Topo Loco

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Two upstart entrepreneurs step into the malternative universe

By Davina Baum

So a guy goes into a bar . . . Wait, a priest goes into a bar. Or maybe it’s a rabbi. Or a person of Polish descent? In any case, he’s in the bar, and the bartender is waiting for him to order. A Heineken, perhaps, or a Boont Amber. Or a scotch and soda.

But in this scenario, he wants something else. Something refreshing, a little citrusy, perhaps slightly fizzy. He scans the shelves, looking for the right thing. The bartender is waiting patiently–the bar isn’t full. Finally, he says, “Barkeep, pop me open a Topo Loco.”

That’s a scenario that Jim Gill and James Harder dream about (though the religious denomination of the patron probably isn’t specified in those dreams, and the bartender might not be referred to as “barkeep”).

Creators of a malt-based beverage called Topo Loco, Gill and Harder are throwing their hat in a wide–and controversial–ring. With big guns like Smirnoff, Skyy Vodka, and Bacardi joining longstanding players Zima and Mike’s Hard Lemonade, the two men are up against stiff competition. But they think they have an edge and are positioning themselves as the Ben and Jerry of the malt-beverage world–two guys and a VW bus, spreading Topo Loco love throughout California and beyond.

Topo loco is loosely translated as “crazy, awkward guy” in Spanish, although literally it means “crazy mouse” or “mole.” Harder says, “We liked the idea of ‘loco.’ We looked at a lot of different things. It had this crazy awkward feel to it–two guys trying to create a drink inspired by Mexico but originally from Canada but in the U.S. . . . We know we’re small enough as it is and we don’t have a brand name like Smirnoff behind us, so we’d better damn well get people’s attention.”

Cleancut, attractive, and young, the two men are longtime friends and business associates, Canadian expats who cut their teeth working in the malt-beverage industry. They continued their careers at different companies, both ending up in the Bay Area–Gill doing marketing for wine and Harder working in the tequila industry. When Harder switched to working on a wine portfolio, he recommended Gill for his tequila marketing position, so at different times they both traveled extensively in Mexico–and both sampled a mixed drink that’s a staple there, called a fresca or paloma.

Made by mixing tequila with Squirt and adding fresh oranges and limes, the drink captured their attention, and in subsequent conversations, says Harder, “the wheels started turning.

“We’d been friends for a long time,” he adds, “and knew that we wanted to go into business for ourselves.” They started a company called Unfiltered Napa and were careful to apply a fundamental lesson they’d learned while working for other companies: Spread the risk. First, they developed a wine portfolio, consulting with wineries to help sell and market their wine. Regusci, a boutique winery, is a primary client; the two also developed their own wine brand, Twenty Bench, in partnership with Jim Regusci.

But everyone’s doing wine these days, out of habit or sheer folly–how many malt beverage startups are on the radar? So they started Topo Loco, basing the drink on the frescas they had savored in Mexico. From their office behind the Regusci Winery nestled deep in prime Napa wine country, Gill and Harder are trying pretty damn hard to get the word out.

Everything they say makes sense, but sometimes Gill and Harder seem to be trying a little too hard to push the “little guy” idea. After all, in this hypercommercial world, positioning is often more important than the product itself. The two men are nothing if not marketing-savvy, and even if they aren’t Ben and Jerry or Bartles and Jaymes (which was, in fact, a marketing ploy dreamt up by the wine cooler company), they are shoehorning themselves into those boots.

The meeting room in their office is entirely branded. An antique Pepsi refrigerator has been Topo-ized; a Topo Loco surf board is propped up in a corner; a metal cooler with the logo on it sits in another corner. Gill and Harder developed all the branding themselves, and the vibe is very laid-back, surfer-style.

That’s what they were going for, they say. They launched the drink in October 2002, in San Diego. Gill says he spends a lot of time driving the Topo Loco ’64 VW bus between here and San Diego.

“It’s more casual,” Gill says. “We’re laid-back, not urban-club. . . . We’re beachy, California, that’s why we launched [Topo Loco] in San Diego–that’s the essence of the brand.”

The essence of the “brand” is also grassroots. “We’ve had really good success, because people appreciate the fact that it’s a couple of fairly young guys getting into the market, and they know that it’s difficult against the big guys,” says Gill.

The market that Harder and Gill are squeezing into is tightly packed and heavily marketed. Liquor companies have taken full advantage of the fact that malt beverages are not beholden to the same strict advertising standards as hard liquor; malt-beverage companies can advertise on television, and they do. Drinks like Smirnoff Ice and Skyy Blue are joint ventures between Allied Domecq and Miller Brewing Company. Instead of making expensive commercials with sleek women in bathing suits slurping seductively, Gill and Harder have made themselves (or at least their marketing personas) the face of Topo Loco.

The Topo Loco packaging, with its bold red and yellow colors, is summery and inviting. The bold hand print on the logo is Gill’s hand. The six-pack box reads, “Original citrus hard soda made with blue agave” (the plant that, when distilled, makes tequila). The liquid inside the clear glass bottles is cloudy, and has a clean, bright nose–a little like Orangina.

The liquid itself is lightly carbonated, citrus-tart, with a sweetish finish and no chemical aftertaste. Gill and Harder were adamant about using all natural flavors. The men, naturally, don’t want Topo Loco ghettoized as a summer drink–there are so many other months for potential sales–but popping open a cold Topo Loco at a July barbecue is a natural association.

Gill and Harder not only put a lot of thought into the drink itself but also into its packaging and market positioning. “We took a look at the category,” says Gill, “and saw that everyone seems to be doing the same kind of thing. They’re all lemonade, very lemon-flavored. We saw all the big spirit brands jumping in. We knew that we could produce a brand that tastes different from that and [which is] also extremely refreshing.”

The two set to work trying to replicate the drink they had tried in Mexico–but without tequila, since adding spirits changes the taxation, cost, and distribution.

“We were told from the get-go,” says Gill, “that it would be extremely difficult to get your malt base, that you have to have a specific kind of malt, how would you get glass [bottles], you’re small guys, and all the big companies are now in it in a big way.”

But they kept at it, refining the flavor with a “flavor company,” finding the right glass supplier, developing the branding. “We wanted [the look] to be really genuine, authentic,” Gill says, “kind of like the old soda bottles or the Mexican beers like Corona [that have] staying power.”

Malt beverages, also known as malternatives or alcopops, have traditionally been classified in the same realm as beer, meaning that they’re under the same restrictions as far as taxation and regulation. Malt is brewed like beer but is then treated to remove any of the characteristics associated with beer, producing a clear alcoholic base that is then flavored to get the desired taste. Malternatives generally have a similar alcohol content to beer; Topo Loco is 5 percent.

Zima, which was heavily marketed by Coors as a “clear beer,” first hit the shelves in the early ’90s. The market remained fairly static until the late ’90s, when Mike’s Hard Lemonade was released. A flurry of hard colas and lemonades, like Doc Otis and Hooch, followed, and then the major label spirits got into the act, flooding the market in the past few years. Smirnoff Ice, Mike’s Hard Lemonade, and Skyy Blue are the big three in market share.

The category has been under tight scrutiny from the beginning. Malternative manufacturers were quickly attacked for allegedly positioning their drinks to underage drinkers. Considered an alternative to beer, malternatives are typically sweeter than beer and incorporate characteristics of soda but without the hoppy edge. Consumer groups were alarmed that the words “lemonade,” “soda,” and “cola” would attract young drinkers. (Wine coolers suffered the same attacks in their day; critics were concerned that the sweet, alcoholic drinks would serve as gateway drinks to the hard stuff.)

Most recently, in March, the Alcohol and Tobacco Tax and Trade Bureau (the newly retooled federal agency that regulates alcohol) issued a proposal to reclassify “flavored malt beverages” with stricter standards if they derive their alcohol content mostly from flavorings containing distilled spirits rather than from the malt fermentation process itself.

While Harder and Gill are concerned about where Topo Loco falls in the potential reclassification, they say that the effect won’t be that great. “We . . . had already decided to derive more of our alcohol from fermented blue agave,” says Harder. This will move it out of the malt beverage classification to a fermented product with only minor distribution changes.

When it comes to alcohol, distribution is a little more complicated than just dropping off a few cases at the bar. Distributors want to work with companies that will make money for them. Untested new beverages aren’t a priority for the average distributor, who generally deals with a high-volume list like Coors or Miller. Gill and Harder were told, again, that they wouldn’t be able to find distributors, until they came upon Crest Beverage, which handles Corona, Coors Light, and Red Bull.

“They loved the product,” says Gill. “Their president and owner tried it and liked it and said, ‘I can’t commit, but I’ll take it to the sales department, and if they like it, I’ll call you.’ Fifteen minutes later they called and said, ‘We want to give it a try.'”

In Sonoma and Napa, they found Clark Miller Distributing, and they’ve recently landed several other distributors in the north counties and Central Valley, as well as Hawaii.

Clark Miller Distributing carries Coors as its main brand (it’s not associated with Miller Brewing Company) and distributes through Sonoma, Marin, Mendocino, Napa, Solano, and Lake counties. Vice President Matt Miller says that the response to Topo Loco has been “tremendous.” According to Miller, deciding on what beverages to carry depends on two things: what’s in the bottle, and who’s making the drink. In the case of Topo Loco, he was convinced on both counts.

Miller says that Topo Loco is “very smooth; it’s unlike anything in the industry. So I think it’s a good product.” And he’s clearly enamored of the grassroots stylings of Harder and Gill: “When you meet Jim and James, you want to do business with them. You want to help the entrepreneurial spirit, whether it’s water, juice, beer, or liquor. . . . The approach that Jim and James are taking is really very unique to the industry. They’re two good guys making a jump into an arena that is controlled by huge multinational corporations.”

Topo Loco’s success means success to Clark Miller too, of course, but if Miller were worried about the bottom line, he most likely wouldn’t have taken on the risk: “We’re so happy that we can help them in any way we can . . . to get them some success.”

The drink is now available at many independent stores–even tony Dean and Deluca in St. Helena carries it. Harder notes that the independents are where they’re most likely to make the connection, “whereas the Safeways and Albertsons of the world say, ‘What’s your national advertising campaign?'”

Krissy Harris, a manager at 1351 Lounge in St. Helena–which carries Topo Loco–says, “People who order it say it’s one of the better if not best malt beverages they’ve tried, but most don’t order it again.” 1351 is “mostly a martini bar,” she says, and “you don’t see hardcore martini drinkers rolling up to the bar and saying, ‘Oh, a fruity malt beverage–let me have that.'”

Which is to say, malternatives have a gender issue. It’s something that Gill and Harder have struggled with. Malternatives are often thought of as girly drinks largely because they’re generally much sweeter than beer. Gill estimates that Topo Loco drinkers break down into a 60 to 40 split between women and men; age demographics generally skew young, between 21 and 30.

“Probably more women like this type of drink,” Gill notes, “but more men are starting to drink it. They may not drink them every day, but it’s an alternative for them; they’ll switch between beers.” He points out that Topo Loco is markedly less sweet than some of the other malternatives.

“Men don’t want to drink something that’s really sweet,” Gill continues, “or that gives them heartburn. We’re beer drinkers; we developed it so we could drink it. It’s not for everybody, but it’s an alternative to beer drinking, or if you don’t drink beer, it’s a perfect beverage.”

While the reclassification issue and a drop in sales across the category have lead some to call an end to the malternative boom, Gill and Harder pay little mind to statistics. They have a beverage, and they want people to like it. “A lot of people jumped in, trying other things,” says Gill. “They didn’t do as well as their corporate parent wanted them to do, and they had big expectations. We don’t try to lead anyone down the garden path and say that this is a spirit product. It’s not a Bacardi, it’s not a Smirnoff; it’s Topo Loco. We tell people what it tastes like; we’re not duping anybody.”

The duping he’s referring to is the accusation levied against drinks like Smirnoff Ice and Bacardi Silver that the use of the spirits name leads people to believe that they’re buying a spirits-based drink. Topo Loco makes no such claims, in fact there is no mention of tequila anywhere on the bottle or packaging.

As summer rolls around again, Gill and Harder are hard at work lining up the Topo Loco fans. Determination is not lacking, and it seems as though they would be at every summer barbecue across California, if they could, spreading the word.

Taking cues from companies like California Cooler, which counseled Gill and Harder to “build in your own neighborhood, build from one county to another,” they’re beating the pavement on the road to Topo Loco greatness. The hard work is worth it, says Harder. “For the time being, we’re just having fun. It’s been a great experience.”

Adds Gill, “One step at a time, one distributor at a time, one account at a time. Case by case–that’s how we’re approaching it. We’re counting on it. We’ve pretty much bet the farm on it. If it doesn’t work it won’t be for lack of trying. We know we’ve got the product. We just hope we can get it in people’s hands.”

From the June 19-25, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Grindstone Bakery

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Santa Rosa’s Grindstone Bakery bakes naturally leavened, wheat-free loaves of note

By Sara Bir

Grindstone Bakery is missing the storefront, the cappuccino machine noisily frothing away, and the forgettable jazz pumping out over the sound system. There is no retail space at all. What it does have is brick ovens, lots of dough, and Tauna Ruiz.

The bakery itself is small, perhaps only a little larger than a two-bedroom apartment. It sits away from the street, behind a vintage clothing shop on south A Street in a space that, from the outside, gives no indications of housing a bakery. But that Grindstone Bakery look like a bakery was probably of not much concern to Ruiz when she first began the business in 1999.

The prep area is particularly intimate, especially the multiple speed racks and proofing boxes that populate the space. Schedules and dough formulas are posted on the wall. Huge plastic buckets–where the doughs are both kneaded and stored–sit under the prep table, their contents alive and spongy.

“Everything we make uses starters,” says Ruiz. “We don’t have commercial yeast in the doughs, and we grind all of our own flour. The flour is a lot more nutritious that way. Oxygen and light really deplete the nutrients that are in the grains. And I tend to be the kind of person [who likes] doing things from scratch.”

That Grindstone’s breads don’t include wheat flours is not so much out of a spite for wheat as it is due to Ruiz’s love of other grains. “I don’t have any wheat allergies or anything. Part of it was experimentation. . . . They all have really neat flavors, and they all act way different. And there’s so much fresh bread around here, I think it would be harder to compete just doing a French style of bread. Especially doing it this way, because there’s bigger companies out there who can do it a whole lot cheaper and a lot faster.”

Grindstone mills grains, including spelt, kamut, and barley, twice a week. There’s no eponymous grindstone, however; Ruiz has a midsize commercial grain mill in the back.

Mornings begin around 4am, with lighting a fire in the oven, mixing the doughs, and shaping and baking pitas while the oven is very hot and the temperature is still evening out.

Before opening the bakery, Ruiz apprenticed with Alan Scott, one of the most influential masonry oven builders in the country and co-author of The Bread Builders. Scott, who lives in Marshall, has left a trail of masonry ovens all over northern California–West Pole Bakery in Occidental, Della Fattoria in Petaluma, Lucy’s Cafe in Sebastopol, and the Marin Headlands Institute are just a handful of examples.

“I’ve always done alternative types of baking, mainly pastry,” says Ruiz, who graduated from University of Colorado at Boulder with a degree in environmental conservation, though the lure of the kitchen prompted her to pursue a different path. “I always wanted to get into bread. I contacted Alan Scott and started going up to Marshall once a week to bake with him. It got to the point where I wanted to go ahead and do it full-scale, and that’s how I got this place going.”

Ruiz’s interest was first in vegetarian and vegan cooking. “That’s how I got into doing pastries. I worked at Millennium down in the city for a while as a pastry chef. I enjoy the experimentation of working with different materials, and that’s why I like working with the different grains. It’s fun to experiment and see how they perform.”

Ruiz’ speech is paced and thoughtful, though perhaps that’s because in between fielding questions, she and Grindstone employee Julie Hutchinson are intermittently counting out bread pans, shaping loaves, and washing out containers. Mostly, Ruiz and Hutchinson are working their way through a mound of sticky, almost purplish dough that reaches like an amoeba over the prep table.

Shaping rye loaves with a briskness that’s efficient but careful, they lop off a portion of dough, weigh it, hurriedly work its rough edges into a smoothed, rounded mass, and then fold over the edges to form a squared-off cylinder that they place in cast-iron pans to proof.

“Most of the people that I’ve hired haven’t done [baking] before,” says Ruiz. “I have my own way of doing stuff, and I think it’s a lot different than most bakeries. I don’t want somebody coming in here who’s used to a bunch of machines. . . . I don’t think they’d be very happy–working the oven, the timing of it, the quantity that we do.”

Currently, Grindstone breads can be found at Community Market in Santa Rosa; all of the Whole Foods stores between here and San Francisco; Good Earth in Fairfax; and Rainbow Grocery, Harvest Market, and Real Foods in San Francisco. Grindstone’s output is not especially large: 300 loaves on this day, plus the pitas. But expanding the bakery is not a priority for Ruiz, who wants to leave ample room for the other facets of her life.

“I have a two-year-old son at home, so I like to keep the work load manageable, have a balance. He actually lived in the bakery here for the first year,” Ruiz says, pointing behind her. Her son now stays at home with her husband, who’s a painter. “So I’m not interested in taking on more accounts. When I started this, I wanted my weekends, and I wanted my nights. And I get up early on some mornings, 5 or 3, but it’s not so bad.

Ruiz started out the first year on her own and, she says, “I intended to stay that way.” But the arrival of her son, Ronin, prompted her to hire her first employee. There are now two employees in addition to Ruiz who work in the bakery, as well as someone who does delivery.

Grindstone Bakery makes seven kinds of bread–kamut, sprouted seed spelt, spelt, multigrain spelt, oat barley, rye with caraway, and cinnamon raisin swirl–as well as kamut pita bread, and four types of wheat and dairy-free (and very good) cookies.

One of Grindstone’s breads–100 percent rye bread–is especially uncommon in bakeries. “Rye is really odd, and it’s been a real challenge to figure out how to work with it,” Ruiz says. “I was having problems until a couple months ago; it was sporadic. I asked other bakers who had baked with rye, and they had never had the problems I was having. They’d say, ‘You can’t bake with just rye, you have to add wheat or it doesn’t work right.’ But that’s not true, because I’ve done it.”

They also offer seasonal rotating loaves. Currently, the rotating loaf is fig-nut. The seasonal loaves allow Ruiz to play around a bit, one of the aspects of baking that originally drew her in. “When I was working at Millennium, I’d get off work and I’d come home and experiment with all kinds of baking stuff. Now I just don’t have time. I kind of miss it.”

Life with a wood-fired oven does have its advantages, though, and it’s not just superior crusts. “When they were having the rolling blackouts, we were baking pitas in the oven and all of a sudden the lights went out. Everyone else had to go home because their computers were shutting down, lights were off, they couldn’t ring up customers.”

There’s a conspicuous absence in the bakery–no Hobart or other massive industrial mixer. All of the doughs at Grindstone are kneaded by hand. “I think it’s really important to know how things feel. I think you lose something when you throw everything in a mixer and turn the thing on,” says Ruiz. “It could probably save a little bit of time and be more efficient, but I just enjoy the process. I like using my hands.”

Shawn Dalberde, who’s worked at Grindstone for just over a month, says that the hands-on approach is one of the things that attracted him to the job. “It seemed like a simple and nice thing to do for myself and to do for the world. And I like the way they do things here–mixing it by hand. It’s easier to have a machine do it, but we’re putting our life into it, our energy–which is not happening in very many places in the world.”

From the June 19-25, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

James Turrell

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James Turrell illuminates discourse at the Sonoma County Museum

By Gretchen Giles

Out on the edge of Arizona’s Painted Desert, about 100 miles outside Flagstaff, sits an extinct, brown, volcano cap. Over the last 30 years, the cone’s rim has been coaxed into an elliptical form, whole flanks of its sides have been degraded and rebuilt, wide tunnels have been dug, an amphitheater is planned, and 23 viewing rooms will eventually be tucked and hidden into its sides.

Construction is both so delicate and so substantial that a company specializing in such huge civic structure as dams and baseball stadiums has been contracted. Some of the volcano’s resulting subterranean rooms will be best used during solstice or equinox; others will focus starlight onto the walls in the manner of a camera obscura; one, perhaps, will allow visitors to stand in the very shadow of the planet Venus.

Once completed (gamblers take bets on 2005), all of this work and expense–topping $15 million–will result in a huge earthly bump that, from the outside, looks just like an extinct, brown, volcano cap. But from the inside, humankind’s palpable experience of the firmament itself will have been redesigned. This natural relic of unnatural alteration called the Roden Crater will have been reshaped and reformed by the influence of one man into a 21st-century monument with a resulting power and intention akin to Stonehenge.

That man is James Turrell, an artist whose pursuit of light has caused him to attempt the most audacious of mortal acts: the deliberate reshaping of the earth’s face so that humans may perceive the sky’s ether differently. Perhaps even more audacious, given all of the tractors and earthmovers involved, is that Turrell’s artwork isn’t about light; it is light.

Quickly becoming an oversized American legend due to a recent and lengthy New Yorker magazine profile and the New York Times‘ slavish reportage of his original patron the Dia Art Foundation, Turrell is a trained mathematician and psychologist brought up in the Quaker tradition who won a MacArthur Fellowship “genius” grant at the age of 41.

He now runs a cattle ranch to support the construction of the Roden Crater and shrugs that he has sacrificed two marriages and numerous relationships to this most primary love. A licensed pilot and antique airplane mechanic who, myth says, flew missions into Tibet during the early ’60s in order to rescue monks from the Chinese invasion, James Turrell is also arguably the most important artist working in the West today.

Fritz Frauchiger, the former director of the ARCO Center for Visual Art who exhibited Turrell in the late ’70s, says, “He’s got the most interesting mind. He’s thinking cosmically at all times, and the best way he had to understand perception was to investigate light and space.”

Turrell’s investigations edge closer to this side of the continent when he appears at the Sonoma County Museum’s welcoming reception of his work, titled “James Turrell: Light and Land,” this June 21.

In part coordinated with San Francisco’s Exploratorium and supported by grants from the NEA and others, “Light and Land” features Turrell’s work in two sections. The main gallery of the museum’s 1908 Federalist building now houses a huge boxlike structure in which is displayed Sebastopol collector Carol Vena-Mondt’s privately owned piece of early Turrell exploration, Raemar.

Last exhibited to the public in 1976, Raemar uses the manageable trickery of artificial light to challenge that most ordinary of our perceptions: sight. Utilizing 12 fluorescent bars, Raemar causes the eye to confuse one of the box’s sheetrock walls instead as a floating element, bold blue, haloed, and ethereal.

(When Turrell showed a similar type of illuminated mirage in 1980 at New York’s Whitney Museum of American Art, several weary visitors mistook the light for a wall, leaned upon its nothingness, and fell smack down upon the museum’s floor. One such art victim actually sued Turrell for damages and temporarily won; the conviction was overturned on appeal. Writing about that exhibit in Time magazine, populist critic Robert Hughes praised the artist for having “contrived an exquisite poetry out of near emptiness.” Hughes also knew well enough to stand up straight.)

In another room, live feeds from the Roden Crater are featured, as well as drawings, aquatints of various views to be had from within the crater, and models of two new aspects–the North and South spaces, yet to be built–of this maverick project. The South Space will, according to museum literature, act like a dish telescope, collecting not radio waves but starlight.

The North Space is planned to be a type of camera obscura reflecting the individual points of the Milky Way onto white sand below. Should they give the experience enough time, visitors to the North Space will be able to actually feel the earth’s rotation as a visceral event.

Patience is an important factor in savoring and, indeed, actually experiencing Turrell’s work. He sometimes creates black spaces in which only a sustained visit reveals the amount of light actually at play within the void. Entering one of his “skyspaces” (the Platonic ideal of a window, skyspaces shape outdoor light in a seemingly three-dimensional manner) or beholding one of his artificially lighted pieces may provoke irritated discomfort from the harried viewer. As when entering a dark room from outside, his work demands that you allow time for the eye to adjust.

Speaking to the Phoenix New Times in 1999 (Turrell didn’t respond to repeated interview requests from the Bohemian), the artist said, “We weren’t made for bright light because it almost completely closes our eyes. We’re made for twilight. That’s when our eyes truly open and feeling goes out of them like touch.”

As with a marvelous riddle, Turrell’s work leads inquiry down an unfamiliar path. If eyes can feel like touch, where can perception find itself bounded? What assumptions do we bring to sight, and what shorthand do we visually write that allows us to collectively decide that a green is a green or that a particular set of forms composes an apple? Hughes–who celebrated Turrell’s work with such articulate brilliance in his American Visions book and TV series–concludes in the same Time review that Turrell’s art “is not in front of your eyes. It is behind them.”

Behind the eyes then, where our brains make minute and instantaneous connections, allowing us the sanity to pursue daily activities without ordinarily being struck dumb by the immense beauty of every single thing around us. It may be said that our brains work too well that way, and that being struck dumb by immense beauty is in itself a worthy daily activity. Turrell is among those adepts who can lift the dulled veil that the mind seeks to soothingly lay, refreshing our necessary perceptual intake with information that we simply didn’t know to seek.

Seeking a further vision itself and in salute to Turrell’s logging of hundreds of flight hours scanning the ground for the right spot before finding the Roden Crater in 1974, the SCM devotes the upstairs portion of “Light and Land” to aerial views of our patch of land, titled “Over Sonoma.” Museum director Natasha Boas commissioned Los Angeles-based Center for Land Use Interpretation director Matthew Coolidge to shoot Sonoma County from the sky. “He’s discovered things that people living here may not know even exist,” she assures.

Another ancillary exhibit also culled from the Center for Land Use Interpretation, “Formations of Erasure” examines what has happened to various “earthwork” art projects over the years. Of particular note are photographs of Spiral Jetty, Robert Smithson’s 1971 installation in Utah’s Great Salt Lake.

Inevitably subsumed by the surrounding water, this stone curl extending from shore into lake rose again above the water line last autumn, ghostly and mossy and drippy. Smithson, who died in 1973, knew that the Spiral Jetty would sink when he created it; he may not have anticipated its rocky reappearance.

Frauchiger, who considers Turrell a friend, knows that unlike Spiral Jetty, the Roden Crater is intended to last. “It’s his main direction, to get that thing done in his lifetime. But,” he chuckles, “it’s like the Winchester Mystery House–as long as he can tinker with it, he will.”

Later, commenting on how enriched he feels having worked with the artist at ARCO, Frauchiger says firmly, “Some artists have no vision whatsoever; Jim is all vision.”

‘James Turrell: Light and Land’ exhibits June 21-Jan. 4, 2004, in conjunction with ‘Formations of Erasure’ and ‘Over Sonoma.’ A public reception with Turrell is slated for Saturday, June 21, 4-6pm. He returns to speak at Sonoma State University on Sept. 16 as part of a series of supporting educational events. Sonoma County Museum, 425 Seventh St., Santa Rosa. Museum hours are Wednesday-Sunday, 11am-4pm. Admission is $2-$5; free to members. 707.579.1500.

From the June 19-25, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Talley’s Folly’

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King and Phillips shine in ‘Talley’s Folly’

By Sara Bir

Sonoma County Repertory Theatre makes a sort of return to its roots with Talley’s Folly, a two-character play by Missouri native Lanford Wilson. The two actors in question are Scott Phillips and Jennifer King-Phillips, who first met in an SCR production of The Glass Menagerie and are now married. King recently returned to Sonoma County to become SCR’s executive director, while SCR founder and artistic director Jim dePriest directs.

And they could not have chosen a more well-suited play for this reunion. Winner of the 1980 Pulitzer Prize for drama, Talley’s Folly is an intimate and intricate story of the premature spinster Sally Talley and her unlikely Jewish immigrant suitor, Matt Friedman, set in small-town Lebanon, Mo., in 1944.

The titular folly is a neglected boathouse by the river where Sally retreats to have a moment’s peace from her overbearing family, who, for reasons yet unclear, regard her as somewhat of an embarrassment and a burden. But the folly is also the spot where, the summer before, Matt wooed Sally during their bungled week-long courtship. He’s made a special trip from the city to Lebanon to convince Sally to be with him.

Matt states in the play’s prologue that the story is a waltz. And as we see in Matt and Sally’s hit-and-miss interactions, it’s a very delicate, unsteady waltz–which is what makes Talley’s Folly so delightful. The two characters stumble through a romantic pas de deux, making the same missteps we’ve all made, only condensed here into a dramatically taut, heartfelt 97 minutes. That Talley’s Folly has no intermission means the escalation in the tension between Matt and Sally has no abatement; in the hands of King and Philips, their encounter does not drag on so much as it drags us in.

Matt and Sally each have secrets that they must come to terms with before they can fully give themselves over to each other–and these are the kinds of secrets that they have to reveal to themselves, not just to each other; they are secrets that have come to shape the people they’ve become.

What’s engrossing about Talley’s Folly is that even though Sally and Matt discuss the circumstances going on in each other’s lives, there’s an otherworldly, detached air about the folly that enables them to laboriously iron out the wrinkles in the tapestry of their relationship.

Sally, for one, refuses to acknowledge that they even have a relationship. She spends much of the play scowling with her arms crossed, her back to Matt. Liberal, independent, and true to her own motivations almost in spite of herself, King’s Sally is played with a general hostility that at times comes off as coy and at other times fragile. Sally may direct her anger towards Matt, but it’s ultimately aimed at herself.

And, like a dance, there’s a great deal of fancy footwork to keep a respectable distance. Matt advances a step, Sally retreats a step. King and Phillips’ real-life marital status works two-fold in this manner, as they are able to read each other as actors with an uncanny accuracy. But as characters, their Sally and Matt communicate the delicious tension that arises between a couple whose affection for each other is still not yet able to fully break the surface. When King and Scott hold hands, its as if they have never touched each other before.

Phillips as Matt–an outspoken, spirited man given to grandiose asides–has may lines where he lampoons the Oakie hick dialect of Sally’s family, and he’s spot-on almost to the point of distraction. While these moments deliver much of the play’s comic punch, one is left wondering how a Jew who normally speaks with a pronounced Yiddish accent flawlessly assumes an Ozark twang at will. But it’s Phillips’ exuberance as Matt that propels the play. Exasperating but endearing, Matt’s determination is only matched by Sally’s resistance.

Permeated with a balmy summer night’s potency, Talley’s Folly is an ideal play for the summer: engrossing and uplifting, it’s hardly a trifle.

‘Talley’s Folly’ plays through July 12. Main Street Theatre, 104 N. Main St., Sebastopol. $18 general; $15 seniors and students. 707.823.0177. www.sonoma-county-rep.com.

From the June 19-25, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

True West

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The summer sizzles with ballads, Western swing, and cowboy poetry

By Greg Cahill

It’s no secret that Sonoma County is a hotbed for mainstream country performers–fans of Texas troubadour Tracy Byrd will be kicking up their boot heels this Saturday night to his “Lifestyles of the Not So Rich and Famous” when the big-hat star co-headlines the Sonoma-Marin Fair in Petaluma. But the region also boasts a long and close connection with numerous wonderful Western acts, all of whom steer clear of big-time success, riding their own two-lane blacktop that cuts through the Americana heartland. Three such acts–country crooner Don Edwards, cowboy poet Waddie Mitchell, and Western swing greats Asleep at the Wheel–ride in from Texas during the next couple of weeks.

Edwards and Mitchell–hailed as the Bard and the Balladeer–celebrate the Old West through story and song. Theirs is an unabashedly romanticized version of a bygone time and place–a peaceful, earthy vision so heartfelt that it can soothe the soul of the weariest city slicker.

For Edwards, it’s a sentiment he first encountered through the classic Western movies that captured his imagination growing up as a New Jersey farm boy. At age 10, Edwards bought a guitar and started yodeling and learning the songs of Gene Autry and Jimmie Rodgers. Later, Edwards headed West, working the Texas oil fields and concert halls in search of the true Western experience. By 1980, he was recording with members of Autry’s band, as well as the legendary Western vocal group the Sons of the Pioneers.

Both Edwards and Mitchell gained wider fame in the early ’90s with their appearances at the hugely popular Elko Cowboy Poetry Gathering in Elko, Nev., and later recorded several fine albums on the short-lived Warner Western label.

Mitchell, who cofounded the Elko Cowboy Poetry Gathering, grew up just 30 miles away from the eventual site of the event on a ranch where he often listened to hired hands spinning cowboy yarns. At 16 he quit school to become a wrangler and chuck-wagon cook. He later solidified his cowboy credentials busting broncos for the U.S. Cavalry.

As for his poetry credentials, suffice to say that Mitchell is an inductee in the Cowboy Poets and Singers’ Hall of Fame.

On Fourth of July weekend, Asleep at the Wheel bring their Grammy-winning Western swing to the Rancho Nicasio for a two-day stint (July 4 and 5) at the venue’s afternoon BBQs on the Lawn series. In addition, Asleep at the Wheel singer Ray Benson, who recently released his solo debut, Beyond Time, will appear at the Friday night dinner show with the Rancho All Stars.

Benson, a Virginia native, cofounded the band 33 years ago and hopped onto the Western swing bandwagon after hearing Merle Haggard’s landmark 1970 album A Tribute to the Best Damn Fiddle Player in the Whole World (or My Salute to Bob Wills). But it was country rocker and longtime Marin County fixture Commander Cody (George Frayne) who helped Asleep at the Wheel land management and a record deal, putting them on the road to becoming one
of the most popular Texas bands of the 1970s.

In 1999 the group scored its biggest hit with the album Ride with Bob, their second Bob Wills tribute. The album won multiple Grammys and featured guest appearances by the Dixie Chicks, Lee Ann Womack, the Squirrel Nut Zippers, Vince Gill, Manhattan Transfer, Willie Nelson, and, oh yeah, our old friend Tracy Byrd singing a Benson duet on “You’re from Texas.”

Don Edwards and Waddie Mitchell perform Saturday, June 28, at 8pm at the Healdsburg Cowboy Gathering. Raven Theater, 115 North St., Healdsburg. Tickets are $20-$50. For more details, call 707.433.6335. For more information about Asleep at the Wheel’s performances at Rancho Nicasio, call 415.662.2219. Or catch the band at the Marin County Fair on Sunday, July 6, at 6pm at the fairgrounds on the Avenue of the Flags in San Rafael. The concert is included with admission to the fair. For details, call 415.499.6800.

From the June 19-25, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Grand Hotel’

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Film critic Joel Siegel catches a Hollywood classic–and starts thinking

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate postfilm conversation. This is not a review; rather, it’s a freewheeling, tangential discussion of life, alternative ideas, and popular culture.

“Do we have to see Anna Karenina?”

Joel Siegel is killing time in between bookstore appearances on behalf of his autobiographical new book, Lessons for Dylan: From Father to Son. His tour has brought the New York-based film critic and Good Morning America icon to Northern California for a few days, so I’ve invited him to catch a movie with me at the Rafael Film Center. It so happens that a three-week-long Greta Garbo film festival has been running, so I suggested we see Anna Karenina, partly because of its famous moody death scenes and partly because Lessons for Dylan is, well, a book about death.

Funny, fierce, and occasionally rather raw in its honesty, Siegel’s book is a record of the advice and personal memories he began writing for his son “just in case,” after learning that he was to become a father the same week he was diagnosed with cancer. On arrival at the theater, Siegel confesses that after weeks of reading his book aloud to fans, he’d rather see something cheerier than Anna Karenina.

“It’s so depressing,” he grins.

And that’s why we’ve just seen Grand Hotel, the 1932 MGM classic starring Garbo, John and Lionel Barrymore, Joan Crawford, Wallace Beery, and everyone else MGM had on contract at the time. A bittersweet farce about ballerinas, jewel thieves, evil businessmen, and the other colorful denizens of a swank Berlin hotel, the film takes place over 24 hours and–Siegel must have forgotten about this–begins with Lionel Barrymore discussing his own impending death at the hands of some dread disease.

“I couldn’t help but notice the irony,” I point out, as we sit down after the show at the bustling cafe next door. “Your book is about cancer, so we chose Grand Hotel instead of Anna Karenina, and then the first thing we see in the movie is a guy on the phone proclaiming, ‘My doctor tells me I’m going to die!'”

“That’s right,” Siegel laughs. “Oh, well.”

“On the other hand,” I mention, “the moral lesson of the Grand Hotel is the nice old message, ‘It’s not how much life you have to live, but how you live your life that matters.’ Having fought the battle with cancer that you write about, how do you respond to a movie with a message like that?”

“I don’t take it seriously,” Siegel replies. “I really don’t. I can’t watch an MGM movie like this, a splashy entertainment from the 1930s, and take it seriously. I watch it only as a movie, as a piece of movie history, as a piece of social history. To me, it’s nothing but fluff. It’s not about life and death. It’s about bigger-than-life movie stars from Hollywood coming together to make a movie.”

MGM, Siegel says, was the only studio that had that many stars of that level to put together in a film. “Life was not so easy in 1932,” he says, “and if you were going to get people to cough up a nickel or 7 cents or whatever it was to go to the movies, then you were going to have to really show them something. This was the 1932 equivalent to a hundred million dollars’ worth of special effects. They couldn’t give you great special effects in 1932, but what they could give you was Greta Garbo, John and Lionel Barrymore, and all those others.

“The other reason I loved seeing this movie again,” he adds, “was for the performance of Joan Crawford.”

Good point. In Grand Hotel, Crawford plays a struggling freelance secretary who is not above sleeping with a client, if the money is right. “That was a real, almost contemporary performance,” says Siegel. “Everyone else was so campy, acting loudly at every single moment–it was very 1930s. By the 1960s, you couldn’t get an actor to do that and you couldn’t get an audience to sit through it if they did.”

Siegel poses an interesting question. “I wonder–and I don’t know the answer to this,” he says, “but we learn so much from the movies. We get our ideas of the world from the movies. In this one, we see Greta Garbo sleeping on silk sheets. So were silk sheets always what wealthy people slept on? Or did silk sheets become our idea about how fancy people sleep because we saw people like Greta Garbo sleeping on them in movies like Grand Hotel? And were silk sheets only used in movies because of the way light bounces off the silk, giving black-and-white film the kind of texture that cotton sheets or linen sheets couldn’t do?

“I don’t know the answer,” Siegel continues, “but I know that people do learn a lot of what they do because they saw someone do it in a movie first. Think of how often people say, ‘Look at that, it’s just something like in a movie.’ It used to be that reality was our frame of reference, reality was the standard, and movies tried to emulate reality. Now it’s the other way around.

“In my book, one of the things I wrote to Dylan is that the 20th century was, without a doubt, the century of film. Film was invented at around the turn of the century, and it carried us through the 20th century, and I believe that the most profound lessons of the 20th century were learned, in part, through watching movies. These were significant lessons about human beings, about the universality of the human experience.”

Siegel, in his book, does make the case that recent shifts in the way we view other races, other nationalities and cultures, the way we adapt to changes in the equality of the sexes and to the shifting ways we view people of different sexual orientations, have all been mirrored–and possibly pushed along–by the movies we see.

“The real changes that have come about over the last century have to do with the way we treat each other,” Siegel says, “the way we judge each other, and how we see our environment, and I really do believe that the movies have had a lot to do with that. Good for the movies.”

From the June 19-25, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Karen d’Or of CACSC

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‘Domestic Serendipity’ by Denise Traverso is part of the CACSC’s ‘Fortune’ show.

Bottom Line

Why Karen d’Or may be the art council’s good fortune

By Gretchen Giles

Surely the arts should be a pure pursuit with intelligence and talent keening in unblinking dedication to the creation of beauty. Surely, visual and musical arts, dance, theater, and literature should be produced and supported in an ethereal aerie of wildly blossoming creativity that gives no thought to the crassness of bread, milk, and mortgage. Surely, this is a jest.

Which may explain why, when it needed to hire a permanent executive director, the Cultural Arts Council of Sonoma County chose one more grounded in milk and mortgage than ethereal aeries. Money, it is rumored, can be a good thing, and Karen d’Or knows how to raise it. A surname translated as “gold” doesn’t hurt, either.

A former mortgage broker with an MBA, who has variously owned her own fundraising consulting firm, served as the development director for COTS (Petaluma’s homeless support program), and was most recently the moneymaker behind the Sonoma Land Trust, d’Or began her new $57,000-a-year position April 4 amid a swirl of change that hasn’t shaken her eye from the bottom line.

A vigorous woman, d’Or steps to the helm of the CACSC after the bitter departure of former executive director Jim Johnson amid staff firings, resignations, board shake-ups, the hasty promotion of board member Liz Meyerhoff to a six-month interim executive stint, and the loss of the lease on the SoFo 2 Gallery in Railroad Square. There was a short moment there when some speculators made unhappy bets on the CACSC’s ability to even continue as an entity.

All of which conspire to make it almost uncanny that an exhibit titled “Fortune,” planned long before d’Or’s arrival, opens June 13 –and that would be Friday the 13th. A juried exhibit of some 60 pieces chosen by Artweek magazine contributing editor Barbara Morris, the show examines kismet and plain old dumb luck as they appear for both good and ill. Exhibit coordinator Jennifer Beckham explains that the idea occurred as she and other longtime staff members weathered their recent turmoil.

“And fortune,” adds d’Or, “can manifest itself through wealth, fate, ideas that are a surprise. It’s not always good fortune but is one of those driving flows in life that artists can bring up with clarity.”

Clarity, indeed, seems to be the council’s new defining metaphor. Ensconced in a storefront gallery space in downtown Santa Rosa and boasting a gift shop featuring ARTrails pieces for under $400, the new CACSC office has high ceilings, white walls, and a sense of quiet determination. Beginning her position not only after a spate of seriously bad mojo at the council but among the severest and most wrong-headed state budget cuts in recent history, d’Or’s first act was to look at her meager $400,000 in annual resources. Fearing that state legislators might wholly cut arts-council funding statewide, she simply zeroed the $30,000 of anticipated monies right out. If it comes back, great; if not, d’Or has already taken the bite.

This tough-minded management style may be exactly what the council needs. “We have diverse sources of funding, so we’re lucky,” d’Or says, “but a lot of smaller arts councils rely entirely on the state, and they just don’t have it.” Legislators were poised last month to indeed take a full 85 percent of arts funding out of the California budget, relenting slightly after d’Or and other arts leaders mounted an impromptu phone campaign. Nothing is yet signed, but their persistent calls may have helped preserve some of the funding.

Some skeptics suggest that d’Or’s background in finance leaves her ill-prepared to lead an arts organization. “My predecessor told me that artists are expressive anarchists,” she laughs, admitting, “I’m on a fast learning curve in terms of the technical side of the arts. But I’ve been a supporter for many years.”

D’Or’s mother instituted Marin County’s artist-in-the-schools program in the ’60s; her ex-husband is the executive director of the Cotati Symphony; and she’s been an active booster in her daughter’s high school choral program, helping to send the students to Italy last year for a performance before the pope. So, OK, it’s not a stellar steepage, but d’Or dwells in the meta anyway.

“Art is an integral part of academics,” she says, “and it is the answer to a number of things. It’s the answer to downtown revitalization and to smart growth, [and] it’s the answer to helping to attract tourism.” To that end, she’s taking her staff on an upcoming retreat to reboot and revamp the council’s strategic growth plan. “It’s as a strategic plan should be: It’s lofty and grand and big-picture. I want to give these goals a concrete, measurable, yet still community-minded task list.”

For example, what if the arts council itself didn’t have to labor under the burden of producing exhibits, events, programs, and performances in all disciplines all year long? What if it instead used its grant-writing muscle to encourage, mentor, lead, and fund others to do the same? What if groups could hire its nonprofit status as an umbrella under which to produce their own dreams? What if the CACSC could provide the webbing and infrastructure to tie all of the disparate–and often competing, at least in terms of private funding–arts centers in the county into one sinuous, ever changing entity that could provide a myriad of exciting cultural opportunities for us all?

“I have wonderful contacts in the business community telling me that they don’t want to hear from 18 different arts agencies all needing money,” she says. “I’m interested in increasing audiences for all of us in a coordinating model. We’re trying to serve the community, and it’s quite difficult to be all things to all people, but the public really wants a rich quality of life here and wants us to be healthy. I’m certain of it.”

As for “Fortune,” the exhibit features an unusual fundraising tactic, offering a fortune-cookie raffle in which some of the cookie’s messages have been replaced with restaurant gift certificates.

“Hey,” laughs d’Or, “a buck a cookie–not a bad deal.”

‘Fortune’ exhibits June 13-July 25 at the Cultural Arts Council, 529 Fifth St., Santa Rosa. A reception is slated for Friday, June 13, 5:30-7:30pm. Gallery hours are Monday-Saturday, noon-5pm. Free. 707.579.2787.

From the June 12-18, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Bars & Clubs

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Photograph by Rachel Robinson

Summer Reveries: At the Cantina in Santa Rosa, a cool margarita can waken the senses.

Doing It Outdoors

Summer is for finding places to drink outside

By Davina Baum and Sara Bir

It’s summer, long evenings lie ahead, and the urge to sit outside for a cool beer or glass of wine is the most natural thing in the world. Herewith, a few of our favorites.

Sonoma Plaza
The DIY way to drink al fresco. There are a number of shops on the Plaza–Sonoma Wine Exchange and Sonoma Cheese Factory, for instance–where cold beer and wine are available (remember to bring your corkscrew or bottle opener, though). Then set up your picnic, beach towel, or whatever, and watch as the tourists parade in front of you. Heck, be a tourist yourself. Between Spain and Napa streets at Highway 12, Sonoma.

Swiss Hotel
For those craving more formal social outings, there are also plenty of establishments facing the Sonoma Plaza or just off the plaza where a little cafe table with a tea light ups the amenities a bit. The Swiss Hotel, a California Historical Landmark housed in a structure built for General Vallejo in 1850, has been in operation since 1909. The full-service restaurant serves Italian food, but in fine weather, just as many people stop in for a glass of wine at its prime sidewalk-seating location. There’s also a garden patio for a more secluded setting. 18 W. Spain St., Sonoma. 707.938.2884.

Murphy’s Irish Pub
Enjoy a solid selection of British beers on tap with cozy outdoor seating on summer evenings in a hidden niche just off the Sonoma Plaza. On many nights, you can catch live folk, blues, and jazz (that’s if you are sitting inside, though). Come with an appetite for fish and chips with mushy peas. 464 First St., Sonoma. 707.935.0660.

Sonoma-Meritâge
Its lovely, secluded patio sits hidden from all of downtown Sonoma’s bustle–and because there is no downtown Sonoma bustle in the evening, it’s a trés romantic spot at night, especially if you are toasting with one of Meritâge’s sparkling wine cocktails. If you start feeling peckish, get a glass of white wine and a celebratory seafood platter. 522 Broadway, Sonoma. 707.938.9430.

Willi’s Wine Bar
Willi’s, last year’s celebrated newcomer, has settled into its Old Redwood Highway location, still packing them in for the creative small plates and extensive wine list, which includes the inspired option of two-ounce pours. Willi’s outdoor seating is shaded and comfortable, even though it is subject to traffic noise, but a few sips of a crisp pinot blanc and a bite of a small delight will whisk away the worries. 4404 Old Redwood Hwy., Santa Rosa. 707.526.3096.

The Flamingo Lounge
You don’t have to be staying at a resort to unwind poolside with a tropical drink. The Flamingo, with its evocative retro-styled pink neon sign, has tables and lounge chairs by its Olympic-sized pool. It’s a great way to trick your mind into believing you are on a mini vacation. 2777 Fourth St., Santa Rosa. 707.545.8530.

The Cantina
A cold margarita on a hot day is one of life’s greatest hedonistic pleasures. Facing Courthouse Square, with leafy greens bursting out all over the place, and chips and salsa at the ready, the Cantina presses the relaxation buttons–and also the drunken-party buttons, if you’re there on a weekend evening and partaking in the upstairs debauchery. 500 Fourth St., Santa Rosa. 707.523.3663.

Third Street Ale Works
Picking up the slack for the great downtown people-watching scene that made relaxing with a beer at the Old Vic so fun, Third Street Ale Works’ back patio area is a hotbed of young smokers, so keep that in mind if you drop in during happy hour (weekdays 4­6pm) for a $2 pint. On Wednesdays, barbecue oysters are $1 a pop from 5pm until they are gone. 610 Third St., Santa Rosa. 707.523.3060.

Syrah
A closed atrium makes for indoor-outdoor dining and drinking, with floral accents and not one, but two fountains. Syrah is noted for its extensive wine list that’s heavy on Rhône varietals. Be adventurous and try a flight of unusual wines. 205 Fifth St., Santa Rosa. 707.568.4002.

Tastings Restaurant and Wine Bar
You’d need a shoehorn to squeeze another top-rate restaurant into Healdsburg, but the town has apparently not yet reached its saturation point. Tastings holds its own, with seasonal patio dining and a truly international wine list. 505 Healdsburg Ave., Healdsburg. 707.433.3936.

Lucy’s
It’s really the place to be in downtown Sebastopol. The outdoor patio that faces Sebastopol’s plaza opened for the summer just last week, and it’s an ideal spot to savor drinks like Lucy’s Lover’s Martini, which is a magical, citrusy concoction with a fruity float that’s about as far from a classic martini as you can get. It could easily be a lover, though. Lucy’s bartenders make a mean drink, and they also offer some good wines by the glass, so whether you’re slugging margaritas or sipping Chardonnay and nibbling on a pizza special, warm Sebastopol evenings spent watching the kids playing in the fountain lie ahead. 6948 Sebastopol Ave., Sebastopol. 707.829.9713.

Powerhouse Brewing Co.
The Powerhouse has almost as much outdoor seating as it does inside, 10 tables wrapped around the building’s porch, making it a great place to settle in for a beer or three (the brews happen to go perfectly with the high-voltage fries, spiked with garlic and hot sauce). The award-winning beers run the gamut from a light wheat to a hearty stout, but if beer’s not your thing (huh?), local wines are available, too. 268 Petaluma Ave. (Hwy. 116), Sebastopol. 707.829.9171.

Ace-in-the-Hole Pub
Mmmm, cider. It’s a delightful nectar–cool, fruity, refreshing. Ace puts out some of the very best. You can buy it nationwide, but we’re lucky enough to get it straight from the horse’s mouth. The scrappy little bar on the corner of Graton Road and Gravenstein Highway is often mistaken for a hardware store, says owner Jeffrey House, but those in the know . . . well, they know. Recently expanding into the French-inspired world of crepes, the authentic buckwheat kind filled with fresh local ingredients, Ace is doing the natural pairing thing with its ciders. Also on offer are intriguing English ales. And as the scent of Sebastopol manure lingers in the summer evening air, the tang of a cool cider heals what ails. 3100 Gravenstein Hwy. N., Sebastopol. 707.829.1223.

Underwood
Much has been written about Graton’s newest culinary sensation–because, with its extensive bar, boisterous, comfortable atmosphere, and finely executed food, it’s worth writing about. Never one to sit on his laurels, executive chef Matthew Greenbaum–along with partner Sally Spittles–is moving onward and upward. The outdoor seating to the side of the restaurant is open now, complete with 10 tables set for dinner and/or drinks (with heat lamps to ward off the chill). Later this summer, Greenbaum expects to have the backyard patio finished, complete with a bocce ball court and perhaps musical entertainment. 9113 Graton Road, Graton. 707.823.7023.

Willow Wood
Willow Wood’s sweet little backyard, with the few tables encroached on by creeping rose bushes, is more of an outdoor eating space than an outdoor drinking space, but when the urge strikes for a crisp Fumé Blanc and a caesar salad over a good book, here’s your place. The funky, casual atmosphere and friendly faces ameliorate the experience. 9020 Graton Road, Graton. 707.823.0233.

The Girl and the Fig
Both the Sonoma and the Petaluma outposts of the Girl and the Fig have wonderful outdoor spaces, wide and expansive, and sheltered from the street. Petaluma has the added bonus of being situated right on the river, although the evening weather has not yet been beneficent enough to allow for dinner al fresco. A lazy lunch or before-dinner cocktails in either location is exactly what summer means. 110 W. Spain St., Sonoma. 707.938.3634; 222 Weller St., Petaluma. 707.769.0123.

Bistro Don Giovanni
A splashy selection of fruity cocktails, as well as sparkling wines by the glass, make for a relaxing afternoon out on the terrace overlooking the Tuscan-style gardens that Bistro Don Giovanni is known for. There’s a great view of the mountains, too. 4110 Howard Lane (off Highway 29), Napa. 707.224.3300.

Bouchon
Ah, Paris. Remember that summer we spent drinking Lillet in the sun, flirting with the waiter? Good times. Yountville is no Paris, it’s true. First of all, they don’t speak French in Yountville, although they do do French laundry there. But Napa does have Bouchon, which might be pretty close to Paris if you close your eyes and conjure up the smell of Gauloises and the sound of tinny car horns. As far as sitting outside and drinking Lillet, well, yes, Bouchon is the place. Not only Lillet, in fact, but a wide variety of aperitifs, cocktails, and wines. 6540 Washington St., Yountville. 707.944.8037.

Domaine Chandon
Not that anyone’s going to just swing by Domaine Chandon for a drink, but just because we live here, there’s no reason to avoid the obvious. Besides, it’s enlightening to observe how tourists observe the wine country. Chandon is renowned for its quality tours, indoor and outdoor art exhibits, and restaurant. So you might as well make an afternoon out of it, taking a tour (no appointments needed) and then winding up with a few glasses of bubbly on the terrace to enjoy the panorama. 1 California Drive, Yountville. 707.944.2280.

Horizons
The full-on maritime cocktail scene. Built in 1898 by the San Francisco Yacht Club, the space that’s now Horizons didn’t become a restaurant until 1959. The deck outside affords views of passing boats, Angel Island, Alcatraz, and the San Francisco skyline. You can’t go to a seaside tourist town and not go to a place like this. Expect beer, wine, and mixed drinks–the norm; it’s the view that’s the draw. 558 Bridgeway, Sausalito. 415.331.3232.

From the June 12-18, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

James Brown

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Hit Machine: James Brown’s influence spreads far beyond minimall Muzak and oldies stations.

Getting Funky

Soul Brother No. 1 headlines the LBC

By Greg Cahill

Try going a day without bumping into James Brown. The hardest working man in show business is ubiquitous. This week alone I heard him singing about getting a brand new bag (and it wasn’t the paper or plastic variety) while I prowled the grocery aisles. I later heard him hawking cars on TV, funkin’ it up and letting us know that he’s got the feelin’ now. And I even caught him serenading commuters over oldies radio with the seemingly counter-productive plea to please, please, please, don’t go.

Forget Elvis. Forget Jacko. Forget the Beatles. This son of a Georgia sharecropper, who as a kid danced and sang on the street for pennies and earned his education at the Alto Reform School, has sold more than 50 million records and left an indelible mark on the planet with his groundbreaking sound. As the Rolling Stone Encyclopedia of Rock and Roll puts it, “[Brown’s] polyrhythmic funk vamps virtually reshaped dance music”–and, one might add, became a veritable one-stop shopping store for thieving DJs and beat-starved rappers.

And if that music lingers in the back of America’s collective consciousness thanks to TV, radio, and mall Muzak, it has at times taken on an almost spiritual meaning for certain African musicians.

Case in point: the newly released Ghana Soundz, a hip compilation of funk-influenced ’70s garage soul from the West African nation of Ghana. You might have heard about it this week during one of your frequent James Brown encounters; the CD was reviewed prominently on NPR radio, and Brown’s influence was duly noted.

This scintillating slice of Afro-beat sizzles with obscure underground bands that coexisted in a sort of musical parallel universe at the same time Western audiences, newly smitten by Jamaican reggae, were embracing the stony, lilting rhythms of such Nigerian highlife acts as King Sunny Adé and, to a lesser extent, the heavy politico Afro-pop of Fela Kuti.

Most of the music on Ghana Soundz was never heard outside of Africa–until now.

According to the Rough Guide, following the overthrow of Pan-African leader Kwame Nkrumah in 1966, Ghanaian culture went into decline and the golden age of big-band highlife music stagnated as many musicians left for Nigeria and Europe. In the United States, Britain, and especially France, that exodus fueled the growing hunger for world music.

Then in 1971, the Ghanaian capital of Accra got on the good foot when it hosted the Soul to Soul festival, which featured Ike and Tina Turner, Wilson Pickett, the Staple Singers, Santana, and Roberta Flack, among others. That, in turn, helped launch a new movement in which young Ghanaian musicians starting incorporating funk and R&B into highlife.

And those freshly enlightened Ghanaian funksters quickly became enthralled by the black pride and sweaty funk first pioneered by Brown and his jazz-educated cohorts Maceo Parker, Pee Wee Ellis, and the other members of the Famous Flames.

While the bands on the 14-track Ghana Soundz are wildly diverse in their own ways, they all share one thing in common: All were doin’ it to death to those irrepressible down-D, funky-D James Brown funk grooves. You can hear it loud and clear in Marijata’s “Mother Africa” and again on Honny and the Bees’ “Psychedelic Woman”–and yet again on funk-flavored songs by the Sweet Talks and the Ogyatanaa Show Band.

The brainchild of British record producer Miles Cleret, who spent two years collecting these rare dance tracks, Ghana Soundz already is proving so popular among Afro-beat revivalists that two more volumes are in the works.

Meanwhile, James Brown steps center-stage in the North Bay in a big way when he brings his nonstop rhythm and soul revue on Thursday, June 19, at 8pm to the Luther Burbank Center for the Performing Arts, 50 Mark West Springs Road, Santa Rosa. Tickets are $55-$125. 707.546.3600.

From the June 12-18, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Ariel Gore

‘Atlas of the Human Heart’ by Ariel Gore.

Mother of the Year: Ariel Gore’s new book narrates both her physical and emotional journeys.

Coming of Age

Ariel Gore narrates her journey to Hip Mama fame

By Krista Reid-McLaughlin

For years Ariel Gore has counseled would-be’s, should-be’s and wannabe’s on everything from pregnancy and diaper debates to childcare and collection agents through her zine, Hip Mama, and her book The Hip Mama Survival Guide. An avatar of the practical, down-and-dirty mothering style that eschews designer strollers and embraces bringing the baby along to political demonstrations, Gore’s simple message is that there are no rules, and–more than anything else–what hip mamas need is to remember that, as she puts it, “we can only be who we are, after all, and we can give our children only what comes from our hearts.”

Now, Gore has released Atlas of the Human Heart (Seal Press; $14.95), a memoir that chronicles her journey from teenagedom to motherhood–and across Asia to Europe.

In previous writings, Portland-based Gore has revealed snippets of her earlier years, but in Atlas she reacquaints herself with that tumultuous time. Recalling her inspiration for the work, she says, “I’d just moved to Portland and got a residency teaching creative writing at Benson High School. Being around all those teenagers, reading their poems and stories, being on a high school campus–all that got me flashbacking to my own teen years, so I started writing a short story about being in high school. And after a couple of months, I realized I probably had a book on my hands.

“So that’s where we met, me now and my teenage me–we met at Benson High School in Portland.”

Gore refuses to categorize her book, saying that it is either fiction, “meaning it’s 76 percent true, or it’s a memoir, meaning it’s about 76 percent false.” But her story at its core is simple: a teenage girl seeking to escape the hell that is her adolescent life. She tries drugs, sleeps around, gets taken advantage of, and ends up pregnant.

The difference between this story of teenage angst and the many others that have come out recently is that Gore uses the world as her school and spans the globe searching for meaning everywhere–except at home in Palo Alto–to make sense of a time that was a cesspool of, as she puts it, “Money! Cocaine! Vanity! Marketing! Reagan! Sexual violence! Homelessness! AIDS!”

Gore’s prose is infused with her poetic, humorous voice. “In writing the story–and then the book–I tried very consciously to stay in my teenage voice,” she says. “It was important to me not to write a book ‘looking back’ on those years. I didn’t want to overlay an adult analysis or a feminist analysis or a maternal analysis on anything that had happened in those years. So that was the goal: To leave my present self out as much as possible.”

Atlas of the Human Heart begins simply enough at a place and time that we can all relate to: high school, a time of hormonal upheaval and angst, mixed with a bizarre sense of immortality. Here we find the 15-year-old Ariel Gore. Like many of her peers, Ariel is the product of ’60s hippie values, “raised with this sense of freedom and power and hope and love . . . with the idea that the world was my school.” She had a mentally ill and absent “bio-dad,” as she refers to him, and a mom with the uncommon child-rearing philosophy that children learn independence through neglect.

At home Gore is jerked around and dumped by her socially aware boyfriend, quietly raped without recourse, and unable to find time on her mother’s docket. Gore says that “one day I looked around at the world and I just wanted to run away. Everything seemed so shallow and messed up.

“I really had a little bit of a breakdown, and then I got it in my head that maybe there were places in the world not like that. Maybe I could travel to the places I saw in National Geographic and find some kind of a ‘home and youth of the soul’–someplace where I wouldn’t have to choose between remaining a child, which is impossible, and the only alternative I saw, which was psychic death.”

Here’s where the story veers off the familiar path. Instead of acting out at home or crashing a new BMW like many of her Bay Area peers, 15-year-old Gore’s disgust with life takes her to China–where she acts out internationally. It takes a certain inner resolve and fearlessness to leave the relative–if dystopic–comfort of American teenage life to travel abroad.

“There is fearlessness and then there is foolishness,” Gore says. “Having a well-developed sense of intuition–and the wherewithal to trust that intuition–is so important. But how do you develop intuition without getting into trouble?

“As a teenager, I just don’t think I cared that much about survival. Of course, the instinct to survive was there, but the wisdom that can border on paranoia didn’t come until much later.”

The world, Gore quickly discovers, is not the one she saw in National Geographic. In China she is warned from the beginning not to talk of politics, and yet when she persists, she finds that her actions could have devastating consequences for others and mean the loss of her own personal freedoms.

Gore moves on to a vibrantly hued and pungently scented Tibet where politics again touch her journey. She finds relief that she has missed a political massacre and notes, “This wasn’t my war.” In Katmandu, Gore befriends a young thief and explores her sexuality. When she runs out of money, she takes on some smuggling assignments that leave her stranded and penniless in Amsterdam.

Here she is mugged and becomes homeless until she falls in with a pot-smoking crowd squatting in an abandoned basement, and meets Lance, the man who will beat her, belittle her, and impregnate her. She prostitutes herself, living a downward spiral until she is placed in a hospital where she is “unable to give a clear account of her origin or destination.”

Gore’s story is centered on her efforts to escape the binds of Palo Alto, the United States, and teenagedom. She moves from place to place without making many conscious choices and ends up in a situation that binds her in one way or another to two human beings–her daughter and the daughter’s father–for the rest of her life.

When asked if she finds any irony in that, she responds, “For sure. Traveling, in the end, didn’t ‘free’ me in any traditional sense of that word. I don’t think I escaped any of the demons adolescence had in store for me. I could have done things more gracefully, maybe, but there are also some lessons you have to go to hell and back to learn.”

Those lessons are things that Gore has tried to pass on to her now 13-year-old daughter. “I think I learned to trust my intuition. And that’s something you can tell your children about, but unfortunately something they might have to learn for themselves. And I learned not to surrender my imagination to any school or government or dreary adult way of being.

“In some ways,” Gore adds, “that’s what adolescence is all about–the struggle not to surrender your imagination. . . . And in most people, the imagination gets buried for a time. The trick is not to let it get buried too deep.”

Gore exercises her imagination. Words as symbols, shelter, and refuge play a significant role in her journey, whether they are written on the body, a T-shirt, or in a book or journal. She seems to be piecing together the puzzle of self-expression, discovering writing as a right and a necessity.

“I wonder if I would have become a writer without those traveling years,” Gore ponders. “I might have, but I think that traveling, being alone a lot of the time, living in places where English was not the primary language, finding a kind of permanence in words and in poetry that I didn’t find anywhere else–all those things were so influential.

“As I was writing this book, there was a point where I became very conscious that I was writing a coming-of-age memoir about a writer–the story of how I got to be a writer.”

Ariel Gore will read from ‘Atlas of the Human Heart’ on June 16 at 7pm at Copperfield’s Books, 138 N. Main St., Sebastopol. 707.823.2618. Fisher poet Moe Bowstern, acoustic tunester Maria Fabulosa, and spoken-word artist Fern Capella will accompany her.

From the June 12-18, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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