, brightly painted fiberglass models used to illustrate on a tiny scale the huge promise of the finished work–titled “Robert Ellison: Civic Concepts, Model to Monument,” are on exhibit at the Cultural Arts Council of Sonoma County’s public gallery through Aug. 12. Ellison will give two lectures on his art before the exhibition’s end.

“When I was in college,” he shrugs, “I just liked oversized stuff.” Oversized in this instance means work that’s easily viewed from a freeway overpass, sometimes being as tall as a freeway overpass.

Characterized by rounded shapes and such whimsical features as wordplay, scissors, soccer balls or floating figures, Ellison’s steel artworks are conceptualized in committee. The most ordinary return his name evokes on an Internet search are letters to the editors of regional publications complaining about his latest proposal.

While some artists, like Christo and Jeanne-Claude, seem to crave the achingly slow bureaucratic morass of decision by many, Ellison is merely sanguine. “The more information I can get from the people who are going to be using the art, the happier they are,” he says, now off the forklift and standing in the airplane hangar-sized building that serves as his studio on the ground floor and home above. He smiles. “It’s just much easier to go to a bunch of meetings.”

Which is not to say that the end result is predictable. Ellison, who is tall and professorial with the outdoor air of a professional contractor, is also the kind of man who plays a quick game of peek-a-boo behind a pillar in the CACSC’s gallery before being greeted. Perhaps the only predictable quality about his work is that it, like its creator, will be playful.

Standing in his studio, Ellison grins broadly. “If you commission me to do a piece,” he assures, “you don’t know what you’re going to get.”

Robert Ellison gives two free public lectures about his work, the first on Wednesday, July 21, from noon to 1pm. He talks again on Wednesday, Aug. 4, 5:30-6:30pm. ‘Civic Concepts’ shows through Aug. 12. Cultural Arts Council Gallery, 529 Fifth St., Santa Rosa. 707.579.ARTS.

From the July 14-20, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Shamans

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Photograph by Michael Amsler

Machine Age: Gary Daniel mans the EURO, the machine he invented to alter consciousness, while partner Debra Corrington enjoys a brief shamanic respite.

Enter the Shaman

Strange journeys on the edge of the new frontier

By R. V. Scheide

When I was 17, I had a dream in which I forgot my own name. A question bobbed to the surface–who are you?–and just like that, all sense of what is commonly referred to as identity or the self vanished. I heard my name called, but did not recognize it. I saw my own face, but it was unfamiliar. The sounds and images faded into an infinite void from which no frame of reference could be drawn, self or otherwise. I had ceased to exist. Yet the sense of existence persisted. I instinctively understood that what was once me was now an indivisible part of this existence. This was how life would go on. The instant I pondered how I could possibly know this, since I had ceased to exist, I woke up.

I’ve never forgotten that dream, and the memory of it has served me well. When I read French existentialist Jean Paul Sartre’s assertion that “nothingness lies coiled within being like a worm” in his classic philosophical text Being and Nothingness, I knew exactly what he meant. Jung’s collective unconsciousness? Been there. Nietzsche’s eternal return? Done that. All of these examples seem like valid interpretations of my experience.

But was my experience valid?

Until relatively recently in the Western world, the answer was no. Back in Galileo’s day, 400 or so years ago, dreams, hallucinations, souls, spirits and other metaphysical phenomena were cast out as objects of legitimate scientific inquiry by the Church, which didn’t want anyone else cutting in on the God business. What originally evolved out of religious intolerance–scientific method–ironically morphed into its own dogmatic secular religion, nowhere moreso than in the medical sciences. If it can’t be measured with instruments– and so far, no one has built a device capable of detecting, say, a soul–it doesn’t exist, as far as Western medicine is concerned. We’re living in a material world.

 

Enter the shaman. For thousands of years, individuals with specialized knowledge of both the natural and the supernatural–sometimes referred to derogatorily as witch doctors, wizards, warlocks and witches by us moderns–have practiced the healing arts. From indigenous tribes in North and South America to practitioners of 3,000-year-old traditional Chinese medicine, such healers approach health problems from physical as well as spiritual perspectives. Now the West, blinded by science for a half a millennia, is finally catching on. Shamanism now pervades everything from complementary medicine to quantum physics. It may even contain the meaning of life.

Since the 1960s, anthropologists like Michael Harner, founder of the Foundation for Shamanic Studies in Mill Valley and author of The Way of the Shaman, have helped reintroduce the Western world to the shamanic healing traditions of our distant past. These traditions, still practiced by intact indigenous tribes and other non-Western cultures around the world, take a decidedly different view on reality; namely, that there are at least two sets: “ordinary reality,” which we experience in our normal waking state, and “nonordinary reality,” which occurs in dreams or induced trances.

“One of the distinguishing characteristics of the shamanic practitioner is the ability to move back and forth at will between these realities with discipline and purpose in order to heal and help others,” writes Harner in his article “Science, Spirits and Shamanism.” It seems that my dream of 27 years ago qualifies as a quasi-shamanic experience: I crossed into nonordinary reality and returned with knowledge that has proven quite useful to me in ordinary reality.

Unlike Western scientific method, shamanism validates such experiences, believing them to be the stuff that ordinary reality is made of. The shamanic technique of flipping back and forth between realities has proven to be a powerful metaphorical tool for understanding diverse complexities ranging from interpersonal relationships to quantum mechanics. Its use has gone decidedly mainstream. The Four Agreements by San Rafael author Don Miguel Ruiz, who trained as a Nagual shaman in the Toltec tradition of his native southern Mexico, remained on the New York Times bestseller list for two years.

From Harner to Ruiz and beyond, there is no shortage of shamans in the North Bay. Despite a reputation as the woo-woo capital of the planet, more than a few genuine masters are in our midst. Some of these practitioners guide the curious through group ceremonies that emulate Native American shamanic tradition, combining dance, percussion and chanting to create a trancelike experience. Others take Harner’s “discipline and purpose” to the limit.

Dr. Gary Daniel, a Santa Rosa-based motivation and behavioral specialist with 20 years of experience and Ph.Ds in hypnotherapy, hypnotic anesthesiology and transpersonal psychology, approaches shamanism from a more Western perspective, merging sound, light and computer technology with shamanic healing traditions to create a new modality of treatment: techno-shamanism.

“Shamanism Plugs into the Wall,” is how Daniel describes it in an essay recently published in the collection The Heart of Healing, edited by Dawson Church and featuring contributions from such luminaries as Deepak Chopra and Andrew Weil. Daniel is co-inventor of the NEURO (short for “neuro-imaging optimization”) system, a computerized biofeedback system employing vibration, sound and optical lasers. “We’re just using high technology to do what the Indians did with drums and fire,” he says. “This takes all the guesswork out of it.”

The real trick to shamanism is the moving back and forth between the two realities at will. An altered state is required. Shamans from many indigenous tribes throughout the Americas used hallucinogens to induce such states, but that’s a little impractical in the legally prohibitive 21st century. Fire, drums, dancing and chanting sufficed for other tribes. The NEURO system claims to get the job done more quickly than either of those methods, and is totally legal to boot.

The system is the featured attraction at Allura du Jour, a high-tech mind and body spa founded by Daniel and partner Debra Corrigan. Stepping inside is kind of like diving down that rabbit hole in Alice in Wonderland. Plush, overstuffed sofas squat like giant mushrooms. Columns and pedestals are finished in a powdered cocoa color that looks edible.

And in its own separate dark chamber sits the NEURO, a sculpted human-form-fitting chair with a bank of computer monitors and equipment, twin lasers perched on a pedestal in front of the chair and duplex cables snaking across the floor connecting everything together.

The chair is lined with a latticework of miniature speakers that transmit auditory vibrations through human bone. It also contains sensors that monitor the body’s vital statistics, translating the data via computer algorithm to approximate the subject’s brain-wave pattern on a screen: alpha, beta, theta or delta. Daniel manipulates NEURO’s vibration, sound and light elements to achieve the desired brain state.

From previous experience, I know that I’m one of the 20 percent of the population who is relatively easy to hypnotize, so eagerly accept an offer to “test drive” the system.

Encased in the NEURO chair, I close my eyes and laser spirograph patterns flicker across my eyelids. My breathing slows. The light seems to penetrate my visual cortex. The “sounds” of wind blowing and waves crashing throb through the chair and up and down the length of my skeleton, making it feel as if my body is levitating on an invisible cushion of sonic energy like a puck on an air hockey table. My breathing, the throbbing sounds and the pulsing lasers seem to synchronize and I slip into the deepest, purest trance I’ve ever experienced.

A prerecorded voice not unlike Stuart Smalley’s, the character played by Al Franken on Saturday Night Live, begins reciting first-person positive affirmations: “I have the power to take control of my life. I am a creative person. I will reach my full potential.”

It doesn’t seem silly at all. In fact, I believe every word with every vibrating molecule of my being. As Daniel eases off of the machine, an effect he calls “fractalization” kicks in: I am floating in a sea of what looks and feels like television static. It’s the closest I’ve ever come to experiencing that same infinite void from my dream. Perhaps it was psychosomatic, but my mood is elevated for weeks after that 12-minute session.

“I knew that light and sound have a tremendous effect on the body, and I knew there had to be a way to synthesize it,” Daniel later explains. He’s used the system to treat clients ranging from creatively blocked professionals to hardcore nicotine addicts. Believing in the process, however, is a major hurdle to overcome.

“The shaman somehow tapped into their subject’s ability to believe in the shaman’s power and create a true healing event,” he writes in “Shamanism Plugs into the Wall.”

“Today’s healer must overcome the fear from acquired wisdom in the subject by overloading the subject’s consciousness and thereby opening the mind at the subconscious level to new ideas and possibilities.”

Like Gary Daniel, Allen Hardman began his shamanic explorations as a hypnotherapist. A chance encounter with Four Agreements author Miguel Ruiz led to nine years of study with the Toltec Nagual. With the master’s blessing, Hardman last month branched out with his own shamanic workshop, the Lucid Living Intensive. Computer-savvy and modern, Hardman is often jokingly referred to as the “high-tech Toltec.”

“I’ll often take people into essentially a hypnotic trance, to give them the sense of the mindless divinity, to experience what they perceive mindlessly,” he says. Sensing the mindless divinity–an apt description of my original dream experience. Such insights, from dreams or induced trances, can open up new, less distorted channels of perception.

“Light carries the message perfectly, but our normal channels of perception distort the message,” he stresses. By focusing or “channeling” individual awareness in nonordinary reality–a process known as “lucid dreaming”–distortion is ideally cut to zero, permitting experienced Toltec shamans to take control of the dream or trance, a useful tool for exploring still more channels in nonordinary reality. But Hardman prefers focusing his advanced student’s awareness toward ordinary reality, a process called “lucid living,” and a fairly radical paradox occurs: as the distortion clears, students realize ordinary reality is but a daydream. That means, just as in lucid dreaming, ordinary reality can be controlled.

Since light seems to play such a significant role in a wide array of shamanic traditions, it is perhaps not surprising that quantum physicists–the scientists who study quarks, the tiny packets of wave/particle that seem to oscillate between matter and energy at the subatomic level–are interested. As psychiatrist and physicist Arnold Mindell demonstrates in his seminal book Quantum Mind: The Edge Between Physics and Psychology, there appears to be a profound relationship between the mathematics of quantum mechanics and the ordinary and nonordinary realities of the shaman.

The equations used to describe wave motion in quantum physics utilize complex numbers, a combination of real numbers and the so-called imaginary numbers based on the square root of -1. If you didn’t make it this far in high school math, don’t worry. Mindell proposes a fairly simple hypothesis: the real numbers are analogous to ordinary reality; the imaginary numbers are analogous to nonordinary reality.

“We have seen that the patterns found in the psychology of perception in shamanic experience are consistent with patterns found in math and now in physics,” Mindell writes. “This consistency points to the unified field, the dreamlike substance of experience, which is basic to life, to psychology and physics, to electrons and their observers, to all of us as we live and grow.”

Not coincidentally, Mindell compares the way physicists think about imaginary numbers with the shamanic concept of lucid dreaming. “When you multiply a complex number by its conjugate [mirror image or reciprocal], the result is an entirely real number,” he writes. In other words, the equations describing energy waves appear to correlate with the shamanic notion of a mindless divinity from which both nonordinary and ordinary reality arise.

Could the shaman’s mindless divinity and the so-far-undiscovered unified field be the same thing? Perhaps. Physicists from China, where traditional Chinese medicine or qigong (pronounced “chi-gong”) has been practiced for the past 3,000 years, have speculated that chi, the energy or life force that flows through the body, emanates from the unified field or a similar structure in theoretical physics known as the quantum vacuum.

A rich tapestry of overlaying traditions compose qigong, including martial arts, acupuncture, natural medicine, diet and a system of movement similar to the yoga, in which special poses, mimicking spiritual animals such as the turtle, crane and bear, help channel the flow of chi through medians and other conduits of the body.

Chi itself is most often compared to electricity because it is thought to flow through these medians and conduits like electrons through a wire. Skilled practitioners such as Grand Master Jin-sheng Tu, a Taiwan native and one of the foremost qigong practitioners in the United States, claim they have the ability to “emit” chi as a healing power.

Master Tu speaks little English and doesn’t call himself a shaman, but in his self-styled qigong garb, he certainly looks like one, a bandana covering his long, thick black locks, tight breeches tucked into thigh-high lace-up boots with pointed toes that curled over on the tips like an elf’s shoes. When I first met him, he was balancing on eggs in his bare feet while painting a fairly accurate watercolor of Bodhidharma, who brought Zen Buddhism to China.

“Where does chi come from?” I asked through an interpreter.

Rather than speaking, Master Tu held up his left arm as if he were waving goodbye and made a little clutching motion at the air. He pointed his index finger straight up, like he was testing the wind. Then, through the interpreter, he asked me to hold out my right palm. He lowered his index finger to the precise center of my palm, and when we touched, a jolt of energy lasting five seconds or so passed into my hand, not unlike this shock you’d feel if you touched your tongue on both terminals of a 9-volt battery.

Master Tu had given me a fresh shot of chi.

He never really told me where chi comes from, but I think I’ve got it figured out by now. It comes right out of the air we breath, flowing back and forth between ordinary and nonordinary reality, occasionally making itself known to those who are willing to do the work in its purest form: the mindless divinity, that infinite void from which no frame of reference could be drawn that I dreamed of so long ago.

From the July 14-20, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

McDonald’s

Photograph by Jeffrey Cranor

What Would Jesus Eat?: Perhaps a Go Active! lifestyle would have benefited the son of God.

Fear of Frying

A gentler, kinder McDonald’s wants to help you Go Active!

By Joy Lanzendorfer

Here’s something most of us already know: Americans are fat. Nearly 65 percent of Americans are overweight and 31 percent are obese, according to the American Obesity Association. About 30 percent of children are overweight and 15 percent are obese. Fat is becoming our biggest and most expensive health problem, since obesity commonly leads to heart disease and Type II diabetes.

Obesity is a relatively new problem, only becoming an issue in the last 30 years or so. In that time, America has seen a shift to a more sedentary lifestyle, increased portion sizes and a vast proliferation of fast-food restaurants, among other things. There’s no doubt that the popularity of fast food’s high-fat menus has had at least some part to play in America’s weight problem.

In a four-page spread in the June 2004 issue of Redbook magazine, McDonald’s promotes its new “Go Active!” campaign. With columns of text, sidebars and a picture of a happy woman bounding up the stairs, it’s one of those ads that tries to look like an article, even though Redbook has printed “Advertisement” at the top of every page. Using an endorsement from Oprah’s personal trainer Bob Greene, the ad wants to help you “get going on an active lifestyle.”

Part of that help includes telling you about the “wholesome menu choices” at McDonald’s. First, you have the Go Active! Happy Meal, an adult version of the child’s Happy Meal that comes with a salad, a beverage and a pedometer. Then you have a list of “calorie-cutting tips,” which promotes some of its menu choices. This includes the salads again, the Chicken McGrill without the mayo (holding the mayo will save you 100 calories and 11 grams of fat), and the six-piece Chicken McNuggets with dipping sauce and bottled water, for a “340-calorie meal.”

Adding to all the abundant healthfulness is the active part of the plan: Greene promotes the 10,000-steps-a-day challenge, which urges people to move more by doing things like walking the dog, visiting local farmers markets and shopping–“now an official sport.” And, hey, you can even use your “Step with It!” pedometer to track your progress. The ad assures us that walking and picking the right menu choices at McDonald’s will make us feel so good that we “just might make it to the moon and back.”

Could it be that the fast-food giant now cares about America’s health?

Most fast-food restaurants have started offering healthier menu choices, but the reason for that may have more to do with competition than anything else.

“Offering healthy choices is more of a marketing and competition strategy,” says analyst Wally Butkus of Restaurant Research. “One chain will put something out and the rest of them will follow suit. They don’t want to be the one left holding the bag.”

Wendy’s began offering salads two and a half years ago to enormous success. Soon after, most fast-food restaurants began offering salads, too. Likewise, Burger King took advantage of the no-carb fad by offering a burger wrapped in lettuce, something that other fast-food restaurants have since copied.

But the idea of fast food as health food probably comes from Subway’s so-called Jared diet. Jared Fogle, a 22-year-old recent college graduate who lost 245 pounds in a year by eating nothing but two Subway sandwiches a day and walking the eight blocks form his apartment to the fast-food franchise as his “exercise,” was featured prominently in Subway’s advertising campaign. Despite the hand-wringing of doctors, Fogle’s diet made Subway the healthy fast-food alternative for many.

The recent attempt at McDonald’s to capture the weight-loss market includes promoting certain menu options and launching the Go Active! Happy Meal in May, shortly after CEO Jim Cantalupo died of a heart attack.

The new menu choices seem to be paying off, according to Butkus. “McDonald’s has done exceptionally well in the last six to eight months in taking the market share back,” he says. “Its profit margin has increased 15 percent, which is a huge increase. Usually, a two to three percent increase is considered large in this industry. It’s definitely working to give people the option of healthier choices, financially speaking.”

While most nutritionists seem cautiously optimistic about changes at McDonald’s, they also seem to feel that the company’s real motivation, aside from profit, is public relations. The company wants to reduce liability from obesity lawsuits and distance itself from public perception that it serves unhealthy food.

Last year, two obese Bronx teenagers sued McDonald’s, claiming the food made them fat and contributed to their health problems. The judge dismissed the case. In March, the House of Representatives passed the “Cheeseburger Bill,” which banned frivolous lawsuits against the food industry for obesity-related health problems.

Attorney John Banzhaf’s lawsuits against big tobacco led to the banning of cigarette ads from TV and instituted the tobacco-sponsored antismoking ads. He teaches a class at George Washington University nicknamed “Sue the Bastards” and is planning a series of lawsuits against the food industry.

“The people who wrote the bill are stupid,” he says. “They don’t know how to draft a bill. Let’s put it this way: none of the five suits I’ve been successful with against the food industry would have been stopped by this bill.”

But even if obesity lawsuits are stopped, the public impression that fast food contributes to obesity is a bigger danger to the restaurants. Movies like Super Size Me, in which documentary filmmaker Morgan Spurlock eats nothing but McDonald’s food for 30 days to disastrous results, only help that impression. McDonald’s was doing damage control before the movie even came out, most noticeably by eliminating super-sizing as a menu option.

“The McDonald’s announcement [that it will offer healthier meal choices] advances public relations more than it does public health,” accuses a statement from Michael Jacobson, executive director of watchdog group Center for Science in the Public Interest. “I’m glad that McDonald’s says it will promote its salads and hand out step meters and so on. Those are all good things. But if McDonald’s were sincere about promoting healthy eating, it would put calorie counts right on the menu boards.”

In the past, McDonald’s has not followed through on promises to change its food. When the nonprofit BanTransFats.com sued McDonald’s for cooking its fries in trans-fat-laden cooking oil, the franchise put out a press release saying it would reformulate the oil. The move received a lot of press, but according to the Center for Science in the Public Interest, the company never followed through with its promise.

So what about all this healthy food? Can we believe McDonald’s when it says some of its choices are healthy?

According to the McDonald’s nutrition guide, the California Cobb salad with grilled chicken has 270 calories and 11 grams of fat. It comes in a plastic carrier the size of a dinner plate. The salad is a mix of lettuces–though there’s still a high dose of iceberg–as well as carrots and grape tomatoes. It is topped with a bacon and blue cheese mixture and a fillet of grilled chicken. The grilled chicken has the chemical taste of added flavor, but with the Newman’s Own low-fat balsamic dressing (40 calories, 3 grams of fat) and bottled water, this version of the Go Active! Happy Meal is clearly a better choice than most of the other things on the menu.

The problem comes when, at every turn in the ordering process, there’s a chance to increase your calories. For example, when ordering the Cobb salad meal, there’s a choice between grilled or crispy chicken, water or soda and one of four dressings. The worst dressing is the Newman’s Own creamy caesar dressing, at 190 calories and 18 grams of fat.

If you go with the higher-calorie choices for the same Cobb salad, you would end up with a California Cobb salad with crispy chicken, creamy caesar dressing and a small coke for 710 calories and 39 grams of fat. By comparison, a Quarter Pounder with cheese and a small order of fries would be 650 calories and 32 grams of fat.

McDonald’s has had salads on its menu for a long time, though it has improved them. But other items the chain is touting as healthier choices have been around for a while and haven’t changed that much. For example, McDonald’s has had the Chicken McGrill (400 calories, 16 grams of fat) for years, though it used to be called the grilled chicken sandwich. The only difference now is that people have the option of a whole-wheat bun.

And though the chain is promoting its new all-white-meat Chicken McNuggets, customers have always been able to order white-meat nuggets. The nuggets used to come in a mix of white and dark meat; workers could tell the difference by the shape of the nugget. For reasons perhaps too terrible to contemplate, the white-meat nuggets were always rounder.

Of course, “healthy” doesn’t just mean lower calories and fat. Nutrients, vitamins and chemical content all come into play. Fast foods are often heavily processed and loaded with chemical flavorings, additives and preservatives. After looking at the long list of ingredients for the Chicken McNuggets– a list including chicken skin, hydrogenated vegetable oils and an antifoaming agent called dimethylpolysiloxane– a New York judge recently called the nuggets a “McFrankenstein creation.”

Responding to the constant criticism that it markets its food to children, McDonald’s will soon start offering apple slices and a caramel dipping sauce as a substitute for fries in the children’s Happy Meals.

“I guess it’s a step in the right direction,” says Marlene Schwartz, a clinical psychologist at the Yale Center for Eating and Weight Disorders. “But the thinking needs to change so that the default is the apple slices. It should be that you have to ask for the fries instead of asking for the apple slices. I would rather see McDonald’s use its marketing power to get children to eat more vegetables and low-fat dairy.”

Many experts look favorably on the chain’s attempt to encourage people to move by handing out pedometers. Obesity researcher James Hill, a co-author of The Step Diet Book (which also comes with a pedometor to encourage walking), says, “McDonald’s plan is a good start. I welcome what McDonald’s is doing, but at some point we need to make this a big campaign, rather than a lot of small ones.”

Others are more cynical. Banzhaf believes that McDonald’s is promoting exercise so that the blame for obesity will shift off diet and on to a lack of exercise. But exercising for 30 minutes a day, as the government recommends, can’t compensate for the high fat and calories of a regular fast-food diet.

McDonald’s didn’t return repeated phone calls for this article.

Like many, Banzhaf wants fast-food restaurants to post calories on the menu boards. He sees it the same as putting warning labels on food.

“Suppose a parent gave one of McDonald’s small toys to an infant, and a small piece broke off and the infant choked to death,” he says. “No court in the world is going to say that Mommy is solely responsible and the company is not, which is why when you buy those thing they come in bags with warnings all over them. Many of these problems are both personal responsibility and the responsibility of the companies that make the products.”

Many are offended by obesity lawsuits, believing that weight is a personal issue and should remain the responsibility of the individual. In addition, because of its size, McDonald’s is sometimes used as a scapegoat for industry-wide problems.

Still, the few obesity lawsuits that have happened so far have made quite a dent. Without them, it’s hard to imagine that McDonald’s would be encouraging people to Go Active! at all.

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Our Town’

Photograph by Jeff Thomas

All Knowing: Blake Ellis’ stage manager offers a kindly omniscience.

It’s All Good

SRT sharpens the light in ‘Our Town’

Summer Repertory Theatre’s new production of Thornton Wilder’s 1938 Pulitzer Prize-winning play Our Town proves the theory that a single casting choice can mean everything, and a play that has served a specific purpose for over 60 years, can, with the tweaking of one character’s attitude, end up arriving in a place that it has rarely been asked to go.

In Our Town, the character of the stage manager sets the tone of the whole production, serving as the narrator, setting up scenes on the bare, setless stage and introducing all the pantomiming characters. The stage manager is more than that, however; godlike, he also runs the show, frequently stopping the action to offer a few pithy insights to the audience, sometimes stepping in to play the town druggist or the minister or a neighbor on the street.

Occasionally, he dismisses characters in midscene when he feels they’ve made their point (“Thank you, ladies. We’re going to skip ahead now!”). At other times, he goes so far as to command the townspeople to perform a particular flashback, which they do without question, though sometimes he ends up negotiating with them, as when one gutsy character, late in the third act, approaches him with a few demands of her own.

Our Town can be a dark play. The stage manager steers the simple-dreaming citizens of Grover’s Corners, N.H., through a couple of decades of life in the early part of the 20th century, fully aware–as are we–that many of these people are stampeding with bright eyes toward mediocre lives that will fall far short of their expectations. Many will die unhappy, and some will die too young. But there is also light and beauty in Wilder’s Town, in his clear observation that life is miraculous and meaningful only when those who live it are as fully alive and aware as they can be.

Whether a particular production tilts toward the dark or the light is largely determined by how the actor cast as the stage manager chooses, or is directed, to play his part. Often he is played as being sardonic and vaguely cruel (as with Spalding Gray’s famous 1989 performance), or else he’s portrayed with a kind of faded compassion mingled with suppressed anger at the human race.

In this production, directed by Mollie Boice and featuring Fresno actor Blake Ellis, the stage manager is something else entirely: kind, optimistic and unswervingly affectionate. He clearly loves the people of Grover’s Corners and works from an assumption that everything that happens there is important and worthy and good, from the minutia of Howie the milkman’s daily rounds, to the flirtation between young Emily Webb (a pitch-perfect Blossom Benedict) and future farmer George Gibbs (Beau Hirshfield), and even to the awkward wedding-day advice Emily’s father (Matthew Weeden) offers his daughter’s groom.

This goodwill extends even to the fact that the town organist is a depressed alcoholic, that tragic Mrs. Soames (Laurie Hymes) is a lonely gossip and even the revelation that a smart young boy has died of a burst appendix.

In this stage manager’s eyes, it’s all good, and the resulting effect is phenomenal. Ellis’ kind, confident, good-natured stage manager somehow transforms Our Town from a show about the persistent shadows of human existence into a play about brightness and beauty, a celebration of the potential that lies unnoticed in even the tiniest pieces of everyday life.

Poor Mrs. Soames, in the final moments of the play, makes the remark, “My, wasn’t life awful?” and in many productions of Our Town, the audience nods in emotionally spent agreement. In SRT’s unforgettable production, the audience is invited to respond much differently. Life was awful for her, the stage manager has helped us learn, only because she wasn’t paying close enough attention.

‘Our Town’ plays through Aug. 5 at the SRJC Burbank Auditorium, 1501 Mendocino Ave., Santa Rosa. July 15, 20, 28 and Aug. 5 at 8pm; July 18 at 2pm and 7:30pm. $8-$17. 707.527.4343. www.santarosa.edu/srt.

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Strength to Endure

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These are dark days for Ramones fans, let alone actual Ramones. On June 16, former Ramones drummer Marky Ramone announced via an interview with RollingStone.com that ex-band mate Johnny Ramone’s health was in decline due to a four-year tussle with prostate cancer, and that “at this point, [the cancer] has started to go into other areas of the body.”

The following day, Johnny’s publicist released a statement downplaying the urgency of Johnny’s condition, while confirming that Johnny was indeed in the hospital receiving treatment for an infection related to prostate cancer and that he was expected to be released the following week to continue his recovery.

Ultimately, whatever Johnny’s health issues may be, they’re none of our business. I just want him to be well.

Rock ‘n’ roll–nay, the world–desperately needs Johnny Ramone, who is an incredible force of conservative individualism and authenticity in a sea of bullshit poseurs who air choirs of political protest but probably don’t even vote. Let’s face it, being a staunch Republican and an NRA member in the otherwise decidedly left-leaning genre of punk rock is not widely thought of as cool. But, in classic Ramones tradition, Johnny does not care.

After 20-odd years at his self-appointed post of drill sergeant for the eternally (and famously) squabbling band, Johnny happily retired into oblivion in 1996, living in L.A. and spending his hours in the company of televised baseball games, classic horror flicks and assorted rocker pals like Vincent Gallo and Eddie Vedder. And even though Johnny has been very involved with Rhino Records’ reissues of the Ramones’ back catalogue, I have friends whose parents lead more active retirements than that. Johnny–née John Cummings–has, however, always been a bit of an old fogey, and it’s this quality that held the “brudders” together for two-plus decades. It was his job–Johnny made it his job–to be a professional drag.

Let’s face it: Johnny made the Ramones. Most accounts paint him as a businesslike tyrant whose political ideals typically clashed with the rest of the band and whose no-nonsense work ethic took more than a few cues from his stint in military school. A vehement Reagan lover, Johnny insisted that the band change the title of their Joey-penned, Reagan-knocking 1985 single “Bonzo Goes to Bitburg” to “My Head Is Hanging Upside Down” for its album release; the song only joined the Ramones’ canon in the first place because a band is a democracy, and Johnny was outvoted.

According to the Ramones’ self-designated roles, Joey was the gangly space alien with a heart of gold; Dee Dee was somehow both the cute one and the drug-addled, tortured-genius one; Tommy, as the drummer and the shortest in stature, was a much-needed force of normalization. That left Johnny to be the mean one.

Go figure. Look at any given image of Johnny, and you’ll see only two facial expressions: one stoic and sour; the other, a frenzied mug, lips pursed, cheeks puffed out like a blowfish, singular in purpose and dynamic as the machine-gun slinging of his trusty Mosrite guitar. The Johnny Ramone concert stance–feet apart, bowl cut swinging–is immortal. It is rock.

And yet Johnny is typically not folks’ favorite Ramone. I’ve always been a Dee Dee girl myself, falling for his idiot-savant complexity (RIP 2002, baby), while historically Joey’s human-walking-stick build and lead-singer status (RIP 2001, baby) made him the most recognizable.

Any dedicated Ramones fan, however, must acknowledge that without Johnny, there is no Ramones. Imagine the countless hours they spent together in buses and vans, crisscrossing the continents and crashing in hotels. Who would be strong enough to keep an alcoholic, a coke fiend and a crazy heroin junkie in line? Johnny, that’s who.

We, as a public, could be more understanding. I’ll love the Ramones ’til the pinheads come home, but I wouldn’t want to be one for the world. Those guys gave their sanity to chase their dreams and alleviate the painful, shapeless resentment of a zillion disaffected youth, old farts and lifelong punkers–never mind that it may have been resentment spawned by Johnny’s much-adored Reagan administration.

God bless America, and God bless Johnny Ramone.

Living Wage Ordinance

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Fair Play

Sonoma may become the next city to pass a living wage ordinance

By Ellen Bicheler

Sonoma is poised to become the next city in the United States to pass a living wage ordinance when the city council next meets on Wednesday, July 7. Three out of the five councilmembers–the majority required for passage–said during a heated debate at the recent June 2 Sonoma City Council meeting that they intend to support the measure.

“In my 10 years of serving on the council, I have taken great pleasure in providing millions of dollars of assistance to Sonoma businesses,” councilman Larry Barnett said. “I take equal pleasure in assisting other important segments of the Sonoma community through the adoption of the living wage.”

Since 1988, 121 cities across America, from New York to San Francisco, have passed living wage ordinances. The Santa Rosa City Council declined to pass a living wage ordinance in 2001, but the movement, pushed locally by the Living Wage Coalition of Sonoma County, has subsequently gained steam. Sebastopol passed a living wage ordinance last year, and approval seems all but certain in Sonoma.

Joining Barnett in supporting the measure were Sonoma City councilmembers Ken Brown and Joe Costello; councilmembers Doug McKesson and Dick Ashford pledge to vote against the measure.

Proponents for living wages say such laws are an investment in the community, helping level the playing field for full-time workers in the public sector and injecting cash into local economies as higher wages provide more spending money. Opponents point to already strapped city, state and federal budgets, and question whether local governments should take such an active role in the economy.

“The cost estimate for implementing the living wage ordinance is $118,000,” said Sonoma city manager Mike Fuson, who opposes the move. The measure would cover seven administrative and maintenance employees and 40 part-time emergency medical technicians and paramedics employed by the city. Ten employees of the Sonoma Valley Visitor’s Center are also eligible for a wage hike if it passes. Volunteer firefighters are exempt.

The 57 beneficiaries will receive pay raises to $11.70 an hour with benefits or $13.20 an hour without benefits. The EMTs are slated to receive $13.20 an hour and the paramedics a $15.20 hourly rate. Compensated time off is also included.

Jennifer Yankovich, executive director of the Sonoma Valley Chamber of Commerce, opposes the ordinance. “Living wage mandates adopted in other cities have been found to bring a variety of detrimental, unintended consequences to local economies including loss of jobs, loss of services by nonprofit organizations and loss of local businesses,” she says. Her biggest concern is “that of timing. Allocating even a fraction of this projected cost into the hands of a mandated few does not serve the best interest of the residents of the city.”

Barnett disagrees, saying he hasn’t seen any evidence supporting the claim of “detrimental consequences” caused by living wage laws. Another member of the Sonoma Valley Chamber of Commerce, Leslie Sheridan, president of Added Edge Inc., also disputes the chamber’s stance.

“There’s a lot of talk about the cost of business and the cost to the city,” she says. “What about the cost to the people who are scraping by, who are our service providers in our community, who are serving us every single day of the week? Will Sonoma put fear and greed over moral and social responsibilities?”

Dr. Peter Hall, one of the researchers who prepared a report on the impact of the ordinance for the city, explains why proponents of such measures feel they’re necessary.

“Living wages attempt, at the local level, to make up some of the ground lost by the decline in the real value of the minimum wage,” he says. “The reason why the living wage movement has caught so much attention is that it proceeds from the fundamentally American ideal that anyone willing and able to do an honest day’s work should not live in poverty.”

While agreeing with that ideal, councilman McKesson questions how Sonoma might best meet it.

“I would like people to get paid more,” he stresses. “I just don’t think we should legislate it on the city level. Our focus should be on job training and skills and education.”

But another Sonoma Valley Chamber of Commerce member, local businessman Patrick Wofford, points out that by not promoting a living wage, Sonoma ends up spending more money on public services.

“If we don’t pay a living wage, we’re subsidizing businesses,” he says. “We end up subsidizing the healthcare, housing and food workers are unable to pay for.”

Wofford’s statements are supported by a UC Berkeley Center for Labor Research and Education study that found food stamps, Medi-Cal, emergency-room services and childcare benefits provided by federal and state governments to families in which at least one member was employed full-time totaled more than $10 billion in 2002.

For Marty Bennett, co-chair of the Living Wage Coalition of Sonoma County, 2004 has been an encouraging year.

“There has been an exciting grassroots campaign and public dialogue in the Sonoma Valley over the past year,” he says. Founded in 2000, the coalition is supported by the League of Women Voters of Sonoma County, the Sonoma County Conservation Action, the Sonoma County Land Use and Transportation Coalition and the Housing Advocacy Group, as well as many churches and synagogues.

The Rev. Norman Cram, a retired U.S. Navy chaplain and Sonoma resident, sympathizes with low-wage earners. A member of the local interfaith community, he interacts with a half-dozen Jewish and Christian congregations and says support for the living wage is increasing.

“There is a growing awareness that living the golden rule includes not just charity but also a change in the economic system, so that more of God’s wage earners in the Sonoma Valley can achieve the dignity of economic self-sufficiency through their hard work,” Cram says. “The grass roots support of faith communities was reflected in the large number of families who planted ‘We Support a Living Wage’ signs in their yards. More than altruism, congregates recognize that reducing poverty among poorly paid workers increases quality of life for all.”

Next up is Petaluma, where the coalition and the North Bay Labor Council successfully persuaded the Petaluma Sheraton to adopt a living wage policy in 2000. In exchange, the hotel received $2.75 million dollars in loans and tax abatements from the city.

“The Petaluma Sheraton represents the emergence of accountable public subsidy policy on the North Coast,” Bennett says. As part of the 2000 living wage agreement, the hotel management agreed not to interfere if employees decided to form a union. However, the hotel has since changed hands, and the result of an election held in May to determine whether nonmanagement employees will join Hotel Employees and Restaurant Employees Local 2850 is contentious, with both sides claiming foul play.

Sheraton employee Barbara McWilliams supports the union and the higher wages it will bring. “A living wage is necessary to live in Petaluma,” she says. “All we’re asking for is to be paid fairly. I’m a single mother and was paying $375 a month for our health insurance, over a quarter of my wages.”

Other upcoming living wage issues in Petaluma include the proposed expansion of the Outlet Mall. At the Petaluma City Council meeting this June 21, the Living Wage Coalition’s Eileen Morris noted that the environmental impact report for the mall’s expansion fails to take into account the downside of creating yet more low-wage jobs.

But this coming week, all eyes will be on Sonoma.

“I got elected as a working person to protect working people,” said Sonoma City councilmember Ken Brown at the June 2 meeting. “It’s imperative that the city of Sonoma takes the lead and passes this ordinance. As elected officials, we need to set an example and a standard for others. In doing this, I can go to sleep when I go to bed at night.”

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Mandonna

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Motley Crew: Mandonna pay tribute.

Who’s That Girl?

Mandonna take on the Material One herself

By Joy Lanzendorfer

Certain female performers–Barbra Streisand, Cher and Joan Rivers, among them–tend to attract male imitators. These entertainers, with their blend of larger-than-life flamboyancy and manly features, are naturals for the dubious flattery of impersonation.

Madonna is no exception. Whether sashaying around in a pink Marilyn Monroe dress, vogueing or desperately trying to regain some attention (and somehow succeeding) by kissing Britney Spears on MTV, Madonna offers a wealth of material for any imitator.

Or so Mandonna have found. The all-male Madonna tribute band say that the Material Girl’s more than 20-year career gives them almost more material than they can handle. The band, who are pulling into the Mystic Theatre on July 17, do more than just play Madonna’s songs; their show is a regular production.

“Our lead singer, Mark Edwards, does 10 or more costume changes during the show,” says bass player Charlie Moto by phone. “He wears everything from a flasher trench coat to his underwear and go-go boots. There’s always pink boas flying around. I don’t even know what’s going to happen most of the time.”

Though one or two tattered bride gowns may appear onstage, Mandonna is still all man. The seven mostly straight band members aren’t female impersonators and sing all the songs in bass and tenor keys. The lead singer even has a beard.

Along with the vocal differences, Mandonna play the music differently, as well. The band use traditional bass and guitars instead of Madonna’s electronic instrumentation. “Most people aren’t going to notice that the music is different,” says Moto. “But the overall effect is that it’s a little bit more macho or powerful.”

The band formed last year after seeing several all-female tribute bands, like Iron Maidens and AC/DShe, rock the house while covering traditionally male metal hits. Mostly part-time musicians with day jobs (Moto, for example, is a patent lawyer), the members of Mandonna had been trying to make it on the club scene for years with original projects. Few of them had seen much success.

But when they saw the female tribute bands, they were inspired to do the same thing with a reversed-gender twist. After knocking around a few names like Janet Jackson and Cher, they settled on Madonna.

Mandonna took off right away. Within three months of performing, the band was booking Bay Area clubs none of its members could have gotten as individual performers before.

“It’s frustrating to do original projects for 10 to 15 years and have to convince people to come and see you,” says Moto. “I decided I didn’t want people to do me a favor when they see me. I wanted them to have fun, which they do now.”

There has been such a demand that Mandonna are making a DVD of their performances, complete with mock videos and interviews. (For more information, visit the band’s website at www.mandonna.com.) No one in the band is at the point where they can give up their day jobs, but that milestone may be coming.

According to Moto, the audience at a Mandonna show tends to be a mix of gay men, middle-aged women and older Madonna fans. But lately, they have started to see teenagers, too. “At Slims, which is an all-ages club, we’ve started to see these contingencies of 13-year-old girls who come with their moms,” he says. “I don’t know how they even know who Madonna is, but they stand at the front of the stage and watch us.”

Adolescent fans make sense, since the 1980s are all the rage among teenagers these days, and Mandonna mostly plays Madonna’s hits from the ’80s, like “Borderline,” “Like a Virgin” and “Holiday.”

The band plan to learn some of Madonna’s more recent work, though the electronic hoops, rhythms and computer techniques of her newer hits don’t translate as well to rock instruments. But the band are working on it and hope to be able to debut new material soon.

The Material Girl herself hasn’t met Mandonna, though her label, Maverick Records, contacted the band about sending someone to a show.

“We would welcome it,” says Moto. “It’s not like we’re trying to make fun of her. I went to her show two weeks ago. She’s an amazing entertainer who has changed how people think of rock performances. We’re just taking the spirit of what she did and trying to re-create it in some way.”

Mandonna find out what it feels like for a girl on Saturday, July 17, at the Mystic Theatre, 23 Petaluma Blvd. N., Petaluma. 9pm. $10 (21 and over). 707.765.2121.


Radio, Radio

There’s a new radio station in town, and you can call it just plain BOB. Playing an all-hits format, BOB 96.7-FM is an exciting new concept from Canada–not usually known as a national hotbed of exciting new concepts. According to Wine Country Radio executive David Gross, the format, specializing in drawing from 40 years’ worth of hits, is “four miles wide and one inch deep.” Gross explains, “The play list is wide, but we don’t play deeply from album tracks.” He further enthuses, “It’s like an iPod for the masses.”

BOB is the brainchild of one Bob (yep) Sinclair, owner of Sinclair Media, which in turn owns Wine Country Radio, the conglomerate that produces the alt-goodness of KRSH 95.9-FM, the Spanish-language station KXTS 100.9-FM and the younger hip-hop and pop channel KSXY 98.7-FM. With an ear for the high-spending 25- to 54-year-old demographic of aging young folks, BOB–which debuted June 25–plays an all-hit format of music from the ’60s to the present. Having replaced the oldies programming on that signal, BOB offers an “un-format,” Gross says. In addition to urging listeners to “Turn your knob to BOB,” the station’s slogan boasts, “We play anything!”

When asked if that means that BOB is a return to the FM glories of yore when a cut from West Side Story might be followed by an Eric Satie track followed by the Grateful Dead followed by the Sex Pistols, Gross is patient.

“That,” he says, “was an entirely different era.”

At the other end of the spectrum and dial is KSVY 91.3-FM, a new bilingual station serving the Sonoma Valley. Supported by the Common Bond nonprofit community foundation, which is dedicated to “bridging Sonoma’s cultures,” KSVY launched in March and already has some 64 programs and over 70 DJs. According to program director Marc Armstrong, one of the most popular shows is a lunchtime slot devoted to modern Mexican tunes playing Spanish rap and other current music. Another hot slot is a weekly two-hour talk program devoted to the French lawn bowling game, petanc. Two hours, every single week? Armstrong laughs. “Yeah, and they eventually get around to talking about the game, too.”

With a 2.5-kilowatt signal reaching Glen Ellen to Schellville and sometimes Petaluma, KSVY isn’t for every car radio. But it does stream live over the Internet at www.ksvy.org. A recent dial-up listen ranged from Philip Glass to an obscure Dr. John cut to some guitar-heavy pop. Just like, in fact, an entirely different era.

–Gretchen Giles

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Thirst’

And Not a Drop To Drink: ‘Thirst’ examines whether water is a commodity or a right.

Parched

‘Thirst’ is a frightening forecast of water wars to come

By

No Californian should need a reminder of the importance of water. But the documentary Thirst by Bay Area filmmakers Alan Snitow and Deborah Kaufman (Secrets of Silicon Valley) should scare even locals used to the cycle of flood and drought. The 62-minute-long work focuses on the struggle over water rights between private and public ownership.

Visiting the 2003 Third World Water Forum in Kyoto, the filmmakers record outbursts between activists and the representatives of the World Bank, who endorse the privatization of national water supplies. John Briscoe, the World Bank’s senior water adviser, claims that free water for all is an activist’s fantasy; he even dismisses the idea of water as a universal human right.

Briscoe is opposed by Maude Barlow, chair of the Council of Canadians. She decries the rounding up of the world water supply as “a theft of the commons,” referring to the enclosure of common pasturage in England at the dawn of the Industrial Revolution (or the fencing-off of the prairie that’s always the first sign of trouble in a cowboy movie). What once was everybody’s property becomes privileged and billable.

Elsewhere, Thirst shows how, in India’s parched Rajasthan, the charismatic leader Rajendra Singh tries to find a medium between the government-owned water schemes and the backbreaking village method of carrying jugs from a water hole. Singh also protests the local branches of Pepsi and Coca-Cola for draining the aquifer to make sodas and bottled water.

Some of the material here overlaps with the documentary The Corporation, such as the scenes of riots in Cochabamba, Bolivia, triggered by the Bechtel Corporation’s water privatization contract.

But the most in-depth section of Thirst is quite local. Snitow and Kaufman cover the political fight between Stockton mayor Gary Podesto and a grass-roots group pushing a referendum against selling off Stockton’s water contracting to the overseas Thames Water.

Podesto and his partners spent a lot of money trying to head off a vote against a much smaller volunteer group. Still, the mayor has a point. Budget cutbacks make it attractive for a city to sell their waterworks. The best argument against de-municipalizing services is one I heard when interviewing with Mark Achbar, co-director of The Corporation.

“These days, you hear about public-private partnerships,” Achbar said. “But a partnership is a relationship between equals. Corporations want the general public to think of them as an equal to government, not subservient to it. Yet government is an institution that we have every right to speak back to, to protest against. The corporation has no such accountability, yet it wants to be perceived as having that power and that role that government serves.”

Thirst is an admirable account of the struggle over Stockton’s water, a struggle that may soon be repeated in other cities. But it has missed opportunities. Though Briscoe’s little sound-bite is chilling, more of him would have been informative. Because it’s partisan, Thirst‘s footage of the Kyoto conference gives the impression of a clash between droning bureaucrats and outraged activists. Was there any middle ground?

Thirst also touches upon what happened when Atlanta privatized. Again, more would have been helpful. In 2003, without much public comment, Atlanta broke its contract with United Water, the U.S. subsidiary of Suez Water, 16 years (!) before the contract was supposed to run out. Accusations of brown water and lousy service were rife. The film leaves open rich material for follow-ups.

Thirst has an urgent message to an unguarded public that won’t miss its water until the well runs dry.

‘Thirst’ shows at the Smith Rafael Film Center on Wednesday, July 7, at 7pm only. Filmmakers Alan Snitow and Deborah Kaufman will be in attendance for a post-film discussion. 1118 Fourth St., San Rafael. 415.454.1222.

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Swirl ‘n’ Spit

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Swirl ‘n’ Spit
Tasting Room of the Week

Gallo of Sonoma Winery

By Heather Irwin

Lowdown: The napkins are neatly pressed, the small tables impeccably set. From the lovely center of downtown Healdsburg, the Gallo of Sonoma tasting room looks out onto the lovely streets where lovely people drive by in lovely cars.

It’s all so very, well, lovely. Except for the not-so-lovely feeling I’m getting from the tasting-room staff. Standing among $80 bottles of Estate Cabernet Sauvignon, there’s a chill. Despite being the only person in the room, I’m being tolerated with about as much cordiality as a picket-sign-wielding UFW worker.

Which is a shock, considering the uphill public-relations battle the family has been fighting the last 20 years. Best known for the convenience-store staples Thunderbird, Boones Farm, Hearty Burgundy and Ripple, Gallo has, since the mid-’80s, worked to create a premium line of wines worthy of something more than a screw top and change from a $5 bill.

Also, a spring visit to Gallo of Sonoma’s Frei Ranch estate (where we sampled a number of the Estate and Reserve wines) was shockingly pleasant. I fell a little in love with the much-maligned brand and was gently guided by the kindest of pourers, who described each of the zesty reds and a particularly tasty Chardonnay in great detail.

So standing here tasting while the staff opens mail and reads from Wine Spectator is a little disappointing. Being looked up and down and asked your age isn’t cute when you’re 13 years past your 21st birthday. Frankly, it feels creepy. And a little elitist. Especially when you’re shown to the “free” bottle tasting. But I’m here to taste, and despite the frost, I push on.

Mouth value: There are clearly some great wines in the upper price range. The estate Cabs and Frei and Stephani Vineyard single vineyard Cabs were dynamite. Those, however, weren’t what I tasted in Healdsburg. The 2001 Laguna Vineyard Chardonnay was like licking the inside of a barrel. Oak, oak and oak–and for $24, I expect a little more complexity. The 2003 Gallo of Sonoma Pinot Gris ($11) lacked character, as did the 2001 Two Rock Pinot Noir which had little of the earthy, dark fruit flavor you’d expect from a $28 pinot.

The 2000 Frei Vineyard Zinfandel ($22) was also bland and failed to deliver on a promise of black pepper spice and ripe berries. The 2000 Barrelli Creek Cabernet Sauvignon ($30) was the best of the bunch, with nice warm tannins but still failed to live up to the memories of its meatier cousins we had tasted last spring. If you go, try the Taste of the Gallo Family Library, which includes the estate wines.

Don’t miss: Healdsburg can sometimes feel a bit snooty, especially when you’re reeling from a tasting-room bum rush. Keep it real with the locals at the Healdsburg Bar and Grill (245 Healdsburg Ave., Healdsburg, 707.433.3333). They feature the best salad ever: rock shrimp ($10.50), with avocado, mango and crunchy rock shrimp on romaine.

Spot: Gallo of Sonoma, 320 Center St., Healdsburg. Open Sunday-Wednesday, 11am-5pm; Thursday through Saturday, 11am-7pm. Tasting fees vary. 707.433.2458.

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Tom Waits

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Good Time: ‘Big Time’ is one of the most enthralling music films ever made.

Frank Talk

The Raven screens the Tom Waits classic ‘Big Time’

By Greg Cahill

“Life is picking up a girl with bad teeth,” singer-songwriter Tom Waits told Time magazine in 1978, while describing his philosophy, “or getting to know one of those wild-eyed rummies down on Sixth Avenue.”

The fringe-dwelling characters that populate Waits’ world are a colorful bunch indeed: the one-eyed dwarf shooting craps on a fog-bound waterfront or the haggard hooker in a Minnesota jail who fakes a tale about her trombone-playing sugar daddy–marginal figures one and all, spinning out in a dream world haunted by personal demons.

“These are people trapped in what a patient Christian might call the tunnel toward salvation,” Anthony York wrote in a recent Salon.com article about Waits.

How drawn to these characters is Waits? In the 1980s, this eccentric bohemian and West County resident released a trilogy of albums–Swordfishtrombones (1983), Rain Dogs (1985) and Frank’s Wild Years (1987)–that compose a brooding Beat opera centered around a broken-hearted sailor (Frank) adrift in a sea of despair, a veteran who experiences a psychotic episode and torches his house before fleeing into the night.

The richly textured material from these albums–which marked a highpoint in Waits’ storytelling and a departure from his earlier bluesy piano-bar style in favor of a nightmarish cabaret of bagpipes, accordions and percussive objects–served as the basis for Healdsburg-based director Chris Blum’s classic 1988 performance film Big Time.

That rarely screened film, which is not available on DVD, screens Friday, July 9, at the Raven Film Center in Healdsburg.

It’s one of the most enthralling music films ever made. That’s due, in part, to Waits’ dark humor, his riveting portrayal as a sardonic carnival-barker-type (replete with police bullhorn and work light, the kind you hang from the hood of your ’58 Pontiac while changing the plugs, and which Waits uses to illuminate his sneering expressions) and a crack band that features the famed former Lounge Lizard Marc Ribot on guitar.

But the real star is Frank and the strange songs that tell his story.

In his Salon.com piece, York unearthed several past articles in which the usually reclusive Waits talks about the evolution of his music during that period and especially how liberating he found the transformation.

“Anybody who plays the piano would thrill at seeing and hearing one thrown off a 12-story building, watching it hit the sidewalk and being there to hear that thump,” Waits told Playboy magazine. “It’s like school; you want to watch it burn.”

Freed from the confines of the standard jazz trio, York adds, Waits continued to experiment. He found music in “dragging a chair across the floor or hitting the side of a locker real hard with a two-by-four, a freedom bell, a brake drum with a major imperfection, a police bullhorn.”

He also honed the art of evocative storytelling, a development that began when Waits stopped romanticizing the life of a drunk. “I tried to resolve a few things as far as this cocktail-lounge, maudlin, crying-in-your-beer image that I have,” he said in a Rolling Stone interview. “There ain’t nothin’ funny about a drunk. You know, I was really starting to believe that there was something amusing and wonderfully American about a drunk. I ended up telling myself to cut that shit out.”

In the Frank trilogy, which finds the protagonist transformed over time, Waits has created a modern American version of the Odyssey, one that has invited speculation among fans and inspired countless college dissertations.

But Waits has a much less complicated way to explain his songwriting approach, as in this quote excavated by York. “The best songs come out of the ground, just like a potato,” he once said in a conversation with Roberto Benigni, which was published in Interview magazine. “You plan and plan, and then you wait for the potato.”

‘Big Time’ screens Friday, July 9, at the Raven Film Center, 115 North St., Healdsburg. 9pm. $6. 707.433.6335.

From the July 7-13, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Robert Ellison

Top of the World: Ellison's 'Arch' frames the view.Sense of PlaceSculptor Robert Ellison shapes the worldBy Gretchen GilesGetting lost on the way to interview artists at their studios is always part of the fun. It's easy to tell when, for example, after some vicious time spent driving pointlessly through rural Sebastopol, one has arrived at musician Johnny Otis' house:...

Shamans

Photograph by Michael AmslerMachine Age: Gary Daniel mans the EURO, the machine he invented to alter consciousness, while partner Debra Corrington enjoys a brief shamanic respite.Enter the ShamanStrange journeys on the edge of the new frontierBy R. V. ScheideWhen I was 17, I had a dream in which I forgot my own name. A question bobbed to the surface--who...

McDonald’s

Photograph by Jeffrey CranorWhat Would Jesus Eat?: Perhaps a Go Active! lifestyle would have benefited the son of God.Fear of FryingA gentler, kinder McDonald's wants to help you Go Active!By Joy LanzendorferHere's something most of us already know: Americans are fat. Nearly 65 percent of Americans are overweight and 31 percent are obese, according to the American Obesity Association....

‘Our Town’

Photograph by Jeff ThomasAll Knowing: Blake Ellis' stage manager offers a kindly omniscience.It's All GoodSRT sharpens the light in 'Our Town' Summer Repertory Theatre's new production of Thornton Wilder's 1938 Pulitzer Prize-winning play Our Town proves the theory that a single casting choice can mean everything, and a play that has served a specific purpose for over 60 years,...

Strength to Endure

All hail Johnny Ramone, the ultimate conservative punk

Living Wage Ordinance

Fair Play Sonoma may become the next city to pass a living wage ordinanceBy Ellen Bicheler Sonoma is poised to become the next city in the United States to pass a living wage ordinance when the city council next meets on Wednesday, July 7. Three out of the five councilmembers--the majority required for passage--said during a heated debate at...

Mandonna

Motley Crew: Mandonna pay tribute.Who's That Girl?Mandonna take on the Material One herselfBy Joy LanzendorferCertain female performers--Barbra Streisand, Cher and Joan Rivers, among them--tend to attract male imitators. These entertainers, with their blend of larger-than-life flamboyancy and manly features, are naturals for the dubious flattery of impersonation. Madonna is no exception. Whether sashaying around in a pink Marilyn Monroe...

‘Thirst’

And Not a Drop To Drink: 'Thirst' examines whether water is a commodity or a right.Parched'Thirst' is a frightening forecast of water wars to comeBy No Californian should need a reminder of the importance of water. But the documentary Thirst by Bay Area filmmakers Alan Snitow and Deborah Kaufman (Secrets of Silicon Valley) should scare even locals used to...

Swirl ‘n’ Spit

Swirl 'n' SpitTasting Room of the WeekGallo of Sonoma WineryBy Heather IrwinLowdown: The napkins are neatly pressed, the small tables impeccably set. From the lovely center of downtown Healdsburg, the Gallo of Sonoma tasting room looks out onto the lovely streets where lovely people drive by in lovely cars.It's all so very, well, lovely. Except for the not-so-lovely feeling...

Tom Waits

Good Time: 'Big Time' is one of the most enthralling music films ever made. Frank TalkThe Raven screens the Tom Waits classic 'Big Time'By Greg Cahill"Life is picking up a girl with bad teeth," singer-songwriter Tom Waits told Time magazine in 1978, while describing his philosophy, "or getting to know one of those wild-eyed rummies down on Sixth Avenue."...
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