Beets

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© Steven Miller 2004, www.smiller555.com

Earth’s Jewels: The bold, the dusky, the bleeding.

Prudent Roots

Beets, the muddy little hearts of the earth

By Sara Bir

The earthy, the lusty, the sensuous! The lowly, the vital, the primeval! The bold, the dusky, the bleeding! The red, the ruby, the violet! The root, the heart, the beet. Beets are one of the only vegetables to have inspired epic novels (well, one, and it’s a Tom Robbins novel, so maybe it doesn’t count). Beets will tint your fingers pink and turn your shit red. Beets mean business. They are like that special friend you have whose personality is so wonderful and assertive that you can only handle seeing her once or twice a month.

The most unfortunate among us have chosen to live an adult life totally bereft of beets, and the can is to blame. Beets from a can are, somehow, not beets. Evil childhood memories of vile, tinned beets have inflicted millions of negative beet associations, which it is our civic duty to erase.

There are cookbooks out there that surrender to sensual terms in describing beet preparation, calling to steam-roast them, cool them slightly and “slip them out of their skins.” While this may sound saucy and all kitchen-kinky, it’s also unlikely. I have yet to see one beet slip willingly from its skin. Disrobing the prudent beet takes some effort and patience, though there is a good deal of joy in seeing the smooth, round little bulbs that lurk inside their rough and ruddy skin.

Some cooks prefer not to stain their fingers with the stripping of beets, and so they wear latex gloves. Little do they know that hand-staining is one of the best things about beets, and surrendering to a light purpling for a few hours (like abstract expressionist henna tattoos!) makes the vegetable taste even better. You bond. You become one with beet, which in turn transforms you into an artist.

As for, ahem, what else beets do to your body, according to food scientist Harold McGee, a single genetic locus controls the ability to metabolize betacyanin, the pigment that makes beets that purplish-red color. Those who have inherited two recessive genes pass betacyanin in their urine. So it is best not to serve both beets and asparagus at a dinner party, lest a tiny percentage of your guests, while freshening up, assess their natural fluids and fear they’ve suffered a complete body-system meltdown.

Not all beets are red purplish-red, anyway. There are golden beets and pinkish beets and candy-cane-striped Chioggia beets, all of which look very pretty but lack the essential earthiness of the common yet exceptional red beet. These alternatives are perfectly suited for use when you’d prefer something a little less beety.

Purchased in bunches with the greens still attached, beets provide two vegetables in one, because the greens are rather chardlike in character (you can’t eat the stems, though) and are wonderful braised with garlic, or chopped and tossed into soup–beet soup, for that matter.

It’s possible to fry beets, though I would not recommend it. A chef I once worked for asked me to peel beets, cut them into matchsticks and deep-fry them for use as a garnish–which I did, though halfway through the process, I yelled, “Chef! The beets are turning the fry-o-lator oil red! Won’t everything fried in here be red now?” “Well, boo-hoo,” said Chef. The resulting fries tasted not unlike small twigs.

There are plenty of ways to prepare beets without tainting several gallons of oil, including steaming, roasting, simmering and–my favorite–pickling. Woe be to the poor soul who has not experienced the pleasure of knowing there lurks a jar of pickled beets in the back of the refrigerator! Pickled beets turn out to be much handier than you’d imagine, although most uses tend to be related to the art of snacking. (Try spreading crème fraîche over a dark rye cracker and topping it with a big slice of pickled beet, a preparation that will only taste good if performed while standing in front of an open refrigerator.)

Pickled beets are laughably simple to make. All they involve is peeling and slicing beets, boiling them in vinegar, sugar and salt, pouring that liquid over said beets and chilling/forgetting about the whole mess for two weeks. After that, boy, you’ve got a treat, especially if you’ve dropped a peeled hard-boiled egg into the brine. The egg will pickle in just a few days, and when you pull it out and split it open, it will create a psychedelic food explosion! The white will be ringed with the most shocking of pinks, while (if you’ve cooked the egg properly) the yolk will be a sharp, impossible yellow (or, if you’ve cooked the egg improperly, carry a dull, gray-green tint). Nothing will make you feel like a crusty old man faster than enjoying a midafternoon snack of pickled beets with a pink pickled egg.

Once prepared, beets work well in equations, many of which will be familiar to you. For instance, beets + fancy lettuce (endive, frisée, chicory) + goat cheese + toasted or candied nuts = popular salad. Or, beets + oranges + ginger = juice-bar treat. Or, beet soup + sour cream + fresh dill = a very satisfying lunch.

Of the latter–beet soup–I have a block in the freezer. This is the mystifying thing about beet soups of any kind. The first two days they are around, they enthrall and nurture. After that, though, it’s just too much beet; they lose their allure. Which is why I always freeze half the batch and why that frozen mass will sit, as ominous as a bruise, in the freezer until anyone can face the prospect of sitting to greet yet another all-beet meal.

Do not discourage beets from flirting with dessert. They can be grated and baked into cakes à la carrots, or cooked, puréed and baked into custards à la pre-pie pumpkin filling. Perhaps this sounds, well, gross, but think about it: beets are naturally sweet (we get sugar from sugar beets, right?), and their status as the most pigmented of vegetables should not discourage us from branching out. Beet pie is quite striking, though I recommend blending beets with either puréed and cooked butternut squash or pumpkin, lest you wind up with an overly aggressive mess.

In general, I like to roast beets when pairing them with meat or other roasted vegetables, and boil them if they are going to be tossed in salads or pickled. Peeling beets with a heavy-duty vegetable peeler prior to roasting is really the way to go (after roasting, they are both greasy and hot).

Campanile chef and La Brea Bakery luminary Nancy Silverton likes to place skin-on oiled beets in a roasting pan with a small amount of water, cover the pan tightly with plastic wrap, then foil and roast them at 350 degrees until tender. This sounds like a very effective method, though I’m still too wussy to place a pan covered with plastic wrap in a 350 degree oven.

Two tricks.

To boil beets: Trim most of their tops (if bunched) and long, tapered tails, and place beets in a pot of salted water. Bring to a boil over high heat, reduce to medium and simmer until the tip of a knife easily pierces all the way to the center of the beet, 20 to 90 minutes (the time will depend on the age and size of the beet). Be aware that beets can be coy and sometimes will give off the impression of being easily pierced with the tip of a knife before they are thoroughly cooked, which is why I like to continue boiling them a few minutes beyond what intuition allows. When tender, drain the beets, trim off any undesired leftover bits from the head and tail, and proceed doing whatever you will.

To roast beets: Peel the skins off with a heavy-duty vegetable peeler and, if desired, cut into wedges. Toss with a tablespoon or two of olive oil, season with salt and freshly grated black pepper, and spread across a baking sheet or roasting pan in a single layer. Place in a 400 degree oven and roast, tossing occasionally, until the beets can be easily pierced with the tip of a knife, 30 to 90 minutes, depending on the size and shape of the vegetable.

From the February 25-March 3, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Bobby Conn

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Surprise!: Bobby Conn blames his erectile dysfunction on good old rock ‘n’ roll.

Conn Man

Bobby Conn is there to make your heart beat faster

By Sara Bir

My boyfriend took one look at the promotional Bobby Conn trading cards I was supplied with for this story and instantly recoiled in disgust at the image of Bobby’s lead guitarist, Sledd. “Who the hell is that–Derek Smalls?” he scowled.

Well, no, although there is initially something very akin to Spinal Tap about Bobby Conn and his backing band, the Glass Gypsies, namely, can these people be serious? With Spinal Tap, the very comforting answer is no. With Bobby Conn, it’s hard to say. He and his platform-booted lot look like they just stepped out of Rodney Bingenheimer’s English Disco circa 1973–vinyl pants in primary colors, eyeliner galore, very prominent streaks of high-cheekbone rouge–and this is a scary thing, making one suspect that David Bowie recently had a yard sale.

The Chicago-based Conn is as diminutive of frame as Iggy Pop, spews highly political songs tempered with liberal references to sex and has a penchant for performing in naught but a pair of purple bikini briefs. A few years ago, he wrote an article on his supposed rock ‘n’ roll-induced erectile dysfunction for Vice magazine.

In a few short minutes, I will be speaking with this fellow over the telephone, and I have absolutely no idea what to say to him. (“Hey, man, bought any new Speedos today? Is your hard-on situation any better now? How come your new album sounds like Bowie Lloyd Webber?”)

And it does–Conn’s new album, The Homeland, is bursting with grandiose rock-opera action and has a very Zappa-esque inclination toward the absurd. Lyrically, The Homeland seethes with disgust over the current state of America’s role in world affairs from start (“We are your friends, we come in peace / We brought our guns to set you free”) to finish (“Good and evil, keep it black and white / But if you’re willing to die for what you believe / Then we’re happy to kill you all”).

This all sounds much better when imposed against driving Moog, Hammond and Farfisa organ filigree; adventurous metal guitar riffs; and Conn’s Prince-like falsetto vocal affectations. Prince comparisons come up a lot in journalistic sizing-ups of Conn, who, by most accounts, struts about like a sexy little fuck onstage.

“I go into the audience during every performance I do, unless there’s some kind of weird security chasm,” says Conn, once our unexpectedly easygoing telephone exchange ensues. “If I have the opportunity, I’m there–because it’s about people. I like to touch people, and I like to hug them, stroke their hair. It does not matter if you’re particularly good-looking, or a boy or a girl. If you’re there and you have a beating heart, I’m there to make it beat faster.”

So when Bobby Conn and the Glass Gypsies infiltrate the Raven Theater on March 4, expect wild clothing or a lack of any clothing, lots of makeup, gentle caresses and sweat. Personally, I feel very confident in stating that the North Bay has not hosted a rock show like this since, um, never. So does the show’s promoter, Tod Brilliant, who, through the Roshambo Winery, has also brought unlikely North Bay musical visits from the Swords Project and Experimental Dental School. For the Bobby Conn show, Brilliant is offering a money-back guarantee “if this isn’t the best rock show you’ve ever been to.” All you have to do is write a 200-word essay describing a superior rock event.

Perhaps this Bobby Conn experience isn’t about being the best rock show you’ve ever been to. In my book, interesting is good enough, and Conn’s antics–plus the Raven’s old-school movie-house layout–should instigate something of interest.

“I think that the proof is in the pudding, and I’m about to serve up a man-size portion of pudding to the folks in Sonoma County!” Conn ensures, with just a tad more calculation in his voice then is perhaps called for.

Yes, Bobby Conn is serious about being Bobby Conn, whoever that is.

Bobby Conn and the Glass Gypsies play at the Raven Theater on Thursday, March 4. 115 North St., Healdsburg. 8 pm. $8-$10. 707.433.6335. www.raventheater.org

From the February 25-March 3, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘The Return of the King’

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Great White Wiz: If only Mordor were nearer the Shire, Gandalf and Frodo could have fought evil more quickly.

Short Cuts

The RSC’s Reed Martin has a little fun with Tolkien’s big epic

In its ongoing quest for the ultimate postfilm conversation, Talking Pictures takes interesting people to interesting movies.

“I liked the volcano,” Reed Martin declares enthusiastically. “I really believed in it. And that big spider, that was great! I think I actually jumped.” We stand up, partially dazed, following three and a half hours in a movie theater. After establishing a mutual need for caffeine, we exit the multiplex and begin to probe the guts of the cavernous adjoining shopping mall for coffee.

Martin, an actor, author and sometime accordionist, is best known as “the funny bald guy” of the intellectual comedy troupe the Reduced Shakespeare Company. For a quarter of a century, the RSC has been taking Western civilization’s favorite stuff (Shakespeare’s plays, Wagner’s Ring cycle, American and world history, the Bible) and shrinking it down into scandalous, 90-minute, onstage comedy extravaganzas.

This afternoon, as we wander the mall among Gap stores and kiosks selling custom license-plate frames, Martin–a former Ringling Brothers and Barnum and Bailey circus clown–continues to list a few of his favorite things from The Lord of the Rings: The Return of the King. Just days away from that film’s anticipated victory at the Academy Awards, Martin has just experienced it for the first time.

“I liked the lumpy evil guy–was he an orc?–the one who looked like the Toxic Avenger,” he announces brightly. “And I also liked that flaming iron pig-head the orcs use to batter down the doors of the castle. It was like some creepy decoration from a really bad barbecue joint. It scared me. I liked it. But I couldn’t figure out why everyone was whispering all the time. And tell me this, is that Elrond guy related in any way to L. Ron Hubbard? I think there are a lot of similarities.”

I’ve invited Martin, a longtime resident of Sonoma, to see Return of the King today in part because he’s never seen any of the films (how is that possible?), but mainly because Lord of the Rings is one of the works covered by the RSC (which includes Austin Tichenor and Matt Croke) in their newest stage show, All the Great Books (abridged).

“Actually,” Martin explains sheepishly, “we cover Lord of the Rings by saying we’re not going to cover it. In the show, we set out to perform the 88 greatest books in Western literature, theoretically, in a remedial literature course with the audience as students. We’re the substitute teachers because the regular teacher has been, uh, trampled to death at a J. K. Rowling book signing, so we have to cover these 88 books in two hours, and Matt starts looking at the syllabus and goes, ‘Hey wait a minute! Lord of the Rings isn’t on here!’ And I go, “No, nor is the Communist Manifesto!’ To which Austin says, ‘That’s right. No fantasy.’ And that’s how we handle Lord of the Rings.

“Of course,” he adds, “I’ve never actually read The Lord of the Rings.”

I am stunned. “You’ve written a show about the greatest books ever written,” I point out, “but you’ve never read Tolkien?”

“Well, I did read The Hobbit, when I was really young,” he says. “But it must have really scarred me, because after that I couldn’t work up the desire to read the other ones. I did like the movie, though.”

It’s my turn to stun Reed Martin by informing him that since the release of The Return of the King, people have been throwing Frodo parties, watching the extended DVD editions of the first two movies and then rushing to the theater for the big-screen conclusion.

“That’s what–10 hours of movie?” he asks.

“Six hundred fifty-two minutes,” I reply. “Just shy of 11 hours.”

“Oh my god!” He exclaims. “That’s almost as big an epic as sitting through all five Planet of the Apes movies!”

“So then,” I ask, “if you were in charge of condensing Lord of the Rings into a manageable running length, how would you handle it?”

“Let’s see, to reduce Lord of the Rings . . .” Martin murmurs. “I guess the first thing I’d do is make that volcano a whole lot closer. If Mordor was right next to the Shire, you could do the story in one two-hour movie. Gandalf says, ‘Here, Frodo, you must carry the ring,’ and Frodo goes, ‘Oops! Dropped it in the volcano!’ End of story. Nice and short.”

The Reduced Shakespeare Company’s ‘All the Great Books (abridged)’ plays at the Cowell Theater, Fort Mason Center, San Francisco, Feb. 24-27 and March 4-7. 415.345.7575. www.reducedshakespeare.com.

From the February 25-March 3, 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

Quivira Vineyards

By Heather Irwin

Low-down: It’s hard to get all snobby about tasting wine when you’ve got oyster juice dripping down your chin. Then again, it’s not a huge problem when the guy next to you is wearing a bib. Nestled deep in the heart of the Dry Creek Valley, the tasting room at Quivira Vineyards oozes a kind of bookish, Sunday-morning charm that makes eating with your fingers seem civilized. At the winery’s annual Hog Island Oyster Tasting on a recent rainy weekend–shells and lemon flying across the communal picnic tables–you could enlist the oyster eaters seated next to you for help with the crossword.

Owner Henry Wendt, a former history professor and founder of the über-pharmaceutical giant SmithKline Beecham, is the grandfatherly patriarch who fosters that kind of smart, communal atmosphere. In addition to his winemaking, he also happens to be a fanatical map collector (the Sonoma County Museum currently hosts his and his wife’s private collection of historical maps) and fervent salmon conservationist who’s restocked his own creek. Safe to say, he’s a man on a quest. Or two.

Which is pretty appropriate considering the winery is named for a mythical golden city the Spanish spent years searching for and never found. Turns out maybe they just didn’t know what to look for.

Vibe: The tasting room features plenty of handcrafted Zins, Quivira’s hallmark, though the winery is at the forefront of the fast-moving Rhone bandwagon with several Syrahs and a soon-to-be released vintage blend with Grenache, Mourvedre Syrah and Zinfandel (2002 Steelhead Red).

Warm and woody–check out the redwood ceiling and huge windows–the winery’s public space is consciously enviro-modern with enough hominess (the winery is run by a total staff of 12) to pull off “family-operated” without seeming hokey. Though a bit rehearsed in their dialogue at times, the tasting room staff is approachable, casual and informative without being overly effusive. The large S-curved bar features a knowledgeable, educational, yet not overly effusive, staff. Kind of like your old college professor.

Mouth value: 2002 Sauvignon Blanc, Fig Tree Vineyard; 1998 Zinfandel, Dry Creek Valley.

Don’t miss: Stop off for a quick sandwich at the Dry Creek General Store (3495 Dry Creek Road, Healdsburg, 707.433.4171). Sunday is prosciutto di parma day, featuring a hearty roll, stuffed with salty ham, fresh mozzarella, olive oil and tomatoes ($7.50).

Five-second snob: The Dry Creek appellation is known for its old-vine Zinfandel grapes, many brought over by European immigrants to create familiar table wines. Unlike other grape varietals, you’ll see plenty of freestanding vines with a waterfall effect, rather than the carefully manicured and trained vines you’ll see elsewhere.

Spot: Quivira Vineyards, 4900 W. Dry Creek Road, Healdsburg. Open daily, 11am to 5pm. Tastings free; picnicking available. 1.800.292.8339.

From the February 25-March 3, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

The Beatles

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We Love You, Yeah, Yeah, Yeah: Neither time, death nor the egregious posturings of Sir Paul can diminsh the Beatles’ boyhood genius.

First Fab

Beatles’ baby steps captured on new DVD

By Greg Cahill

The recent media onslaught marking the 40th anniversary of the Beatles first stateside TV broadcast mostly overlooked the newly reissued DVD version of the Maysles brothers’ extraordinary Fab Four documentary The Beatles: The First U.S. Visit.

And that ain’t right.

Originally released in 1992 by MPI Home Video, this classic black-and-white documentary chronicled the pandemonium that surrounded the band’s initial stateside tour. It’s a candid day-by-day look at the press conferences, hotel rooms and travel junkets. Filmed in cinema verité by award-winning filmmakers Albert and David Maysles (who later went on to film the deadly 1969 Rolling Stones concert at Altamont Speedway featured in Gimme Shelter), this newly expanded two-hour film offers a rare behind-the-scenes look at the group’s celebrated arrival on U.S. shores on Pan Am Flight 101.

The documentary now includes 10 songs from their three historic appearances on The Ed Sullivan Show (including the famous Feb. 9, 1964, broadcast, when the mop-topped mods first vaulted into the homes of a record-breaking 73 million viewers), as well as three songs from their debut U.S. concert at the Washington Coliseum. There’s also a 51-minute “Making of The Beatles: The First U.S. Visit” extra feature that includes a half-hour of previously unreleased footage shot by the Maysles brothers.

The results are a testimony to the filmmakers’ abilities, given their lack of preparation on the project. “I got a call one day from Grenada TV, and they said, ‘The Beatles are arriving at Idlewild Airport [now John F. Kennedy Airport] in two hours. Would you like to make a film of them?'” Albert Maysles, now 77, recently told the Hollywood Reporter. “So I put my hand over the phone, and I turned to my brother and said, ‘Who are the Beatles? Are they any good?’ And he said, ‘Oh yeah, they’re good.’ So we both got on the phone, made a deal and rushed out to the airport.

“We started filming them as they were getting off the plane. The rest is history. We hopped into the limousine with them, and off we went.”

Maysles, who recently participated in a panel discussion at a Lincoln Center tribute to the band, spent five days and five nights with virtually unfettered access to the band. The footage first aired that same year as a 40-minute TV special in the United States and Britain. Other segments made their way into the 2000 Beatles Anthology TV series.

Yet even after the media saturation that ensued earlier this month during the recent anniversary coverage, much of the Maysles’ footage is fascinating. And not only because it served as a real-life template for the band’s 1964 film debut A Hard Day’s Night.

There are sequences showing the wide-eyed musicians mugging for the cameras, twisting the night away at the Peppermint Lounge in New York (wow, is that Joey Dee and the Starlighters serenading the boys?) and more than a dozen unabridged performances, all digitally remastered and offered in glorious mono sound. One particularly intriguing scene shows John Lennon kicking back in a hotel room and haltingly playing on a melodica the intro to “Strawberry Fields,” a full three years before that psychedelic classic was recorded. Boy geniuses, indeed.

John Lennon, John Lennon/Plastic Ono Band (Capitol/Mobile Fidelity)
John Lennon’s 1970 solo debut, released just months after the Beatles’ messy break up, is fueled by the singer and songwriter’s unbridled angst, unleashed at the time through psychiatric sessions with primal-scream therapy originator Dr. Arthur Janov. Those guttural emotions find their angriest expression in the shrieking “Well, Well, Well,” but the album is rife with heartfelt songs of alienation and loss of faith. Lennon’s folksy anthem “Working Class Hero” alone would have made this a memorable recording, but this masterwork also contains some of his most personal, and what many still consider his most disturbing, compositions. This newly released 24kt-gold audiophile reissue, from the Sebastopol-based Mobile Fidelity label, includes the three extra tracks and production tweaks incorporated by Yoko Ono in 2000 to the remastered and expanded version. Mobile Fidelity’s patented dynamic Ultradisc II process aptly captures the hushed melancholy of “Love” and “Look at Me” as well as the sonic fury of such songs as “I Found Out” and “Remember,” which bristle with the Plastic Ono Band’s pounding tribal grooves.
–G.C.

From the February 25-March 3, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Atkins Diet

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Meat, Your Meal: Gosh, an orange sure sounds good.

The Atkins Diary

Ketosis psychosis and other dark secrets of the low-carb diet craze

By R. V. Scheide

Editors note: Last month, North Bay Bohemian news editor R. V. Scheide began following the dietary principles outlined in Dr. Atkins’ New Diet Revolution, the bestselling book that sparked the low-carbohydrate diet craze more than a decade ago. While millions of people claim to have lost weight following low-carb regimens, such diets continue to have detractors, many of whom consider the practice unhealthy, even dangerous. In the name of strictest science, we asked R. V. to keep a diary of his first month on the Atkins diet. The following excerpts are neither an endorsement nor a refutation of such diets, but rather the field notes of one person’s anecdotal experience, submitted here for the public, satiric and scientific record.

Monday, Jan. 12. “I’m not your buddy,” my significant other insists. I had designated her my Atkins buddy this morning and asked her to step on the bathroom scale. It measures weight and body fat, but she refuses to divulge the readings. I weigh 185 pounds with a body fat of 25 percent. My waist measures a portly 35 inches.

Our first Atkins breakfast. Oil and bacon grease hissed and popped on the stove as I whipped up a pair of cheddar cheese omelets, folding six pieces of crispy bacon into each one. We never eat whole eggs or bacon or cheese. I don’t know why, because the omelets taste pretty damned good. Salty, crunchy, gooey with cheese and slightly undercooked egg–that’s the Atkins way! It sure would be nice to have a piece of toast with strawberry jam, but that would more than blow the 20 grams of carbohydrates per day we’ve been allotted during the two-week long “induction phase.”

Lunch is celery sticks and string cheese wrapped with salami. Tasty, but by late afternoon, I understand why Atkins calls it the “induction” phase. Going six hours with no sugar or carbohydrates whatsoever has induced a headache that feels like someone has driven a railroad spike through my temples. It’s the closest I’ve ever come to a migraine. The book says that such headaches are not unknown.

For dinner we wolf down charbroiled tri-tip steak and salad drenched with Newman’s Own balsamic vinaigrette. My body feels hungry, as if the process of ketosis, during which the body burns its own fat for energy, has already begun.

Wednesday, Jan. 14. The militant vegan at work discovered this morning that I am on the Atkins diet and wigged out. She’s always trying to get everyone to quit eating meat. “Didn’t you get that e-mail I sent you with all the information about how bad Atkins is?” she asked, exasperated. I’d deleted it, but I didn’t tell her that.

My body feels like it’s eating itself from the inside out. My buddy hasn’t noticed the effect yet, but I can literally feel the fat melting away. My mood has stabilized along with my metabolism, in much the same way I imagine lithium soothes the manic depressive. It is not an unpleasant feeling, a sort of mild, foggy euphoria. I call it “ketosis psychosis.”

Friday, Jan. 16. Buddy is feeling it now. We both worked late tonight and decided to rent a video on the way home. We were starving when we went into the store, but one of the drawbacks of ketosis psychosis is an inability to make up your mind. Neither one of us could pick a video, and after what seemed like hours, I gazed hungrily at her hairless arm and considered taking a bite.

A suburban Donner Party replay was avoided thanks to a nearby Carl’s Jr. Carl’s recently began offering a low-carb version of its $6 burger, wrapped in iceberg lettuce leaves instead of a bun. The burgers are big and incredibly sloppy to eat. We choke them down in seconds. This is the best burger I’ve ever had. I’ve been saying things like that a lot lately.

Monday, Jan. 19. After one week, I weigh 177 pounds, have 22 percent body fat and a 34-inch waist. I’ve lost eight pounds, 2 percent body fat and an inch off my waist. Buddy has only lost five pounds. The book says it’s normal for men to lose more than women during induction. She hates my guts.

We’re both now deeply in the throes of ketosis psychosis. It takes me forever to get out of the house in the morning. I keep forgetting things. I go back to the bedroom for the keys, but when I get there, I forget what I came back for. I repeat this two or three times for each item I forget: keys, wallet, underwear, etc. I call this having an “Atkins moment.”

We’ve been satisfying our sweet tooth with sugarless jello and whipped cream. You can eat all kinds of dairy products on Atkins, everything except milk. I miss having a bowl of cereal for a late-night snack.

Wednesday, Jan. 21. I’ve gotten used to barbecuing in the cold winter starlight, hands cupped to catch the heat radiating off the gas grill’s hood, checking with a flashlight to make sure the meat’s done.

The meat! The meat has saved us. The meat and that packaged lettuce stuff. Spark up the barbie, throw a couple of Cornish game hens on the fire, dump some lettuce into a bowl and voilà! A cold hunk of breast meat is my new midnight snack.

Thursday, Jan. 22. “I’m dying,” Buddy moans this morning. “I’m dying.” Her body is eating itself from the inside out, sapping her energy. Lying next to her in the bed, I can feel and smell her hot, sweet Atkins breath on my pillow. It isn’t so bad, this sweet-smelling side effect of the low-carb lifestyle, but neither one of us has the energy to move. Invalids.

This weakness is beginning to concern me. At the gym, I’ve cut down the weight I’m lifting by at least 15 percent. My body, drawing on fat stores for energy instead of carbs, just doesn’t have the necessary oomph. Doing cardio is a chore; my legs burn with exhaustion after barely a half-mile on the treadmill. I’m definitely losing weight, but I’m getting weaker, too.

Today I go to the mall and buy of bunch of the prepackaged Atkins food products: pancake mix, canned low-carb milkshakes, low-carb protein bars, baked cheese snacks, sugarless candy, Atkins ketchup.

This afternoon, Militant Vegan, who hasn’t been talking to me much lately, shows me a video clip of various animals being butchered for human consumption set to a punk-rock soundtrack. It is supposed to shock me out of my meat-eating mania, but I numbed to the horrors of the slaughterhouse long ago.

Sunday, Jan. 25. We make Atkins pancakes with Atkins syrup this morning, our first breadlike substance in nearly two weeks. The pancakes are tasteless and spongy. The syrup is maple-flavored water. This is the best breakfast I’ve ever had.

For dinner, we roast a six-pound pork loin that looks like a buffalo’s tongue. The dog eats the scraps. He seems to like Atkins, too.

Monday, Jan. 26. I’m down to 172 pounds, 20 percent body fat and a 33-inch waist. Incredibly, I’ve lost 13 pounds, 5 percent body fat, and two inches off my waist in two weeks. Buddy has lost just seven pounds, but she’s noticeably slimmer.

We have to decide today whether to stay on induction or graduate to the ongoing weight-loss phase, which permits the gradual addition of lovely carbs. We’re happy with the results so far, so we decide to stay on induction to see how much more we can lose, which the book says is OK as long as you don’t overdo it.

I’m starting to feel better now. My mind is getting used to its homeostatic metabolism. The number of Atkins moments has decreased, too; one day, I simply forgot to forget, and I haven’t forgotten anything since, not that I can remember. I can feel the energy Atkins fanatics talk about coming on, and I’ve been sleeping like a baby. The pros seem to outweigh the cons.

Tuesday, Jan. 27. Militant Vegan informs me today at work that Dr. Atkins is dead. I had no idea. He looks so healthy on the covers of all those books. Apparently, last year he slipped on an icy sidewalk, hit his head, went into a coma and never recovered. I can’t help thinking that his diet might have had something to do with his death.

Friday, Jan. 30. It’s midnight and I’m still recovering from my first cheating binge. It wasn’t even my fault. Last night, Buddy made two bowls of jello, sugarless for us and regular for the kids. I loaded up a bowl of lemon jello, scarfed it down and then loaded up again. An hour later, I was overcome with an uncontrollable urge to consume carbs in outrageous quantities. I’d eaten the wrong jello! What ensued was an anti-Atkins rampage. I ate two bowls of Lucky Charms, a big bag of Lay’s barbecued potato chips and an entire box of iced apple-cinnamon Pop Tarts washed down with two glasses of milk. They were good.

I guiltily got back on the program this morning. By midafternoon, the hot poker of carbohydrate withdrawal once again pierced my skull. It’s the kind of pain that will cause a laboratory rat to starve to death rather than push the right button to get food.

Sunday, Feb. 1. We barbecue all weekend, huge styrofoam trays of chicken thighs and drumsticks. By the time the Superbowl comes on, I have eaten 40 pieces. “Hey, they just showed Janet Jackson’s breast!” Buddy says near the end of the halftime show. I’ve missed it, curled up on the floor in a narcoleptic stupor.

Monday, Feb. 2. After three weeks, I weigh 169 pounds, a loss of 16 pounds. My body fat is 18 percent, a decrease of 7 percentage points. My waist is 32 inches, three inches less. Buddy has lost 10 pounds. She looks like an angel standing naked on the bathroom scale.

Thursday, Feb. 5. I have my first Atkins moment in a long time today while driving the motorcycle into work on Dry Creek Road near Healdsburg. The next thing I know, I am six miles down the road, on Highway 101 heading into Windsor. Try as I might, I can’t recall driving that section, which involves numerous turns and several stop signs. It’s like I was abducted by aliens.

Monday, Feb. 9. My weight has stabilized at 170 pounds with 20 percent body fat and a 33-inch waist. Buddy has lost 12 pounds in four weeks. Both of us want to lose a little more, so we decide to stay on induction another week. But the tangelos she brought home from the store for the kids today sure look good.

Tuesday, Feb. 10. It’s all over the news. The Wall Street Journal broke a story today claiming that Dr. Atkins was obese at the time of his death and died of congestive heart failure. Atkins’ critics suggest his diet was the true cause of death. His family claims the weight gain was due to fluid that built up during the 12 days the doctor spent in a coma. His wife complains that the Journal has violated their privacy by revealing confidential medical information.

It’s a sad story, and it’s hard not to think there is something a little screwy about the Atkins diet. I’ve lost 15 pounds in four weeks–no diet I’ve ever tried has produced such dramatic results. I’ve gained a new appreciation for controlling the amount of carbohydrates I eat–which makes sense for any balanced diet. But I think I’ve had enough of the induction phase. Too spacy. It’s time to start adding some carbs to my regime.

A tangelo seems like a good enough place to start.

From the February 19-25, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Writer’s Sampler

Courtesy of Susan Bono

Books Binder: ‘Tiny Lights’ publisher Susan Bono helps writers connect.

Not-So-Lonely Planet

Sampler classes get writers out of their rooms

By Jordan E. Rosenfeld

In this attention-deficit day and age, “quick and dirty” is not an unusual way to describe a cultural event. Yet when spoken by writer and publisher Susan Bono, these words refer to something both highbrow and accessible, a paradox that makes the Writer’s Sampler–a platter of tasty writing classes offered twice a year through the Sebastopol Center for the Arts–so successful.

Though we’re talking about teaching writing here, you won’t hear the word “literary” swung around like some kind of stinky cheese. While the literary stamp is unquestionably visible on each of the instructors and its organizers, the emphasis of the Writer’s Sampler is on inclusion, community-building and giving writers one less excuse for describing the craft as “lonely.”

Susan Bono is a Petaluma writer and the publisher of Tiny Lights: A Journal of Personal Essay, a twice-yearly literary magazine that nominates pieces for the prestigious small-press Pushcart Prize and has featured award-winning writers alongside emerging ones.

The Writer’s Sampler arose out of a series of conversations that Bono and Clara Rosemarda–a writer, teacher and counselor–had in 2000.

If you ask either woman, the idea appeared collectively, like an exotic daydream in their minds, a shared vision. Since then, Bono has become the engine and the conductor, with Rosemarda providing support, enthusiasm and helping bring new writers into the fold.

“I just remember the delight on people’s faces at the idea of being able to come out from their lonely writing towers and meet up with other writers,” said Bono.

And what writer in her, well, right mind, wouldn’t be delighted? In the sophisticated enclave of Sebastopol, on a Monday night that might otherwise be absorbed in a Survivor vortex, the Writer’s Sampler beckons. Not only does it promise great teachers, such as the original group who commenced the series (among them former Sonoma County poet laureate Don Emblen, poet Patti Trimble, naturalist Ellery Akers and short-fiction writer Robin Beeman), but it makes its home in an art gallery suited to the elicitation of the muses. It also offers the sweetest element when one wants to gather each pearl delivered by a speaker: quiet.

“The classes are after-hours, and we get to possess the whole place. We’re not competing with espresso machines, for one thing,” Bono chuckles. “The atmosphere is uplifting.”

Linda Galletta, executive director of the Sebastopol Center for the Arts and guardian angel to the Sampler believes that arts nerve centers like her own are crucial elements to cultural prosperity.

“These are little gems, a great opportunity. The county has an abundant wealth of talent, and every community should have a center to support those local arts and the artists,” she enthuses.

If the Sebastopol Center is the pulse of west Sonoma County’s thriving artistic heart, the Writer’s Sampler is blood for writers who need an infusion to jump-start another round of linguistic creation.

“The notion of the Writer’s Sampler is that you get to take a little taste, you don’t have to commit to every class,” Bono says. “Every meeting is different. Sometimes it’s more like a straight lecture. But more often–and these are the evenings I’m most fond of–writers are asked to do a short in-class assignment and are asked to share.”

Unlike dissecting dry sections of Henry James in English 101, the Writer’s Sampler is one of those rare artisanal boutiques in the clunky strip malls of classes–students want to sample all of these unique and varied bite-sized nights. For, much like the unavoidable metaphor of a box of chocolate, once the class is gone, there’s no guarantee that either instructor or topic will return. The only guarantee is that more talented instructors and new ideas will recur, to continue to lure writers in.

“For not much more than the price of a movie you can go and dip in and experiment. You may have never written a short-short or a pantoum or a prose poem in your life and can spend one evening giving it a test run. There’s no homework, either,” Bono promises. “The potential for inspiration and community is there any time.”

Christine Falcone, a Novato writer and mother who is not exactly swimming in free time, has made it a priority to fit the Writer’s Sampler into her agenda. For Falcone, this not only means finding a sitter, but making the drive from Novato. And according to her, it’s worth it.

“I’ve discovered that becoming a part of a larger group of writers is tremendously important in what would otherwise be a very lonely–or at least solitary–profession. The value of the type of support and connection that I have found in these classes cannot be overstated,” Falcone says. “The Sampler offered on the Tuesday after 9-11 was a particularly powerful experience for me. I hadn’t been able to write about what had happened for a whole week. The instructor, [SSU instructor and poet] Elizabeth Herron, talked about beginnings and endings and letting go. The exercises she led us through helped me to process what I was feeling. I was so grateful to have had that framework in which to just unfold and to remember why writing is so critical for me.”

Bono will be the first to agree that something transcendent occurs in these evenings. “There’s this magic that happens where people open up and other writers honor that in the act of reading to one another. The act of being witnessed is very powerful,” she says. “People go really deep.”

Jean Hegland, author of the acclaimed novel Into the Forest, makes the haul from outside of Healdsburg, coming both as a teacher and as a student. “I think it’s a brilliant series,” she says. “It gives this really quick, high-energy infusion of interest and enthusiasm of ideas.”

“The instructors get to talk about things they are passionate about and they don’t have any papers to grade, they don’t have to track people down for money or put out 5,000 fliers,” Bono says.

In essence, the Sampler offers teachers exposure to people who may not be making it into formal classrooms for a multitude of reasons. It brings both the gung-ho and the reluctant writer out for the night.

To get a sense of just how many people the Sampler is reaching, Bono does the math. “We’re about to begin the ninth session. There have been 40 instructors, not counting repeats, and at least 500 people have attended. More than 500, however, have benefited. That seems like a lot to me. We’re really affecting a lot of people in the community.”

The community seems to agree, since the Sampler sees returning writers aplenty, eager for their next taste as well as new ones.

“I fooled myself into thinking these were the same faces over and over, but in this series there have been nights where I have only known two or three of 30,” Bono reflects. Considering that she has presided over all 45 classes, it boggles the mind.

Writer’s Sampler classes are held on six consecutive Mondays. Feb. 23, poet Terry Ehret leads ‘A Workshop on the Prose Poem.’ March 1, fiction writer Guy Biederman teaches ‘Lowfat Fiction.’ March 8, Petaluma ‘Argus Courier’ staffer Katie Watts teaches ‘The Scoop on Freelance Journalism.’ March 15, editor Arlene Mandell leads ‘Get Published!’ March 22, playwright John Moran instructs on ‘Writing Stage Plays.’ March 29, Julia Whitty teaches about travel writing with ‘Journeys toward Change.’ Sebastopol Center for the Arts, 6780 Depot St. Classes are $15 each or $65 for the series. For details, call 707.829.4797.

From the February 19-25, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

American Fiddle Ensemble

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Anger Management: Darol Anger’s latest group is on a groove.

Strings Attached

American Fiddle Ensemble are a dream come true

By Greg Cahill

“I’ve come to realize that music is about melody, harmony and rhythm in only the most incidental way,” says fiddler Darol Anger when asked to characterize the American Fiddle Ensemble, his latest string-band project. “It’s mostly about people and how they do what they do together. This particular group of people is quite special and works together in a way unlike any other group that I’ve been involved with.

“[Guitarist] Scott [Nygaard] is one of the most thoughtful and reliable, yet reactive, musicians I know. [Cellist] Rushad [Eggleston] is constantly mercurial and brilliant. And [fiddler] Brittany [Haas] has her incredible talents. Everyone has their ear focused on the total sound. It’s like a superhero team where they all have complementary powers.”

For Anger, this musical terrain is so distinct that he’s titled the AFE’s newly released album Republic of Strings. The disc brings together musical styles from around the world in a boundary-crossing blend of jazz, bluegrass, classical and folk music. The CD includes guest vocalist appearances by fiddlers Sara Watkins of Nickel Creek and Laurie Lewis.

“Scott and I both wanted to focus on the international string-band concept,” Anger says, “so we picked a lot of music from Scandinavia, Brazil, Africa and other regions as well as our original stuff.”

The ensemble itself crosses generational lines, pairing two seasoned veterans (Anger and Nygaard) with a couple of talented newcomers (Haas and Eggleston).

The seemingly tireless Anger–violinist, fiddler, composer, educator and producer–is a veteran of the groundbreaking David Grisman Quintet, which 25 years ago helped define the new-acoustic music genre. Anger is also a founding member of the jazz-oriented Turtle Island String Quartet, which revolutionized chamber music by infusing it with jazz improvisation. He also contributes to the all-star vernacular string band Fiddlers 4 (a 2002 Grammy-nominated collaboration with Michael Doucet, Bruce Molsky and Eggleston) as well as the virtuosi chambergrass groups Psychograss and NewGrange.

Nygaard, regarded as one of the top five flatpickers, is a former member of Tim O’Brien’s O’Boys and Laurie Lewis and her Grant Street String Band. Eggleston, the first student admitted on a full scholarship to the Berklee College of Music string program, is a skillful improviser with an easy command of fiddle styles. “He’s the best bluegrass cellist in the world,” Doucet boasts, adding with a laugh, “Oh, heck, he’s the only bluegrass cellist in the world.”

Haas, a talented South Bay teen, is nothing short of a revelation. “It’s a joy to see these two excellent young players in two different stages of their development. Rushad is breaking into all kinds of unexplored territory all the time,” Anger says of the ensemble’s younger members. “He’s in a very free place where his technique has become transparent and he’s inventing concepts that go far beyond just his instrument.

“Brittany’s relationship to her main mentor, Bruce Molsky, can be compared to the young Mark O’Connor’s relationship to the great Benny Thomassen; she has taken a traditional style that already had been perfected by one great innovator and has further turbocharged it, combining an incredibly deep feeling for Appalachian fiddle style with extensive knowledge of all kinds of other styles such as Celtic, jazz and my style.

“The fact that she can pretty much do everything else technically on the violin and is using a five-string fiddle as her main axe put the glow on the picture. She’s intelligent and informed, conscientious, prompt, has fantastic powers of concentration, a great memory, a monster groove and she listens even better than she plays. These qualities would make her an MVP in just about any band in this galaxy, let alone the American Fiddle Ensemble.”

For Anger, Republic of Strings represents a natural progression in his 35-year quest to explore the fringes of progressive bluegrass. He sees the project as an outgrowth of a vast musical movement. “The last few years of well-organized fiddle camps and clinics run by Mark O’Connor, Alasdair Fraser, Jay Ungar, Matt Glaser, Randy Sabien, Julie Lieberman, David Balakrishnan and others have brought up a new generation of brilliant players who accept no limitations or boundaries to their chosen music,” he says.

“It really is like a string republic stretching all through the world’s music, and it’s the fulfillment of a beautiful dream that I and those I just mentioned–and many others–have had for years. I can’t tell you how exciting it is to see it happening.”

Darol Anger and the American Fiddle Ensemble perform Friday, Feb. 20, at 8pm at the Pt. Reyes Dance Palace, 503 B St., Pt. Reyes Station. $5-$15. 415.663.1075.

From the February 19-25, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

The Rum Diary

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Beautiful Catastrophes: The Rum Diary’s newest album, ‘Poisons That Save Lives,’ is pure ambient cohesion.

Sonic Mélange

The Rum Diary could sneeze and it would sound ethereal

By Gabe Meline

So I call up Daniel McKenzie of the Rum Diary and he’s in the middle of watching a movie. The film is Gerry, Gus Van Sant’s cinematic ode-to-drone about two friends stranded in the desert. It’s a tedious, slow-moving movie with very little dialogue, and it didn’t run in even the artiest of art-house theaters. Naturally, McKenzie is thoroughly enjoying it.

“There’s so many shots of landscapes,” he marvels. “It’s just amazing.”

Everyone tends to agree that the Rum Diary is a hard band to pin down stylistically, but “shots of landscapes” might be a good point of reference. The Cotati band’s second album, Poisons That Save Lives, is an existential recording that transports the listener to moonlit fields and wide-open skies. There are few lyrics, but when sung, the words sound like wind. Almost all of the songs on the album are over five minutes long, and some are beautiful catastrophes of ambient cohesion, worthy of closed eyes and snug headphones.

Such chemistry seems to come naturally to the Rum Diary. They are a rare breed among established bands in that all four members–Jon Fee, Daniel McKenzie, Joe Ryckebosch and Schuyler Feekes–genuinely enjoy hanging out together. A visit to their rural practice space on Highway 116 offers a glimpse into their creative process, their camaraderie and their lack of musical background.

“I think we’re good in a band, because none of us are technically amazing musicians,” says McKenzie, nursing a Natural Ice. “We all started playing music after high school, and that’s kind of late to start. We don’t shred.”

Late starts notwithstanding, Poisons That Save Lives showcases the kind of sonic mélange that calls to mind Montreal’s Godspeed You Black Emperor alongside the bass-driven peppiness of New Order. Even on upbeat songs like “It’s Midnight,” laden with handclap breakdowns and a catchy chorus, it’s still easy to get lost in a swirl of harmonic hooks and hypnotic organ lines. Feekes’ myriad of vintage keyboards has been a mainstay of this sound, and because of the band’s unique instrumentation, it seems were the Rum Diary to sneeze it would sound ethereal.

“You can almost split the new album in half,” notes Fee. “Here’s four, you know, pop songs, they all have the driving melodies and the double bass, and that’s one band. And here’s the long songs that have a big crescendo and big guitars and a wall of sound, and there’s another band. We like all different kinds of music, but it’s kind of difficult to win fans ’cause you sound like two bands at the same time.”

Indeed, the Rum Diary is contemplative and zany. Yet they have stuck to a vision and are still as dedicated as ever. In addition to the usual tasks of booking shows, practicing and recording, members have dabbled in factory work by laboriously hand silk-screening and individually numbering each of the new album’s 500 LP copies, pressed on bright yellow vinyl. A U.S. tour is in the works, and already the band has recorded four new songs for an upcoming split EP with New York’s Kilowatthours. The pace is furious, but accolades are pouring in–even in the form of a cordial postcard from Fugazi’s Guy Picciotto, one of the band’s proudest moments.

“We’ve been playing for four years,” says McKenzie, “hard, twice a week, touring, playing our asses off, and I almost feel like finally something’s happening.”

Something, indeed. While band members are dismissive of a recent on-air interview with Bay Area radio station Live 105, they do reserve a special enthusiasm for playing the high-profile Noise Pop Festival this year at the Great American Music Hall, where they have spent many nights watching their favorite bands perform. “My mom is so excited,” beams McKenzie. “She’s coming to the show.”

“I think the most important thing is for
us all to stay excited,” reminds Fee. “It all starts with the four of us constantly challenging each other, coming up with different sounds and trying for a different style of song.”

The Rum Diary perform Friday, Feb. 20, at 9pm. Tradewinds, 8210 Old Redwood Hwy., Cotati. Free. 707.795.7878. They also appear at an all-ages show on Saturday, Feb. 28, at the Great American Music Hall in San Francisco. www.therumdiary.net.

From the February 19-25, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Proposition 56

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Unraveling 13

Proposition 56 seeks to reduce the state’s legislative supermajority

By R. V. Scheide

Since passing in 1979, Proposition 13, popularly known as the property taxpayers’ revolt, has been the third rail of California electoral politics. To touch it–to even mention touching it–was political suicide. This era of seeming inviolability may come to an end if voters pass Proposition 56 on the March 2 primary election ballot.

Dubbed the Budget Accountability Act, Proposition 56 seeks to lower the Legislature’s threshold for passing the state budget and budget-related tax increases from the 66 percent established by Proposition 13 to 55 percent. It would also penalize the governor and Legislature for missing the June 30 budget deadline–which has occurred 11 times in the past 17 years–forcing them to postpone time off and to work without pay until the budget is passed. The initiative also requires that up to 25 percent of any excess state revenues be set aside in a reserve fund.

But first voters have to pass it, and that is by no means a sure thing. A Field Poll released Jan. 15 found that 37 percent of registered voters support Proposition 56, while 36 percent oppose the measure. A substantial number of those polled, 27 percent, were undecided. Both proponents and opponents of Proposition 56 recently began airing statewide TV commercials for what promises to be the most contentious battle of the primary election.

“Anything that weakens Proposition 13 can’t be a good piece of legislation,” said Fred Levin, executive director of the Sonoma County Taxpayers’ Association. “Proposition 56 opens a Pandora’s box for legislators to increase taxes or create new taxes.”

Other opponents of the measure include the California Taxpayers’ Association, the Howard Jarvis Taxpayers Association and local chambers of commerce from across the state. According to the secretary of state’s office, opponents have raised $3.1 million so far, much of it from oil, tobacco and alcohol interests that fear such products may be subject to new taxes.

Meanwhile, supporters have raised $2.9 million, nearly half of which was spent on the petition drive that placed the proposition on the ballot in the first place. Donors include the California Teachers Association, the California State Council of Service Employees and other public-employee unions, whose members have a stake in the state’s budgetary process. In addition, cities and counties across the state have endorsed the measure, including the Sonoma County Board of Supervisors. Other North Bay politicians have also come on board.

“I support it,” said Assemblyman Joe Nation, D-Sixth District, whose constituency includes Marin and southern Sonoma counties. “Hopefully, it will end legislative gridlock. I think 55 percent is reasonable.”

Ending legislative gridlock was far and away the overwhelming reason given for supporting the measure.

“It’s absolutely necessary,” said Larry Robinson, a Sebastopol City Council and Green Party member who strongly supports Proposition 56. “The two-thirds requirement allows a minority to dictate policy and essentially hold the state hostage.”

Currently, 14 states including California have so-called supermajority requirements to raise taxes, ranging from 60 percent to 75 percent of their respective legislatures. The Washington, D.C.-based conservative organization Americans for Tax Reform claims that supermajorities continue to enjoy 70 percent nationally, but it’s unclear if other states have experienced the same kind of gridlock as California.

Seventh District Assemblywoman Pat Wiggins, who represents all of Napa and parts of Sonoma and Marin counties, recalled how the two-thirds supermajority requirement stalled the budget last year. In June, she and other Democrats refused to support a budget with any cuts to MediCal, the state’s perennially strapped public-health program.

But by September, the conservative-led Republican minority, which refused to vote for any new taxes, forced Wiggins and her colleagues to accept a budget that cut MediCal by 5 percent. She thinks a lower, 55 percent supermajority would help protect programs like MediCal while providing enough restraint to prevent legislators from irresponsibly raising taxes.

“There are limits to what you can do with the 55 percent vote in the assembly,” she said. She called the addition of the 25 percent reserve requirement to the initiative “sugar, so that the public will see that there will be some kind of reserve. Otherwise, there’s a fear that the Legislature will run rampant.”

That’s a fear espoused by Sonoma County Taxpayers’ Association’s Fred Levin and other opponents of Proposition 56.

“It’s a deceptive measure,” Levin said. “It pretends to discipline our people in Sacramento, but instead rewards them with a blank check.”

From the February 19-25, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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