Zebulon’s Lounge

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Guitar Clairaudient: Nels Cline plays in sonic realms.

Joint is Jumpin’

Egg City offers a New York state of mind

By Greg Cahill

You might expect to catch the avant-garde mavens of New York’s fabled downtown jazz scene at the Bowery Poetry Club or the ultracool Joe’s Pub in the Big Apple, but you’d hardly expect them to venture on a regular basis to Petaluma. After all, this North Bay community still marks the rites of spring by parading its children through the streets dressed as barnyard fowl while competing for the title of “Cutest Little Chick” in town.

But after the soccer moms are tucked in for the night, the local hipsters come out to play, sipping cold saketinis and savoring a spirited splash of hot jazz, all served in a Manhattanesque cosmopolitan setting. In recent months, the intimate Zebulon’s Lounge in Petaluma has become a way station for such top avant-jazz acts as guitarist Nels Cline (who has recorded with Thurston Moore of Sonic Youth), drummer Scott Amendola of T.J. Kirk, saxophonist Eric Crystal and violinist Jenny Scheinman, a session player heard on Norah Jones’ 2002 multiplatinum album Come Away with Me and voted the No. 1 Rising Star Violinist in the 2003 Downbeat Critics Poll.

This vanguard is a major coup for the small suburban nightclub, which also features an impressive nightly lineup of homegrown talent.

“It was Scott Amendola who originally approached me with this wonderful cadre of musicians,” explains club co-owner Trevor Cole, who, along with business partner Karen Ford, opened this tiny nightspot just over a year ago. “He performed in our second month with his band–at that time featuring Eric Crystal, a previous acquaintance of mine–and last January Scott brought a different group in every Friday night.”

Amendola introduced the jazz impresario to Cline, Scheinman, bassists Devin Hoff and Todd Sickafoose, and several others, all associated with a network of internationally respected players who are redefining the genre. When T.J. Kirk, a side project for eight-string guitar phenom Charlie Hunter, had its long-awaited reunion during the Christmas holidays at Yoshi’s jazz club in Oakland, Amendola set up a rare duo performance with Hunter that played earlier this month, selling out four shows in two nights at Zebulon’s.

Amendola returns to Zebulon’s on Friday, Jan. 23, with Cline, Scheinman and bassist John Shifflett, and again on Tuesday, Jan. 27, with the Nels Cline Singers, an instrumental group that also includes Hoff. If you want to sample the future of jazz, Zebulon’s is the place to be that night.

“Cline is not just a musical chameleon,” the BBC recently opined. “He always surrounds himself with strong players and gives them ample opportunity to display their skills. This trio is fully interactive (no mere timekeepers here), and the two other members maintain a running dialogue with Cline, echoing, reinforcing and commenting on his lines.”

Cole agrees that Cline is spearheading something quite new.

“I love the new direction that these musicians bring to the music world,” he says. “Nels has got to be one of the most impressive musical forces I have witnessed–and I am not even a guitar fan in general. He works in sonic realms that most people have no access to, and acts as something of a clairvoyant, channeling these images from the nether world into our brains through his instrument.

“There is a lot of ‘free jazz’ out there that all sounds the same, basically like garbage. There are a few musicians who are noticeably different, with vision, drive and clarity of execution to bring a new light to this style. This is compelling music.”

For Cole, a jazz buff who harbors a real passion for the music he presents, the chance to share acts of this caliber is a real treat. But he’s quick to point out that the lounge also nurtures a wide range of lesser-known acts.

“I don’t want people to walk away from Zebulon’s believing this is the only type of music we have going here,” he says. “We cover everything from swing to bop to Latin jazz, and all the younger professionals are highlighted here–people like John Ellis, Mitch Marcus, Julian Lage, Adam Theis, Erik Jekabson and especially Howard Wiley, perform at Zebulon’s regularly. These are players that are reshaping jazz as it is known, and yet can’t get gigs at bigger venues as they haven’t enough of a name for themselves.

“It’s a tragedy–the best players perform here every night, but because nobody has heard of them yet, it is often to crowds of no more than 10 people. But they love it anyway.”

Here’s your chance to say you knew them when.

Zebulon’s Lounge, 21 Fourth St., Petaluma. For details on all shows, call 707.769.7948 or visit www.zebulonslounge.com.

From the January 22-28, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

E-voting

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Voting Blind

E-voting ignites local, state and national controversy

By Tara Treasurefield

“The League National Board has taken a position against a paper trail for electronic voting machines. They’re wrong, of course,” says Tony Miller, one of many men who belong to the League of Women Voters. Though he is smiling, he isn’t joking.

Miller is legal counsel in the Elections Division at the California Secretary of State’s office. Speaking to a Petaluma audience at a forum sponsored by the Sonoma County chapter of the League of Women Voters on Jan. 17, Miller helped to highlight a fiery debate between the national League and members of local chapters.

An open letter to LWV president Kay Maxwell argues for a neutral stand on paperless voting. As of Jan. 19, 301 members in 25 states have signed the letter, which is available online at www.leagueissues.org. Given that the LWV doesn’t encourage intermember dissent but generally works through consensus agreement, some 300 naysayers is significant. The letter concludes: “We cannot remain silent in the face of a position that can be dangerous for our democracy and embarrassing for the League.”

The controversy within the LWV isn’t just a tempest in a teapot. The League has a well-deserved reputation as a reliable source of nonpartisan information about elections and voting, and with that comes a substantial amount of influence. Established 80 years ago, the LWV makes candidate profiles, ballot issues, election results and other political literature available through a variety of means, including website www.smartvoter.org, and promotes organizations such as Project Vote Smart.

But the LWV National Board’s advocacy of an issue as monumental and controversial as paperless voting is different. Electronic voting machines have a history of questionable and clearly erroneous election results, and the nation’s top computer scientists, as well as studies undertaken at Johns Hopkins University and other credible organizations, have publicized the risks of trusting voting machines that don’t produce a paper trail.

A recent example was the special election this month in Broward County, Fla., to fill a state House seat, where the victor won by only 12 votes and 137 of the electronic ballots were blank. Florida law requires a manual recount in such close elections but because there are no paper ballots, a recount isn’t possible. Yet there’s a 10-page defense of paperless voting at the LWV’s official website, www.lwv.org, and on Jan. 9, its legislative director, Lloyd Leonard, supported the system in an interview on National Public Radio.

Former Santa Rosa City Council member Marsha Vas Dupre says, “Many of the people in our Sonoma County League, being the outspoken rabble-rousers we are, are very concerned. We believe in a paper trail. It sounds very reasonable to me. It’s an opportunity for voters to have a second look at how they cast their vote. [The ballot] is behind a closed window, but once they OK it, that’s what goes into the record as a backup. I can’t see that as anything other than positive. I don’t know how anyone in their right mind would be against that.”

One reason the LWV support paperless voting is that it wants to help people with disabilities gain equal access to the polls. It’s much easier for disabled voters to use electronic voting machines than paper ballots and pencils, and they don’t want anything or anyone to discourage the use of these machines.

Under the leadership of Jim Dickson, the American Association of Disabled People fiercely opposes all e-voting machines that produce a voter-verified paper ballot. However, Melanie Brunson, acting executive director of the American Council of the Blind, says, “We oppose the systems that require the voter to visually verify a paper ballot.” Though the council hasn’t taken an official position yet, Brunson says voting machines that produce a paper ballot would probably be acceptable if they also provide an auditory method for blind voters to verify their ballots.

Mervis Reissig of Santa Rosa, who attended the elections forum, appreciates the concerns of disabled voters. “I empathize with their need for touch screens,” she says. “But still, forcing those machines down everybody’s throat at a huge expense and huge security concerns that we still have–the two just don’t seem to jibe in my mind.”

Last November, California secretary of state Kevin Shelley announced that by July 2006 all electronic voting machines used in state elections must produce a voter-verified paper audit trail. To meet the needs of blind voters and to be consistent with state and federal law, he also requires e-voting machines to include a “nonvisual method” of ballot verification. Several e-voting equipment manufacturers already offer models that both produce a paper trail and provide audio for blind voters, but they’re not yet certified in California.

Shelley’s paper audit trail requirement has earned him both praise and blame, and on Jan. 15, some 100 people attended a public meeting of the secretary of state’s California Voting Systems Panel in Sacramento. Touch-screen voting machine and optical scanner manufacturer Diebold Election Systems was at the top of the agenda.

An audit of the company last month found that uncertified software was running on its equipment in each of the 17 California counties that uses it. The panel convened to decide whether to decertify Diebold and/or bar it from selling its e-voting equipment in the state, finally deciding to postpone any action until additional requested documentation from Diebold is received. The panel then opened the meeting to public testimony.

More than 50 people spoke, and, except for a few disabled voters and elections officials, all expressed concerns about paperless voting machines. A speaker from Calaveras County nearly cried during his testimony. Judging by the applause, he spoke for many in the audience. “The day I turned 18 and got the right to vote, I registered,” he said. “I’m now 37, and I have voted in every election since then. Turning over my vote to a computer frightens me.”

Kim Alexander, director of California Voter Foundation, says that unless something changes soon, 40 percent of the state’s electorate will be voting on paperless e-voting machines in the March 2 primary. “One thing the secretary of state can and hopefully will do is to seek some new legislative authority from the state capital to give him more power to punish vendors who behave improperly and install voting systems that don’t comply with California rules and law,” she says.

But vendors aren’t all bad, assures Janice Atkinson, Sonoma County’s assistant registrar of voters. “The legislature has to take responsibility for some of this, including the situation that Diebold finds itself in. The legislature has changed the way we count the votes, at least in primary elections, for every election of the last five primaries. We don’t do it the same twice. These poor vendors have a program that’s written one way, and the legislature comes along and [changes the rules].

“Were it not for our vendors, we wouldn’t be counting votes in this state. They bend over backwards to meet our needs. I couldn’t have laid out the ballot, even in [the March 2] election, without the help of our vendor. They work nights and weekends. When we’re accused of socializing with vendors and with other elections officials, maybe it’s because we have no other life. These are the only friends we have. They’re my best friends in the world.

“I’m still in favor of a voter-verified paper audit trail, because I think it’s very necessary. I wouldn’t have an electronic system in my county without one. But we [elections officials and vendors] have gotten to the place where we’re all we’ve got. I have met and know some of the Diebold staff, and they have all been very honest, upstanding individuals who, as far as I can tell, work very hard to provide services to their customers.”

Greg Dinger, webmaster and point person for www.verifiedvoting.org, sees it differently. “Our forefathers died for the right to a democratic process,” he says. “These [paperless] machines are a direct assault upon voters’ confidence that our electoral system is functioning properly, and that our governmental representation is a reflection of the will of the majority of the voters.”

Dinger is promoting two bills that are currently before Congress: HR 2239 in the House (Holt), and S 1980 (Graham) in the Senate. If passed, these two pieces of legislation will require all electronic voting machines to produce a voter-verified paper trail by the general election of 2004, not 2006.

“We need every citizen concerned about this issue to make multiple contacts with their legislators in the form of telephone calls, letters and personal meetings with the legislative staff of both their congresspersons and senators until those legislators unequivocally commit to the passage of HR 2239 and S 1980,” he says. “It’s going to take some doing to get these bills passed into law, and then they have to be implemented at a very accelerated pace. If we don’t get the bills passed in the next few weeks, it’s not going to make a difference for November 2004.”

Beth Grimes, a 78-year-old Petaluma resident and activist, also believes that democracy is at stake. “I worry about the future of my children and grandchildren,” she says. “It seems to me that voting machines that don’t produce a paper trail would be the last nail in the coffin of anything resembling democracy in this country.”

A freelance writer and activist, Tara Treasurefield speaks on e-voting at New College on Thursday, Feb. 19, at 7pm. 99 Sixth St., Santa Rosa. $5. 707.568.0112

From the January 22-28, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Bobby McGee

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Photo by Rory McNamara

Freedom’s Burden: Jasmine Belenger works through her grief by making artworks of her dead son’s effects.

Nothing Left to Lose

Her dead son’s body found, this mother worries about his soul

By R.V. Scheide

Bobby McGee stands at the foot of his mother’s bed, murmuring softly. It’s the middle of a June night in 1986, and his mother is sleeping soundly, but as Bobby continues whispering, she stirs and opens her eyes. Jasmine Belenger looks into her 18-year-old son’s boyishly handsome face. She and her son have been inseparable since, at age 16, Jasmine gave birth to him, a single hippie mom and her young son, now almost a man. Bobby brushes a lock of straight, brown hair from his dark eyes and fixes Jasmine with a solemn gaze.

“Mom, I just wanted to say goodbye,” Bobby says. Then he slowly dissolves into shadow.

Jasmine bolts upright out of the bed. “Wait!” she screams. The room is empty. She rubs her eyes. Was she dreaming? A horrible concrete weight fills her heart. Somehow, she knows she will never see her son alive again.

Sitting in the kitchen of her Santa Rosa home off Stony Point Road last month, Jasmine recalls the dream as though it happened the night before. Perhaps that’s because for her, the nightmare has never really ended. Sixteen years passed before Bobby McGee’s decomposed body was found in a lonely ravine outside of Willits, Calif., in July 2002, and his skeletal remains have yet to be laid to rest.

Jasmine says she told police to look on property she then owned, from the very beginning of the case. But thanks to a series of near misses and miscommunications between Jasmine and Mendocino and Sonoma County law enforcement officials, Bobby’s corpse lay rotting in a hasty grave for over 15 years, even as his killers walked the earth above him.

What happened? In the words of one detective who worked the investigation, it was “one of those cases that just fell through the cracks.”

What’s left of Bobby is home now, his bones neatly arranged in a small, metal footlocker plastered with Betty Boop stickers. Jasmine takes them out from time to time and touches them. Months passed before she could touch the skull, shattered by two bullets. As a kind of therapy, she arranges the bones in patterns, photographs them and makes collages for the makeshift shrine in her living room.

If it seems odd, Jasmine holding on to the bones like this, well, she has her reasons. She went a long time without seeing Bobby, and it’s a strange comfort to have him near. Some Native American friends have asked to perform a ceremony with the remains. And truth be told, she can’t afford a traditional burial. The $800 a month disability check–she suffers from depression and high blood pressure–doesn’t leave her a lot of room for extra expenses.

But more than prudence keeps Jasmine from burying her son. There’s pride, pride that bursts through a hardened heart like a weed cracks through the sidewalk. A pride that won’t allow her to accept that her son was no better than a common criminal. So she clutches the bones a little longer, with a mother’s pride, hoping the system will somehow change its mind.

Bobby McGee was gunned down in cold blood by a 20-year-old drifter named Joe Truby. According to one account, Truby and as many as five others drove the body around Willits, showing it off like a hunting trophy. Truby, who confessed to the crime and was sentenced to 15 years to life for second-degree murder last March, claims he killed Bobby in a dispute over profits from a marijuana patch. He was ordered to pay $10,000 in restitution, money that’s distributed by the state to help the families of victims cover expenses like burial costs and grief therapy. But the California Department of Corrections’ Office of Victim Services and Restitution has repeatedly denied Jasmine funds, because it has ruled that the “victim was directly involved in an illegal activity at the time of the crime.”

The primary source for that claim?

Joe Truby.

Was Bobby McGee going into the marijuana business, as asserted by Truby and other alleged accomplices to the murder? Or did he go up to Willits to evict Truby and Brian Mercer, one of the alleged accomplices to the murder, from the family’s property, as he told Jasmine and two other women before the disappearance?

Such questions never saw the light of day in open court, because Truby agreed to a plea bargain with the Mendocino County district attorney that reduced the murder charge from first degree to second degree, circumventing a trial. Jasmine says the plea bargain came as a surprise and as another broken promise by law enforcement officials involved with case. District Attorney Norm Vroman remembers the plea bargain arrangement a little differently.

“At the time, she was in complete agreement with it,” he says by telephone from his Ukiah office. Because of the case’s age and the condition of the evidence, Vroman says, “we decided we didn’t have enough evidence to prosecute him.”

Why does Jasmine’s recollection differ?

“I can understand it,” he says. “Most survivors, when they have a chance to think about it, change their minds.”

But Brenda Starr, one of several longtime friends who accompanied Jasmine to the meeting, confirms Jasmine’s account. “We discussed a plea for second-degree murder, but it wasn’t acceptable,” she recalls, asking, “If the case is so solid, why plead it out?”

Starr sits patiently by her friend’s side as Jasmine takes out a small plastic packet containing some of Bobby’s finger bones. The packet fits easily into her palm. The bones are yellowish-brown and look ancient, like one of Dr. Leakey’s fossil finds. She lays the bones out on the table to form a hand. Bobby’s hand. Without the flesh and muscle, it’s surprisingly small, like that of a five-year-old’s.

Bobby wasn’t much older than that the first time Jasmine took him by the hand to hitchhike across America. In Texas, they met a cowboy who drawled, “My name’s Bobby McGee!” To which the boy childishly replied, “Why, that’s my name too!” Thereafter, Robert Belenger was known to family and friends as Bobby McGee.

Jasmine took Bobby everywhere with her; he was the kind of kid who could curl up next to a stereo speaker at a party and quickly fall asleep.

Eventually, mother and son met Wayne Rhoads, a man with a wooden peg leg who wore pirate garb and went by the name of Long John Silver. He and Bobby took to one another immediately. Silver became Bobby’s surrogate father, taking the youngster and friends such as Aaron Varvares camping on the dozen or so acres he owned in the woods near Willits.

When Bobby was 12, Jasmine became pregnant with Silver’s child, another boy. Bobby was ambivalent at first. But he stayed by her side for the entire 12-hour labor, fetching wet rags and anything else that was needed. “It wasn’t gross at all, it’s different when you see your own brother being born,” he told her afterward, holding brother Zachary in his arms. “That’s right,” he said to the newborn, “I’m your big brother and I’m going to take good care of you.”

Caretaking turned out to be something Bobby would get a lot of practice doing. Not long after Zack’s birth, Silver suffered a debilitating stroke that left him in a wheelchair barely able to speak. Bobby took it hard, not used to seeing the vital, eccentric man give in to any strain. He helped as much as he could, taking young Zack under his wing at the same time. Zack came to idolize his big brother. When Bobby was 16, Silver died, leaving the land in Willits to the Belengers.

Silver’s death crushed Bobby. He began to wonder what he was going to do with the rest of his life. At 17, he dropped out of high school and began hitchhiking back and forth between the property in Willits and his mother’s Santa Rosa home, often joined by Varvares, also 17, still his best friend.

Bobby had done well in high school wood-shop class, and told his mother he was considering opening a handmade furniture shop in Willits. He’d also taken and passed a test at the Navy recruiting office, and was considering enlisting after he turned 18. If he couldn’t get a loan from a local businessman for the shop, then the Navy it would be.

In May 1986, not long after he turned 18, Bobby returned from Willits and told Jasmine he was close to getting the loan. But there was some bad news, too. Two homeless men he’d allowed to move onto the property had been stealing from the neighbors. He told two of his mother’s friends the same story. The drifters were troublemakers, and he didn’t know how to handle them. He was afraid to go back.

“What are you gonna do, just let them stay there?” Jasmine asked him. “You have to go up there and kick them off.”

Heeding his mother’s advice, Bobby went back to Willits. Jasmine never saw him alive again. A few nights later, Bobby came to her in the dream and said goodbye. Jasmine couldn’t help thinking she’d sent her son to his death.

The next day, Jasmine waited for Bobby to phone. He usually called every day. But the phone remained silent. After two days, a businessman from Willits called and said her son’s loan was ready, but that he couldn’t locate him. Jasmine knew something was wrong, so she and Starr drove up.

The property near Willits is off Covelo Road, Highway 162, on a thickly wooded hillside. Bobby usually stayed in one of its dilapidated cabins. As Jasmine and Starr pulled up to a cabin, Varvares walked out.

“He was evasive; he wouldn’t look me in the eyes,” Jasmine recalls. When she asked where Bobby was, Varvares told her that Bobby had gone to San Diego with some guy named “Johnny” [his name has been changed] to sell LSD. The story sounded wrong. Jasmine knew Bobby smoked pot, but he didn’t drop acid–he’d seen too many bad trips growing up. The two women gave Aaron a ride back to Santa Rosa. He seemed remote, distant, and added no further information on the way.

The next day, Jasmine reported Bobby’s disappearance to the Sonoma County Sheriff’s Department. A cadet trainee in the missing persons department took the report. Jasmine told the cadet that she feared the two drifters might have harmed her son on the property in Willits. Even though she didn’t believe it, she also told him the story about Bobby going to San Diego to sell LSD.

The cadet told Jasmine that because Bobby was 18, there wasn’t much the department could do unless she declared her son a danger to himself. Jasmine insisting on filing a missing persons report anyway, giving the cadet Bobby’s medical and dental records and his last-known whereabouts. Yet according to Jasmine, the cadet failed to notify the Mendocino County Sheriff’s Department or the Willits Police Department, the two logical law enforcement agencies to investigate the report.

Whether this was a breach of police procedure is hard to determine. Time, the enemy of the missing person’s case, erodes institutional memory, too. Sgt. Steve Freitas, current supervisor of the Sonoma County Sheriff’s violent crimes unit, says it would certainly violate present procedure, which has been in place for the past 10 years. But he doesn’t know what the exact procedures were 18 years ago, when Bobby disappeared, and couldn’t recommend anyone in the department who would know.

Freitas describes the reporting system now in place as “fantastic.” Called the Missing Unidentified Person System, it requires that all applicable law enforcement agencies be notified promptly of a reported disappearance–in the case of missing children, within four hours. The system, which has been refined over the past 10 years, now contains a sophisticated database that enables quick comparisons of dental records submitted by the families of missing persons. It also serves as a nation-wide network for law enforcement agencies at all levels. Today, if someone files a report in Sonoma County about a person missing and last seen in Mendocino County, Freitas says a BOL (“be on the lookout”) is issued immediately to the appropriate authorities, including text messages beamed directly into patrol cars.

That’s not what happened when Bobby disappeared back in 1986. No one beamed or passed on Jasmine’s information to Mendocino County. If they had, the Mendocino County Sheriff’s Department would probably have noticed that Johnny was in the county jail at the time of Bobby’s disappearance, making Varvares’ claim that Bobby was in San Diego selling acid highly unlikely. Perhaps then police would have searched the property off Covelo Road, where Truby and Mercer squatted for months after the killing.

A month after Bobby disappeared, Johnny was transferred to the Sonoma County Jail in Santa Rosa. The sheriff’s department notified Jasmine of their intent to question him. But Johnny was shipped off to the state prison in Susanville without being questioned. Finally, after six months, Jasmine called the Mendocino County Sheriff’s Department for the first time. The officer who took her call was, in her memory, furious that Mendocino was not notified immediately by Sonoma County–that, in fact, it was never notified at all. “Why wasn’t this reported to us within 48 hours!” Jasmine remembers the officer saying and adding that the chances of picking up the trail now were slim.

Photo courtesy of Jasmine Belenger

One Mother’s Son: Jasmine and Bobby in happier times.

The stress of not knowing what happened to Bobby began eating away at Jasmine. She sought solace in her large circle of friends, many of whom remained involved in what was left of the hippie movement in the mid-1980s. Not long after reporting the disappearance to Mendocino County, she met Susan Loughan, a New Age author who claimed to be a psychic, and asked her for a reading.

Jasmine says Loughan went into a trance and contacted Bobby’s spirit. Loughan began repeating verbatim the same murmurings Jasmine had heard in her dream. Jasmine spun around the room, ecstatic. “That’s exactly what he said to me in the dream, that’s exactly what he said!”

“You already know where your son is,” Loughan said. “He was killed up there in a ravine.”

Part of Jasmine was convinced that her son was dead. For the next decade, any time she saw a report of a body turning up in the area, she called the coroner to see if it was Bobby. She recalls how she was bounced from one police department to the other during her search. When she called Mendocino County, they told her Sonoma County hadn’t sent Bobby’s records. When she called Sonoma County, they told her the records had been sent, or that they had been lost or that the case was closed.

She’s been told that the case was solved; she’s been told that it’s no longer on the computer. To this day, she says no one knows where the only copy of Bobby’s dental records are that she gave the Sonoma County Sheriff’s Department.

Through all the grief and disappointment, Jasmine kept it together as best she could, teaching preschool, working in a photography studio and even serving a brief stint with the Santa Rosa Police Department as a desk sergeant. But getting to work became increasingly difficult because Zachary, six at the time of his brother’s disappearance, was not faring well.

One day, Jasmine and Zack were in the mall, and she spotted someone who looked like Bobby. She called out his name and the kid turned around. It wasn’t him, and Jasmine burst into tears. “Don’t cry mommy,” Zack said, trying to soothe her. “I’m Bobby.”

“No, you’re not,” Jasmine sobbed, alarmed at her son’s reaction.

“Yes, I am,” he insisted. “Zack is dead. I am Bobby.”

It went on like this for a dozen years before there was a break in the case. In April 1998, a new Willits neighbor called Jasmine and told her that several locals had told her a story about two homeless men who had killed Bobby and buried him in the ravine. The men lived on the property for months afterward, openly bragging about the murder. Their names were Joe Truby and Brian Mercer, she said, and they were still believed to be in the area.

Elated, Jasmine dragged the woman, who wishes to remain anonymous, down to the Mendocino County Sheriff’s office. With its first solid lead, the case was assigned to detective Christy Stefani, who was shocked to hear the case had dragged on for a dozen years.

“I didn’t blame her for being upset,” Stefani told the Bohemian in a phone interview. Stefani promised to work diligently on the case. But after the detective discovered that Truby and Mercer were in hiding, Jasmine says the search inexplicably bogged down again. Jasmine might have pressed Stefani and the department harder, but a new weight was added to her already burdened heart.

On Dec. 31, 1998, Zachary was struck and killed by a car while riding his bike near his home. The driver was high on methamphetamine. Zack was just 16.

Parents who’ve been through the experience say that no pain in life compares to losing a child. Jasmine had lost two. Her health began to fail. The sorrow was so intense she pondered suicide. The only thing that kept her going was the circle of friends who’ve always been there when she’s needed them.

Susan Loughan knows something of the pain of losing a child, too. She lost a step-daughter not long after Bobby disappeared. The shared loss bonded the two women, and over the years, Loughan kept tabs on her friend’s condition and the case’s progress.

Police had gotten nowhere since Zack’s death. Then, in May 2002, Jasmine received a copy of an anonymous letter sent to the Mendocino County Sheriff’s Department. The badly worded letter began: “This is info I think you would love to hear concerning a cold-blood murder that happened around 14, 15 years ago up Covelo Road at some property this young kid inherited from his father.”

The writer explained that a former girlfriend who now lived in Sacramento had told him the story.

“She was bragging how she, Brian Mercer, Don Barhite and Joe Truby, all out of Willits, and some other girls went up to steal this kid’s plants and he caught them,” the letter continued. “They tied him up and took him down to some creek bed and let him go and said ‘run’ and they shot him in the back. They threw him in the back of the truck and brought him into Willits, showing him off to some friends. Then they went somewhere and buried him. She said she knows exactly where it is. I hope this info puts them in jail so the kid can finally rest in peace.”

The letter’s details were similar to the rumor the new neighbor from Willits had repeated to Jasmine four years previously, with the addition of four alleged accessories to the murder–Barhite and three unnamed females–gruesome new details that cut her anew. Several of the alleged accessories were known to be in the area and involved in marijuana cultivation. An arrest in the case seemed imminent.

But right around the same time that the Mendocino County Sheriff’s Department received the letter, Detective Stefani was promoted to the county district attorney’s office. The case was transferred to a new detective, and much to Jasmine and Loughan’s dismay, appeared to grind to a halt yet again. Jasmine’s heart gave in to the weight.

Loughan, seeing her friend and the case slipping away, took action. On June 28, 2002, she wrote a letter to America’s Most Wanted, the FBI offices in San Francisco and Sacramento, the state attorney general and a half-dozen other news organizations and law enforcement agencies, including the Mendocino County Sheriff’s Department.

Closing her letter, she wrote, “My question to you is, who is stonewalling this case and why?”

The Sacramento FBI office called Loughan first. The anonymous letter writer with the former girlfriend in Sacramento was actually the woman’s ex-husband. He wanted custody of the children and wrote the letter to prove her an unfit mother.

The fresh lead–and perhaps Loughan’s peppery epistle–rejuvenated the case, which was reassigned yet again, to Detective Kevin Bailey. And this time, it moved forward.

On July 17, 2002, Bailey called Jasmine at 11:30pm from Huntsville, Ala. “I just wanted you to know we found your son’s body and the man who murdered him,” he said. Don Barhite, the man alleged to have been behind the wheel according to the letter sent in May, was still living in the Willits area. When pressured by investigators, he caved in and admitted that he’d been present during the murder. According to Barhite, Truby, Mercer and Bobby McGee were growing marijuana on Bobby’s land. On the night in question, Truby, Mercer and Barhite drove up to water the plants.

“Barhite states that he was near the vehicle that he came up in and Truby, Mercer and [Bobby] were near or inside a metal shed,” a court summary of the case reads. “He states when he heard the shot he looked up and saw Truby standing over [Bobby’s] body with a gun in his hand. He said he did not hear any words exchanged prior to hearing the shot.”

There were no mad dashes around Willits to show off the body in Barhite’s version. According to court documents, he simply helped Truby and Mercer cover the body and load it in his vehicle. Then they drove to a nearby ravine and buried Bobby McGee. For cooperating with investigators and leading them to the body 16 years after he helped cover up the crime, Barhite was granted immunity from prosecution.

Detective Bailey had found Joe Truby living in Huntsville with his wife and stepdaughter. He was training to become a minister. Bailey phoned him, explaining that he was trying to clear up the case, but gave few details. Truby said he’d be happy to meet with the detective, so Bailey flew to Alabama. The interview had barely begun when Truby suddenly blurted out that he’d shot Bobby McGee two times in the back of the head. He even had a picture of the body.

“Maybe God made him talk,” Jasmine sighs, reflecting on Truby’s ministerial yearnings.

“God didn’t make him talk,” Bailey growls.

Jasmine Belenger’s nightmare should have ended there, but it didn’t. On March 5, 2003, the Mendocino County district attorney’s office plea-bargained Truby’s first-degree murder charge down to second-degree murder with special circumstances: use of a firearm and committing murder for financial gain–the financial gain being potential profits from the marijuana farm. This bargain accepts as plain truth Truby’s story that he and Bobby McGee were fighting over money.

The motive, according to District Attorney Vroman, is “based on the facts, based on what Truby told us, that [Bobby] didn’t want to share it with them.”

The killer conveniently blames the victim. Couldn’t it be that Bobby just didn’t want Truby and Mercer growing marijuana on his land, as his mother and two other women claim Bobby told them?

“Anything’s possible,” Vroman says.

Even though Detective Bailey believes marijuana is part of the equation, he’s more inclined to believe that Bobby was trying to kick Truby and Mercer off his land.

“Mr. Mercer is a rather notorious figure in Mendocino County as far as cultivation goes,” Bailey says. “I believe [Bobby] did try and stop it. People think growing marijuana is a victimless crime. It isn’t.”

Joe Truby, 37, will be eligible for parole when he’s 52. Mercer is currently in state prison, and has not yet been charged for his alleged role in the murder. Bailey would like to change that, but it won’t be easy. Although Truby and Barhite have implicated Mercer, by law the testimony of a co-conspirator is not enough evidence to bring someone to trial.

Apparently, though, the testimony of a murderer is more than enough to deny a victim’s family court-ordered benefits. In mid-January, the Department of Corrections’ Office of Victim Services and Restitution, the state agency that disburses criminal fines to the families of violent crime victims, denied Jasmine’s appeal for restitution stating that the “victim was directly involved in an illegal activity at the time of the crime.”

But can anyone say for certain that Bobby was directly involved in an illegal activity?

No. That’s the crazy, depressing thing about this case. After all these years, we still don’t really know what happened to Bobby McGee.

If there’s one person who does know what happened that night in the woods outside Willits, it might be Aaron Varvares, Bobby’s childhood best friend. Varvares has not been interviewed by law enforcement officials since Bobby first disappeared in 1986.

The Bohemian reached him by phone at his home in St. Paul, Minn. “I’d heard that they found his body, and I wondered what happened,” says Varvares, 36. He dismissed the idea that Bobby was involved in any sort of major growing operation.

“We had a couple of small plants,” he says. “but it was just for our own personal use.”

He sounds nervous at mention of Joe Truby and Brian Mercer. “I knew those guys,” he says, like they’re bad news. “I didn’t spend as much time with them as Bobby did.”

Although he remembers Johnny, Varvares can’t recall telling Jasmine the story about Bobby accompanying Johnny to San Diego to sell acid. In fact, he claims that he left Willits two weeks before Bobby disappeared and can’t remember Jasmine giving him a ride home.

He says he’ll call back if something jogs his memory.

He hasn’t called yet.

“I believe [Varvares] has a lot of information,” Bailey says. “He must have been pretty scared at the time.” Maybe he is still pretty scared.

Jasmine Belenger knows she needs to let go. Loughan and countless friends have told her so. But some things just keep hanging on. They say nothing hurts worse than losing a child. Jasmine’s lost two, and nothing in this world will ever bring them back. She’s trying to take care of herself, put the past behind her. But for now, let her play with Bobby McGee’s bones, her heart heavy as a stone.

From the January 22-28, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Downpour Resurfacing’

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Photograph by Morgania Moore

Again and Again and Again: Can healing, like prayer, deepen through repetition?

Flesh Memory

‘Downpour Resurfacing’ offers healing touch

By Gretchen Giles

When Dr. Robert Hall confesses to having a feeling of “never being quite safe in the world,” one shifts about with a slight bit of impatience. Well, certainly–the world is a big and terrible place every single minute of every single day, though middle-class children growing up in small towns in Depression-era America might be thought to have been spared from random and familial evil.

In circumstances bizarre and heartbreaking, this was not to be for Hall. A physician, therapist and poet, he is also the cofounder of Santa Rosa’s Lomi School and Lomi Community Clinic. Devoted to somatic therapy, in which touch is applied to heal emotional wounds locked fiercely into the flesh, the Lomi technique is world-renowned for its breakthrough interdisciplinary approach to therapeutics–just as touch brought about an astonishing breakthrough for Hall.

As told in the meditative black-and-white experimental documentary Downpour Resurfacing, airing Tuesday, Jan. 27, on KQED (check your cable guide), healing was long overdue for the man. Using a nonillustrative shorthand of recurring and often abstract images, San Francisco filmmaker Frances Nkara allows Hall to tell his own story, conversationally, while she fills the screen with the dreamy accompaniment of her own visual narrative.

Though he remains mostly offscreen, Hall’s calm, resonant voice very carefully chooses the words to describe his childhood of abuse, while Nkara, using a mixture of archival tea ceremony sequences, modern dancers moving with spiky frenzy, water overflowing in bowls and cheery mother-and-son ’50s footage, creates a singular world in which the details of Hall’s story may settle and dwell.

When he was just three-and-a-half, the ordinary event of a new sibling occurred and Hall had a relatively ordinary response–he ran away from home. Traveling just a few blocks, however, he was abducted by a stranger and held in sexual torture for four days. Even today, he seems almost abstractly not to be able to believe that such horror could be visited on one so young.

But visited it was. Rescued by his father’s best friend, the boy was returned home to a mother who felt that she could perhaps purify the child through a series of healing beatings, and so secretly began doing so. Creating a false self, one that was confident and succeeded at friendships and academics, one that hadn’t been raped and beaten, Hall buried his memories from his consciousness. He didn’t speak for a year. Yet when, as a young adolescent, an adult male babysitter began to molest him, he simply fell wholeheartedly in love with the man. Such delirious childish affection, not surprisingly, was eventually enough to turn the molester away, stop the abuse and entirely convince Hall that he was entirely unlovable.

Yet still he succeeded, pushing the protective “false self” that he shined on the world toward professional esteem, marriage and fatherhood. And then one day, a body-work professional touched him on the leg during a course of massage.

In a flash, Hall could remember where he had been kept during the abduction, could remember all that his brain had so carefully kept from him. Once remembered, such memories must be managed.

“Repetition is the basis of spiritual practice,” he says slowly in the film as Nkara’s stylized images repeat onscreen. Positing that abuse victims practice in an infinite variety of ways that which was inflicted upon them, Hall believes that such a natural human symptom aims toward obtaining mastery over events that one can never master.

But as with daily rounds of prayer, each utterance is a way to try, and Robert Hall has gotten further than one could ever imagine he would.

‘Downpour Resurfacing’ airs Tuesday, Jan. 27, on KQED Public Television. Check listings for times.

From the January 22-28, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Leslie Sbrocco

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Snob Repeal: Petaluma writer Leslie Sbrocco assures that the language of wine is one that anyone can learn.

Libation Liberation

Wine ‘geek’ Leslie Sbrocco uncorks wine’s mysteries for women

Certain bottles contain more questions than they do genies. How many glasses, for example, are actually in the average bottle of wine? Which wine, exactly, goes best with macaroni and cheese? How much wine should you buy when throwing a party? And once that party is over, what can you do with the wine that’s left over in those half-empty bottles? (Wait! Leftover wine? Where we come from, that’s alcohol abuse!)

Such practical, nuts-and-bolts questions crop up in everyday situations, but you’d be hard-pressed to find answers in your average wine guide or fancy-pants collectors’ text. Fortunately, there is one fearless aficionado who has produced a book that wrestles with down-to-earth wine matters and does so in understandable language.

The opposite of intimidating, Petaluma resident Leslie Sbrocco’s Wine for Women: A Guide to Buying, Pairing and Sharing Wine is fun, packed with humor and clever ideas. Operating from the radical notion that wine is not to fear or revere but to simply enjoy, Sbrocco decided to aim the book at women, because statistics show that, contrary to common assumption, the majority of the wine purchased in the United States is selected and paid for by women. Until now there’s never been a mainstream book that acknowledges this or sets out to provide women with the basic facts necessary to become confident wine consumers.

Evidence suggests the book was long overdue. Ever since the publication of Wine for Women in November, Sbrocco has been inundated with media requests from around the country. She’s appeared on The Today Show and CNN; has been featured in Oprah’s O Magazine, USA Today, Glamour and Country Living; has signed books and hosted tastings in bookstores, wine shops and cooking schools from coast to coast; and will be the keynote speaker at the International Festival of Wines in Washington, D.C., next month.

Remember that leftover wine question? Sbrocco’s advice is sensible and practical: she suggests freezing it in ice cube trays to save for use in making sauce. Women tend to adore her. At a recent Thursday night book signing and lecture in Kentucky, two young women actually confessed to missing Friends in order to come and meet her. The way things are going, Sbrocco is well on her way to becoming the nicer, scandal-free Martha Stewart of wine.

When Sbrocco appears for an afternoon interview, she cradles a bottle in one arm–it’s a 2000 Sangiovese from Valley of the Moon Winery. She helpfully describes it as having a medium body and a nice little spicy kick. “I like it with pizza,” Sbrocco says, “or anything Italian, and with burgers.”

How about with macaroni and cheese?

“This would go great with mac and cheese!” she exclaims, further explaining, “What I like with anything cheddar is either a nice zesty Merlot or something like a Sangiovese red, because you need something that’s kind of hearty. Macaroni and cheese has got a little bit of weight, it’s got some texture to it, so you can’t have some light, fluffy little wine. You need something with substance. I like a red for this because you also need something with some acidity to it, to help cleanse your palate after the cheese.”

Such on-the-spot food and wine pairings have become one of Sbrocco’s most popular tricks. The book is full of them–detailed descriptions of which wines go with which foods–but at every public appearance, she’s asked to pair something new.

“I’ve even been asked to pair Twinkies,” she laughs. “I suggest a nice Gewürtztraminer as a great Twinkie match.”

What about Ho Hos?

“Late-harvest Zinfandel,” Sbrocco tosses out without hesitation.

Hostess Snowballs?

“Ice wine,” she smiles, “made in Germany and Canada, and also Michigan and Washington. Ice wines are great dessert wines, really crisp and refreshing, not overly sweet, though some of the German ice wines can be really rich.”

Believe it or not, she gets these kinds of questions all the time.

“One I get asked a lot is what wine is the best wine to have sex with,” she says, laughing again. “I tell them it’s up to individual taste, but for me, Champagne does the trick.”

Sbrocco has had a healthy appreciation for wine ever since childhood. Raised by world-traveling parents and often living overseas, she was allowed to enjoy a sip of wine now and then at dinnertime, the way that Europeans do. Her professional connection to wine came about more or less by accident.

As a young woman of legal-drinking age, she was very involved in theater and acting, having attended American Conservatory Theater classes and performed in numerous theater productions, television commercials and one made-for-TV movie (The Man Next Door, starring Michael Ontkean, Annette O’Toole and Pamela Reed; it still plays on Lifetime). After growing tired of waiting to hear from casting agents, she made a brief stab at law school, but then formed her own production company to write and produce industrial films. On the side, her passion was always wine.

“Wine was a big geek-thing for me,” she admits. “I read every book I could get my hands on. I took classes. I visited wineries all the time. Before I got married, every date I had, I’d drag them up to wine country.”

Eventually, she decided to marry what she loved with what she did, and began making training films for wineries and producing wine-related specials for public television. Ultimately, she was asked to help start a wine-focused web site. Titled WineToday.com, it was purchased by the New York Times company, and developed into an internationally scoped database for wine drinkers, amateur and expert. Her wine writing has since appeared in too many magazines and newspapers to count.

All along, Sbrocco was aware that women were treated as also-rans in the wine world, despite the growing number of women who were buying and drinking wine. In restaurants, women still get treated as second-class citizens.

“I hear it all the time,” Sbrocco says. “Women say it to me constantly. They go out to eat and their husband gets the wine list. Even if the woman is the one who ordered the wine, the man is the one who is asked to taste it when it’s brought to the table. It still happens to me a lot, but my husband just laughs and says, ‘Pour it for her, she’s the expert.’ That kind of thing is happening less in San Francisco and Chicago. But it sure happens in New York and a lot of other places.”

Perhaps that’s part of the reason that so many women feel uncertain about themselves when it comes to trusting their winetasting instincts. Sbrocco says when women approach her at public events, they often seem embarrassed.

“They’ll say, ‘I love wine, but I’m so sorry, I don’t know that much about it,'” says Sbrocco. “I ask, ‘Why are you apologizing? You’re just starting out. Nobody’s born knowing this stuff! There’s no reason you should know it. You don’t need to apologize for not knowing about sex when you started that, right? If you love it, empower yourself with a few things you need to know to start.’ That’s why I decided to write this book–to try and make it easy for women for go out there and be confident consumers of wine.”

When asked if women tend to prefer different wines than those favored by men, she insists–nicely, but firmly–that such gender-oriented favoritism is a myth.

“In the research I’ve done,” she says, “there’s no proof that men and women are any different when it comes to the kinds of wines they choose to drink. Women don’t, as a collective gender, prefer whites to reds, or sweet wines to dry wines. That’s just not the way it is, though it is true that, because women have a higher sensitivity to aroma– in other words, because they have a better sense of smell–and because smell affects taste so much, some women are more sensitive to tannic red wines. On the other hand, I’ve talked to plenty of women who just love the big old beefy Napa Cabernets.

“Ultimately, if you don’t get hung up on all the complicated stuff, wine is a matter of taste,” she says. “My book uses women’s language to assure women that they don’t have to get hung up on it.

“Wine, like all the good things in life, is there to enjoy.”

From the January 22-28, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

John Pollack

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Photograph by Elena Siebert

Corker!: Over 165,000 corks bundled together with rubber bands form the ‘logs’ with which John Pollack and Garth Goldstein built their boat.

If I Had a Boat

‘Cork Boat’ author John Pollack goes out on a river

By Gretchen Giles

There came that fateful day when John Pollack, age 33, awakened and realized that he was an adult. A speechwriter for Democratic congressman David Bonior of Michigan, Pollack had an office inside the Capitol building in Washington, D.C., a great income, an understanding girlfriend, a profession that helped to shape–albeit in a minor way–the workings of the Clinton administration and a substantial retirement plan for that time, rapidly approaching, when he would be an aged adult.

Shudder.

Repulsed by the hypocritical machinery of the workaday Washington world, in which Congressmen give speeches to empty rooms for the benefit of CNN’s cameras and conduct interviews in a special television “library” fronted by fake books, Pollack decided to quit. Not go on to a different job, perhaps ladling out soup to people who spoke in occupied rooms and read real books, but just quit. That is, quit and build a boat.

That is, quit and build a boat entirely fashioned from wine corks.

Four years and a 17-day trip down Portugal’s Douro River later, Pollack will speak about and read from the result of his decision, simply titled Cork Boat (Pantheon Books; $21), at Copperfield’s Books on Thursday, Jan. 29.

Taking a childhood dream (and pursuing the single-minded mission of crafting a boat entirely from his parent’s used wine corks was definitely among Pollack’s infant fantasies) and turning it into reality is not something most of us achieve. Frankly, it’s not something most of us want to achieve.

But for Pollack, building this boat became something much more than merely satisfying the six-year-old still huddling within. It became a real and palpable way to grow entirely up. Through securing corks with the rubber bands he used to create “logs” of the stuff, John Pollack became–no shudder at all–an adult.

Caught while taking the afternoon commuter train between Washington, D.C., and his home in Manhattan, Pollack says, “Building the boat was childlike, not childish, as childish would imply immaturity. But I think that there’s a child in everyone at some level and that being mature shouldn’t mean we lose the best of childhood. Being mature means treating people fairly and with respect; it means setting goals and working hard to accomplish them.

“Those are things we learn as we grow up, but along the way, I think that people are encouraged to set aside playfulness. I think that people are taught to cut their losses a little bit to prevent others from thinking that they’re goofy or not adult enough. That sense of play adds richness to our lives and makes us better at our serious jobs.”

For almost a full year, Pollack’s serious job was cajoling bartenders, servers, restaurant managers and anyone else who put a wine knife into a bottle to save the resulting cork for him. He clung romantically to the idea that each cork that helped float his boat would have a history to it, a time when it was pulled victoriously from a tight glass neck to mark an occasion, enliven a friendship or supplement a quiet meal between two people enjoying the rough strife of relationship. In this catch-as-catch-can manner, he and his high school friend Garth Goldstein, a young architect quickly recruited to help, amassed 32,000 used corks.

But corks, as Pollack and the reader quickly learn, are much more complicated than they may seem. Used ones, for example, tend to rot if stored in airtight containers, so the men had to keep their thousands of stoppers in paper bags. Lots of paper bags. For another, some corks are conglomerates of good and bad product; the bad absorbs liquid. The riverway that Pollack meant to put the craft into tends toward liquid, making absorption bad physics. And finally, there are those drat plastic stoppers making small inroads into the ancient tradition of cork oak bark-stripping, a highly skilled practice requiring a 40-year-old tree that may only be harvested once a decade.

Peter Weber, director of the Sebastopol-based Natural Cork Quality Council, helped Pollack find a donor in the Cork Supply company, based in Benicia. “Our association includes most of the major cork companies in this country,” Weber says, “and we all thought that it was a fun idea. We all offered encouragement.” Cork Supply itself offered even more, donating the remaining corks necessary to supply the 165,321 total used in order to build a boat big enough to support two grown men, their oars, rudder and mast.

Meanwhile, Pollack was called back to Washington, this time to join President Clinton’s own speechwriting team. “It was a challenging job in that the standards were so high and you wanted to do your absolute best,” Pollack enthuses. “And it was challenging in that we covered such a wide range of issues–that’s what made it interesting, too. It was a great chance to serve as well.”

With the change in administrations, Pollack found himself involuntarily out of a job and again devoted himself full-time to building his boat, enlisting over 100 volunteers in the effort and having Cork Supply arrange to have the craft taken to Portugal for its maiden (and only) voyage. The boat was eventually finished, shipped to Europe and sailed for 17 days through a series of complicated locks on the Douro. It remains in Portugal today.

“I still save corks,” Pollack chuckles. “I’m just pickier about them. I evaluate them to see if they’re boatworthy or not boatworthy. It’s a hard habit to break. I don’t expect to build another boat, but they’re great little objects.”

Saying that he’d go back to Washington in a minute given the chance to work for another Democratic president, Pollack admits to a sense of post-boat-building letdown, having one small dream so largely finished. “It’s very satisfying to complete it,” he says, “and the next day is then a question: What do I do next? I feel great about having completed the boat and I feel great that in writing this book I’ve been able to articulate the story in a way that it will reach more people.

“I don’t know what the next big creative project is, but I also remember that the cork boat didn’t start out as a big idea, it started out as a small one. Maybe I don’t recognize what the next big idea is, because maybe it’s too small. That’s a realization that I came to when I finished writing the book. But I’m OK with that; I don’t know what’s coming up, just as I didn’t know what was around the corner when I was on the river.”

Something else that Pollack didn’t anticipate was how the project would change his relationship with his friend Garth Goldstein. As the story deepens, Cork Boat‘s narrative frequently contains such phrases as, “I was furious with Garth.” Pollack is methodical; Goldstein mercurial. One works best with a five-year plan; the other, with tomorrow’s 8am deadline. Toward the end of the book, Pollack writes, “Our admiration for each other was surely greater than ever, but it was also tempered by deep, private frustrations and no small amount of anger on both our parts.”

While a child might think that the terrible strength of angry words will wreck a friendship forever, an adult understands that people sometimes just disagree, a revelation that made more sense to Pollack by the time his journey had ended and his maturity ripened. “That’s exactly what Cork Boat is about,” he says simply.

John Pollack reads from and discusses ‘Cork Boat’ on Thursday, Jan. 29, at 7pm. Copperfield’s Books, 138 N. Main St., Sebastopol. Free. 707.823.2618.

From the January 22-28, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Linda Tillery

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Amazing Graces: The Cultural Heritage Choir bring the sounds of the old slave spiritual into the 21st century.

Sacred Trust

Linda Tillery sings of the joy after pain

The response, that first time, was overwhelming,” says singer and musical historian Linda Tillery. “It was as if people had been waiting to hear and to see something like this. Our fires were burning pretty strongly.”

Speaking in her thrilling alto tones by phone from her Oakland home, Tillery recalls her first full performance of all African-American slave-era folk music over 11 years ago. After decades spent working the clubs and cabarets of San Francisco, where she variously performed with Bobby McFerrin’s innovative Voicestra, the Zazu Pitts Memorial Orchestra, and as a soloist, Tillery had her interest in African-American roots music (old work songs, slave chants, field hollers, and spirituals) ignited after hearing field recordings from the Library of Congress.

The flame of inspiration was fanned ablaze after Tillery caught a PBS broadcast of a concert featuring opera divas Jessye Norman and Kathleen Battle singing century-old slave spirituals. “It pushed me over the edge. I can’t tell you how excited I got,” she says. “I knew I had to set about redefining myself and my work.” She quickly pulled together a staged performance of similar songs, which she performed with the Oakland Youth Chorus. “The audience response,” she recalls, “was pretty much over the top.”

The next logical step was to form an official ensemble.

“I said, ‘If I’m going to continue this, I think I ought to have a group to help me sing this incredible music,'” Tillery says. After one gig with an ambitious 11-person ensemble, she streamlined the group to five singers. Dubbed the Cultural Heritage Choir, Tillery and company–Rhonda Benin, Elouise Burrell, Emma Jean Foster-Fiege, and Melanie DeMore– set out to sing, shout, stomp, and clap their own identity into songs that might have been around for a very long time, but were rarely ever heard by modern audiences.

“One of the things about this music that I have learned is that it is enduring,” Tillery reflects. “It has no shelf life. Personalities will come and go, but this music itself–the truth it speaks about, the experience it tells of–all of that is immortal. [This music] has a way of evoking strong emotions in people, ways that commercial music would never be able to do.”

Over the last decade, the choir has taken its music and message to theaters, music halls, and folk festivals all around the world, recording numerous CDs along the way. Local audiences will have a chance to experience this joyful noise when Tillery brings the Cultural Heritage Choir to Sebastopol on Jan. 17 in a rare North Bay concert sponsored by the Redwood Arts Council.

“We are all about preserving African-American folk culture for posterity,” Tillery says. “We are entertainers, but we also believe we are keepers of a sacred trust. I am drawn to this music because it reminds me of what once was and what never should be again.”

Asked to describe what the audience can expect from the concert, Tillery laughs.

“Expect to experience a feeling of hope, a feeling of joy,” she says. “The audience goes through a lot of emotions during one of our performances, but then they emerge smiling. This music, if it’s about anything, is about enduring. It’s about the joy after the suffering. When you leave our performance, you’ll leave feeling good.”

Linda Tillery and the Cultural Heritage Choir perform Saturday, Jan. 17, at 8:15pm. Analy High School Theater, 6950 Analy Ave., Sebastopol. $10-$25. No infants or toddlers admitted. For details, call the Redwood Arts Council at 707.874.1124.

From the January 15-21, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Mad Cow

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Basket Cases: New research suggests that one cow with proven BSE actually represents 45 cows with undetected BSE.

We’re All Going to Die!

(Or not.) Mad cow madness finally hits the U.S.A.

By Christine Wenc

What we witnessed over the holidays were some pretty irresponsible reassurances that our meat supply is safe, that our bovine spongiform encephalopathy (BSE) detection system works, and that the recent discovery of mad cow disease in Washington state was probably an isolated incident. Ann M. Veneman, head of the U. S. Department of Agriculture, and Washington governor Gary Locke immediately began performing the 21st-century political media ritual of publicly broadcasting their beef eating after a BSE discovery.

Locke: “I intend to have prime rib on Christmas.” Veneman: “I plan to serve beef for my Christmas dinner.” None of this is any big surprise, given that our disease surveillance system, which Veneman oversees, seems to have been designed more to prevent the detection of BSE than anything else.

How else is it possible to explain this story that appeared in the New York Times? In May of last year, Dr. Stanley Prusiner, the scientist who won the Nobel Prize for his research into prions (abnormal proteins that cause BSE in cows and a similar disease in humans), finally met with Veneman, after having been rebuffed at his earlier attempts to meet, and told her that “it was just a matter of time” before BSE appeared in the United States and that we should immediately start testing every cow showing signs of illness, and eventually every cow upon slaughter.

The Times report continues: “A spokes-woman for Ms. Veneman, Julie Quick, said: ‘We have met with many experts in this area, including Dr. Prusiner. We welcome as much scientific input and insight as we can get on this very important issue. We want to make sure that our actions are based on the best available science.'” A rational person might think that Prusiner’s opinion was the best available science. His recommendations, however, were ignored, as rational people are not running the USDA.

Washington state’s mad cow wasn’t discovered until after it had been processed into hamburger and other products (just like about 200,000 other “downer” cows–cows that are too sick to stand–every year), and possibly shipped to grocery stores in a dozen or more states. To calm consumers’ fears, Veneman and other meat industry spokespeople have been reciting some version of “the brain and spinal cord were removed from this cow, so don’t worry!” Central nervous system tissue is the part of the cow where BSE prions are most highly concentrated, the most infectious part of the animal.

But don’t be comforted. A 2002 USDA study found “unacceptable” central nervous system residue, including spinal cord tissue, in 35 percent of the meat that ends up in processed meat items like hot dogs, pizza toppings, and hamburger.

As it turns out, spinal cord is difficult to remove and bits tend to get left behind in the very rapid-paced slaughterhouse environment. After ordinary slaughter, almost all cows in the country are processed using Advanced Meat Recovery systems, which scour the carcass of as much leftover meat and, um, stuff as the machine can get, and this is known to scatter central nervous system tissue all over the place.

In any case, when the cow is killed with a bolt gun to the head (a practice known as stunning), brain tissue enters the bloodstream and is pumped into the rest of the body as the animal dies. When the cow is then sawed in half, right down the spine, it’s another opportunity to splatter brains, spinal cord, and prions everywhere. Thus, any official assurance that no brain or spinal cord entered the food supply from Washington state’s mad cow rings hollow, and Veneman should know this.

But back to the cow in question: Why are U.S. consumers eating downer cows anyway? Washington just banned consumption of downers Dec. 30, but only about 10 percent of downer cows are even tested for BSE, despite the fact that paralysis is a symptom of mad cow disease. It’s been routine for sick cows to be made into food. As of September 2003, according to the FDA, at least four Washington feed companies were part of the 300 in national violation of the no-feeding-cows-to-cows ban enacted in 1997, intended to discourage the spread of BSE.

A U.S. General Accounting Office study issued in 2000, three years after the ban, showed that 18 percent of feed processing firms did not even know the ban existed. Twenty-eight percent were not properly labeling feed prohibited for sale as cow feed. The FDA sent only two warning letters to feed mills violating the ban between 1997 and April 2001.

For this and other reasons, many industry observers have long asserted that American BSE testing standards and feed-ban enforcement are shamefully inadequate. In nine years, the United States has tested fewer than 30,000 out of about 300 million slaughtered cows, and that using an outdated test which yields results in days or weeks rather than the rapid tests used in Europe and Japan, where most or all cattle are tested–even cattle that show no signs of disease, which is crucial in distinguishing accurate BSE population numbers because of the disease’s long incubation period. The United States also remains in violation of the 1996 World Health Organization guidelines designed to prevent the spread of BSE.

So it’s all bad, and we’re all gonna die of spongy brain disease in five or 10 or 20 years. Or not. It is true that muscle meat does not have nearly the concentration of prions that central nervous system tissue does, and it’s certainly true that prion research is in its infancy.

And while people in a panic returned unopened hot dog packs to Safeway, and various nations ban imports of American beef, we might want to pause and consider that only about 150 people worldwide have died of variant Creutzfeldt-Jakob disease, the human transmissible spongiform encephalopathy (the human prion disease). You have a better chance of dying in childbirth. And if you stopped eating beef this week but are still smoking, well, maybe you should rethink your dying-a-slow-horrible-death risk factors.

But if I may be hysterical again for just a moment, it turns out that regular ol’ Creutzfeldt-Jakob disease may be spread by eating mad cows. Previously it was thought to only arise spontaneously in one in a million people, and then only in people over the age of about 60. Only the variant form of the disease was thought to come from eating mad cows.

However, “ordinary” Creutzfeldt-Jakob disease cases seem to be increasing, and there are more cases among younger people, including in the United States–a warning flag for transmission from mad cow. But the picture is muddied and will likely be for some time. Only 12 states even consider Creutzfeldt-Jakob a reportable disease; additionally, it is often confused with other conditions.

Some Internet rants suggest that we should just give up and consider BSE to be one of the risks involved with eating meat, along with salmonella, E. coli, and heart disease. Interesting idea. If the world continues to be infected with BSE, then this may very well be the case, and rather than just a few hours of puking and diarrhea or the odd heart attack, every meat eater will instead be entertaining the possibility of dementia and a yearlong wasting death.

A semivegetarian, I wouldn’t mind eating beef more regularly again, because, after all, it can be extremely tasty. But it would have to be produced on a small, family-run, nonfactory farm. And if I wanted to make that Julia Child meatloaf again, I would think about grinding the beef myself. Because I don’t think that anyone should eat industrial hamburger, not even a dog.

From the January 15-21, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Calendar Girls’

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Photograph by Denise Rehse Watson

High Falutin’: The Trailer Trash Queens deconstruct the Lacanian virtues of ‘Calendar Girls’ as seen through a Cartesian model of Marxist criticism. Then they strip and play Bingo.

Boobs ‘n’ Bingo

Naked inspiration and ‘Calendar Girls’

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

“Oh, my Lord! Is that a cockroach?” Pointing in horror, a colorfully attired Earlene (Diane Conway) wearing a slogan-coated sequined sweater (“Girls just wanna have fun!” “Diamonds are a Girl’s Best Friend!”) and tiger-striped tights with leopard-skin shoes, has just directed our attention to a tiny insect making like Jiminy Cricket on the wall as we wait for our jumbo slices of pepperoni pizza to arrive.

“Don’t let that thing crawl into my wig–I mean, my hair!” yelps a similarly alarmed Pearlene (Karen Warner), wearing a rhinestone-encrusted pink sweater and a multicolored boa resembling a garland stolen from last year’s Christmas tree.

“Kill the damn thing for us!” Earlene commands me, sliding a paper napkin over and sternly adding, “I’d smoosh it myself, but I’m too scared.”

And so begins the postfilm conversation with Earlene and Pearlene, the San Francisco­ based comedy team best known as the Trailer Trash Queens. The creators of Earlene and Pearlene’s Deep Fried, Double Wide Fun, an astoundingly popular party experience, the Queens regularly appear at corporate events, bachelorette parties, and the like. They lead revelers through such trailer-culture rituals as “Bubba Eye for the Yuppie Guy” makeovers and “The Price Is Sorta Right” game shows (in which contestants guess the retail price of things like Spam, Cheese Whiz, and Velveeta). Their signature event is, of course, “Trailer Trash Bingo.”

The three of us have just finished watching Calendar Girls, the new comedy-drama starring Helen Mirren and Julie Walters as a pair of restless English matrons who conspire, with an assortment of other middle-aged members of the their local Women’s Institution club, to raise money for the village hospital by posing for their own seminude calendar.

“It gave me a whole new appreciation of being middle-aged,” says Pearlene, who is the author of numerous books including What’s So Funny about Being Catholic? “Here are these women, and they want to raise money for charity–which we do already, only our thing is bingo.”

“And theirs is boobs,” adds Earlene, who appeared under her real name in San Francisco’s long-running stage comedy Tony ‘n’ Tina’s Wedding.

“Wow, bingo and boobs!” laughs Pearlene. “Now I’m thinking we should maybe combine those and start doing bingo games in the nude. What do you think, Earlene?”

“It’s a fine idea,” grins Earlene, clearly impressed. “Nude bingo! That’s an idea that might really have legs–and I guess every other part of the body, too.”

“What would it take, then,” I ask, “to get a grade-A, macho he-man into a movie like this?”

“Chloroform,” suggests Pearlene.

“A blow job,” says Earlene.

“Or maybe,” laughs Pearlene, “a combination of the two.”

There is a moment of tangential speculation, as the women plot the specifics of how such a plan would be carried out. Eventually, they agree that it’s probably not worth the effort, and the conversation turns to the underlying moral of Calendar Girls.

“The moral is ‘Be yourself,'” says Earlene. “Any damn fool can be ordinary. Forget that. Just be your own bad self.”

“I think,” says Pearlene, “the moral is this: ‘If you find the true meaning of your life, you will find fame and fortune,’ whether that fame and fortune comes from being the owner of the Glam-O-Rama like Earlene, or being a highly desired bingo caller–or being Miss January in an English nudie calendar. You know how Joseph Campbell said ‘Follow your bliss’?”

“Sure, I saw that Myth show once when my television clicker got stuck on PBS,” Earlene replies.

“Well,” says Pearlene, “I think the moral of Calendar Girls is ‘Follow your boobs.’ That’s it! If you follow your boobs, doors will open where you did not know there were doors.”

From the January 15-21, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Jerrold Ballaine

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Still, Moving: Jerrold Ballaine works toward something entirely new for the 21st century.

Figurative/Semantics

Ballaine brings home the Bacon while SMOVA goes Contemporary

By Gretchen Giles

Jerrold Ballaine at Quicksilver

To note that the late British painter Francis Bacon had an extremely recognizable style is to understate. His works were often wrought life-size, featuring round-limbed figures seated on rounded chairs, legs crossed akimbo, their faces swiftly obscured or blocked in with color to an eerie simian aspect. The circular face of Bacon’s wristwatch sometimes adds a prominent geometry to his smaller self-portraits. Images of his lover, the petty thief George Dyer, figure largely in his work.

Shadows that bear no relationship to the objects that created them pool against the logic of natural laws on the painter’s fictional floors. He brushed upon the back sides of his canvases, preferring the untreated tack of the linen there for the effect of its “tooth” with his characteristically thinned paint.

This art history lesson is prompted by a fast glance at the works represented in West County painter Jerrold Ballaine’s new catalogue, a companion to the one-person show titled “Figure Studies in the 21st Century,” opening Saturday, Jan. 17, at Quicksilver Mine Company.

Save lovers, the styles and subject of Ballaine’s work appear at first squint to be an exact catechism of the Bacon methods listed above. He even goes so far as to use thinned paint on the back sides of his linen canvases.

Contacted by phone at his studio, Ballaine corrects this interpretation of his influences. “Certainly Francis Bacon, but equal footing is given to [Richard] Diebenkorn. I studied under Diebenkorn at the San Francisco Art Institute, and I didn’t even learn about Bacon until 1980. I know that the paintings bear a reference to him, but they don’t bear a psychological reference, and that’s one thing that I’m very concerned about keeping out.”

Explaining an interest in the soft, pastel hues of Diebenkorn’s abstract palette, Ballaine stresses, “I don’t want to be storytelling, and one extreme is to look at Bacon as an illustrator, illustrating a circumstance or situation. Mine are more in the realm of classical painting, where it’s really a figure study rather than the figure as a part of tableau.”

That a well-regarded late-career artist who taught art at UC Berkeley for some 30 years would have happened upon Bacon’s work some two decades out of grad school is shocking; that he is doing just figurative work shouldn’t surprise collectors and critics at all. Long regarded as one of the finest landscape painters in the Bay Area, Ballaine is known for morphing genres, from the three-dimensional to photography and now to figurative work.

Professing to have grown “absolutely sick of looking at Sonoma County landscapes,” Ballaine admits that a lot of soul-searching goes into his genre shifts. What can be done that’s new when the shock of innovation has seemingly been exhausted?

Having apparently married the influences of two of the titans of 20th-century art in his canvases, Ballaine suggests that such a union, perhaps, is the best way of breaking through to the new. Diebenkorn, after all, owed a debt to Matisse; Bacon, to Velázquez and van Gogh. Assuring that the reproductions in his catalogue don’t do the paintings justice, Ballaine reflects simply, “Basically, my show is suggesting a contemporary way of looking at the human figure or looking at the figure as it exists today, in the environment in which it exists today.”

When faced with the real thing, one indeed anticipates seeing something contemporary that exists today.

Jerrold Ballaine: Figure Studies in the 21st Century’ exhibits at Quicksilver Mine Co. Jan. 17-Feb. 29. 6671 Front St., Forestville. Public reception, Saturday, Jan. 17, 4-6pm. Gallery hours are Thursday-Tuesday, 11am-6pm. Free. 707.887.0799.

Don’t Call It ‘Sonoma’: MOCA Rises

Founded in 1985, the Sonoma County Museum assuredly got there first. Then came the Sonoma Museum of Visual Art, and finally, the Sonoma Valley Museum of Visual Art. And then, according to Gay Dawson, there was a mess. “We have become one conglomerate identity in people’s minds, so it’s time that we separate it out. It’s been very inconvenient for our patrons, who are confused.”

Dawson, the executive director of what was, until last month, known as SMOVA, decided to opt out. Revamping her venue anew as the Museum of Contemporary Art (MOCA) at the Luther Burbank Center, Dawson intends for her exhibition space to be the only one, San Francisco to Oregon, to concentrate solely on contemporary art.

And that’s where all the boring semantics come in, because such milk-fed words as “museum” and “contemporary” are actually bristling, spine-covered boils of contention when mentioned in conjunction with change.

Museums collect. They keep, warehouse, archive, and have large numbers of objects that reflect an era, an artist, a time, or an otherwise. How does Dawson avoid the menace of the dictionary in renaming her space the Museum of Contemporary Art?

“The field is redefining itself,” she says. “We have reached a time when these big storehouses of cultural pleasure are an old paradigm. How do you bring new ideas to new audiences? It’s all about borrowing, sharing, and traveling. Because our focus is on contemporary art, it makes us more fleet in bringing cutting-edge programs than if we’re concentrating on building a collection.”

Pulling together a prestigious nine-member body, MOCA has involved art institutions from San Jose to Grass Valley–including San Francisco’s Yerba Buena Center, the Di Rosa Preserve, and the Pacific Film Archive–in a new entity named the Northern California Contemporary Art Consortium. The group has hired a former editor of Artweek to produce a quarterly magazine exactly about the Bay Area art scene. The other North Bay institutions that share the word “Sonoma” are not represented.

“Our purpose was to bring ourselves up to a level of organizations that are really exploring contemporary art,” Dawson explains. “We were interested in being in a peership with high-level [institutions]. And we’re also interested in putting Santa Rosa on the map, because right now it’s not on the map for contemporary art–it’s on the map for wine and goat cheese.”

OK, so what is the new meaning of that other mouth-thrasher, “contemporary”? “Well,” she says gamely, “one definition of ‘contemporary’ is that it is work by people who are still living. The other is that there was an era, usually thought to be 1968, with all of the forward movement that was happening at the moment, that began the contemporary [period]. Suddenly people were questioning the whole notion of museum, the object-on-a-pedestal.”

Which is naturally enough where Andy Warhol strolls in for his 15 minutes of posthumous fame. Using as its inspiration Warhol’s Factory digs–an old industrial loft in Manhattan that, with the help of thousands of silver cigarette liner papers covering the walls, he transformed into an urban glitter palace of hip–MOCA throws itself one hell of a coming out party on Saturday, Jan. 24. With a Factory lounge, live music, a birthday-party salon, and live video, the shindig will sprawl most of the LBC’s cavernous hallway interior. “This party,” Dawson says with a gush, “is going to be the biggest bash ever thrown at the LBC.”

MOCA party, Saturday, Jan. 24, 8pm-midnight. 50 Mark West Springs Road, Santa Rosa. $15-$35. 707.546.3600.

From the January 15-21, 2004 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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