Mill Valley Scrabble Club

0

Scrabble’s just as close as a Mill Valley pizza joint

If you go out for pizza in Mill Valley and see more people playing Scrabble than eating pizza, don’t do a double take. Especially if it’s a Thursday night at Round Table, because that is when and where the Mill Valley Scrabble Club meets weekly. They take over an entire section of the dining room and play Scrabble from 5pm until the restaurant more or less closes. Which may sound very intense, but–come on–this is a pizza restaurant. Cheesy Top 40 rock music blares at Round Table volume–stuff like Cher and the Offspring–and while the club members are passionate about Scrabble, there is a loose and open atmosphere.

“We just come here and talk, we’re all friends, and I love them dearly,” says Cynthia Pughsley, an upbeat and chatty woman from Oakland who happens to be one of the best Scrabble players in the country. “We do a lot of potlucks–just get together at people’s houses and play Scrabble. It’s our common bond. There’s such a wide range of people from all walks of life. And I love that. All ages, colors, everything.”

Though the very upper echelon of competitive Scrabble is known for its assortment of obsessive, high-strung personalities, the everyday Scrabble lovers who compose the bulk of the National Scrabble Association’s membership are regular, well-adjusted people who convene not to kick each other’s asses but just for the joy of playing Scrabble.

“We have a few Scrabble war stories,” Pughsley admits, “but mostly everybody plays for the love of the game. We’re not into going crazy.”

There’s a strong presence of Scrabble clubs in the Bay Area–there are clubs in Oakland, San Francisco, San Jose, Los Gatos, and other cities across the Silicon Valley–and Northern California’s “Scrabble Zen” attitude seems to color most of them. Everyone at the Mill Valley club is friendly and welcoming.

Pughsley, who once ranked 75th in the nation, sits down to play with two demure ladies from the nearby senior center who are mainly there for the social kicks. The intent is on having fun and playing well. In between shuffling tiles on their racks, people sneak bites of personal pizzas and wave hello to the club members who continue to trickle in.

Lester Schonbrun, a soft-spoken man in his mid 60s who played his first game of Scrabble in 1954, is the Mill Valley club’s resident Scrabble superstar. One of the originators of the New York tournament scene in the 1960s, Schonbrun merited an entire chapter in Word Freak. Considerate and modest, Schonbrun is a model of Scrabble’s more grounded side and a testament to the fact that you don’t have to be wacko to win tournaments.

“Recently,” says Schonbrun, “most of the clubs have picked up membership quite a lot. For many years, there’d be two types. One type gets beaten very badly, and they say, ‘I’m never coming back here!’ The other type also gets beaten very badly, but they say, ‘I love this game. I’m going to learn how to play it.’ And they’re the ones who become good players. Unfortunately, until Word Freak appeared, that seemed to be about 5 percent of the new players.”

The other 95 percent can’t be too far behind.

The Mill Valley Scrabble Club meets on Thursdays from 5-10pm at Round Table Pizza, 50 Belvedere Drive, Mill Valley. Call 415.388.3549 for more information.

From the October 24-30, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Lucy’s

0

Slow Cooked

Enjoy Lucy’s at your leisure

By Davina Baum

This is the way to eat at Lucy’s: slowly. The Sebastopol eatery, sitting comfortably off the plaza, luxuriates at a pace that approximates the passage of the ages. No matter what time of day, what server, or what you order, Lucy’s is just slow.

Not to say that this is a bad thing. Lucy’s, which moved into its current location from a smaller space on North Main Street a year ago, is a pleasure–an expensive, slow pleasure, but still a pleasure.

In forfeiting its Sebastopol Avenue entrance (the door onto the street is just an emergency exit), Lucy’s turns its focus toward the plaza. A newly added outdoor seating area provides ample entertainment on Sunday market days and warm evenings.

Lined with brick walls and an open kitchen, the dining area is set off from the more casual cafe and bakery space; the two brick ovens tease diners with what’s to come as they pass by to their seats. The soft lighting, dark wood tables, and sleek, curving bar create a thorough warmth in a space that could easily seem cavernous. Large abstract paintings by co-owner Chloe Beard adorn the walls. Chloe’s partner (in life and business), Jonathan Beard, usually works the kitchen while she serves as maitre d’.

A swanky bar menu sets the mood. Lucy’s version of the Cuban mojito ($7.25) is light and summery, muddled well with fresh mint. The sidecar ($6) is sugary sweet and packs a brandy punch–a perfect autumn evening cocktail. Once the drinks come, we turn to the menus, surpassing Lucy’s friendly staff at their own slow-paced game.

Jonathan Beard calls the menu “Mediterranean-influenced,” and the influences come in the form of dishes abundant with southern European delights such as goat cheese, olives, seafood, and grilled meats. A proximity to the Sunday farmers market has encouraged connections aplenty, and most of the produce is locally grown.

The hazelnut-encrusted baked goat-cheese salad ($8.75) features said baked goat cheese as the star; a generous round of the nutty, crumbly good stuff sits on top of locally grown greens, cherry tomatoes, and olives doused lightly in a balsamic vinaigrette. The roasted beet salad ($8.75) also has a healthy dose of goat cheese. The deep red vegetables, roasted to rich perfection, sit happily aside walnuts, frisée, marinated red onions, and the tasty cheese.

The busy brick ovens spit out perfect crackly-crusted sourdough pizzas and fat calzones. The seasonal harvest pizza ($13.50) is topped with local grapes, caramelized onions, rosemary, gorgonzola, mozzarella, and pine nuts. The pizzas are a great brunch treat, but on this particular evening we went straight for the entrées.

The grilled local king salmon ($18) is perfectly medium rare and moist. It shines far brighter than the lackluster rice pilaf and arugula and tomato salad it sits with. Competent grilling lets the salmon speak for itself–no overpowering sauces or toppings.

The grilled Delmonico rib-eye steak ($21.50), however, is topped with a far-too-generous slab of tarragon butter, making the dish a greasy mess once it all melts. The butter-topped steak sits atop garlic mashed potatoes, which ensures a fat-and-cholesterol-laden decadence worthy of the finest hedonist. Lightly sautéed French beans add a touch of greenery.

To add heart attack to injury, we inhale a plate of garlic and sage yam fries ($5), cut into shoestring size–light on the sage and heavy on the garlic–and served with spicy homemade ketchup.

In fact, all the condiments at Lucy’s are homemade. Weekend breakfasts come with homemade ketchup, hot sauce, and jam. Good scrambles, omelettes, and fritattas dominate the menu on the weekends, though the ricotta pancakes are moist and delicious–definitely worth a try.

Lazy Sunday brunches are also the time to taste the magic that comes out of those big brick ovens. Lucy’s always has a table at the Sunday market, but any weekend morning can provide the opportunity to taste fresh baked bread, bagels, pastries, and granola, all made with organic flour.

The wine list features a good range of local and foreign wines. A glass of Fox Creek Verdelho ($6) from Australia is nice and crisp. Verdelho is a Portuguese grape that’s often used for making port, but those wily Australians have captured it and turned it into a refreshing pineapple-tinged wine. The Noceto Sangiovese ($6.25) from the Sierra foothills is a medium-bodied, cherry-rich wine.

The dessert list is short and sweet (all the treats are made in-house too). We settle for the white Russian crème brûlée, a variation on the classic that perhaps should never have been tampered with. This version is rich with Kahlua. It’s too cold in the center, though–it should be room temperature–and someone was a little too liberal with the blowtorch: the top is charred.

A meal at Lucy’s can be expensive but doesn’t have to break the bank. Careful choosing can moderate the damage. Two salads, a shared pizza, and wine would make a great dinner for two, and you could get out of there having spent under $50. Still, for most people, that’s a special-occasion price tag, pushing Lucy’s into the expensive category.

With K&L Bistro down the street vying for best-in-town fine-dining status, Lucy’s would do best not to compete with prices there and instead position itself as a casual, everyday option. My advice may not carry much weight, though, considering that Lucy’s still manages to fill up tables every weekend. It’s the good food that does it–and a casual warmth that makes patrons feel welcome.

But don’t go if you’re in a hurry.

Lucy’s, 6948 Sebastopol Ave., Sebastopol. 707.829.9713. Open for brunch Saturday- Sunday, 9am-2pm; dinner nightly, 5:30-10pm.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Charlie Hunter

0

Antacid Jazz: Charlie Hunter reluctantly leads the pack of alternative jazz musicians.

Jazz Nation

Guitarist Charlie Hunter targets alt-rock fans

By Greg Cahill

I think all musicians are on a mission–at least the real dedicated ones are on a journey,” says jazzman Charlie Hunter, 32, who, when onstage, sports an eight-string guitar and a wry smirk that hints he is harboring some deep secret. “I mean, I don’t want to get all hippy-dippy, but the goal is to reach the spiritual center of whatever music you’re searching for. In that search, for me, it’s real important to bring in other people and to have it be a real honest scene in which the audience is also part of the music. So it’s now, it’s happening now!”

True to his word, Hunter’s latest album, Songs from the Analog Playground (Blue Note), is a mesmerizing mix of mainstream jazz and rock fusion, with Latin, African, Asian, and New Orleans influences. And for the first time, vocalists are brought into the mix.

The contributing singers are Theryl de Clouet from New Orleans jazz-funk band Galactic, rapper Mos Def, Kurt Elling, and Norah Jones, daughter of Indian sitar master Ravi Shankar (and a pop-jazz phenom in her own right), who on the album performs Roxy Music’s “More Than This” and the show-stealing closer “Day Is Done” by Nick Drake. Hunter returns Oct. 25 to the Mystic Theatre in Petaluma.

The new album has drawn rave reviews and bolstered Hunter’s growing reputation as one of the leaders of a burgeoning, pop-influenced hybrid sound that is turning Gen-Xers on to improvised music. Yet Hunter, a Berkeley native who honed his jazz chops a decade ago at the Up & Down Club in San Francisco, is reluctant to stake his claim beside such innovative jazz players as saxophonist Steve Coleman, avant-garde bandleader Peter Apfelbaum (who contributes to the new album), or the downtown denizens of New York’s celebrated Knitting Factory who are helping to reinvent improvisational jazz.

“Peter [Apfelbaum] is way ahead of me–miles and miles and miles ahead,” Hunter says modestly. “I’d say that the only people who are really doing what we’re doing are [the New York-based keyboard combo] Medeski, Martin, and Wood, and they’ve been doing it longer, taking improvised music to the people.”

As for his own innovative sound, Hunter laughs,”It’s jazz music of some kind. It will all be changing in time, because I’ll be changing over time.”

That may sound coy, but Hunter wants to thwart those who lump him in with the acid-jazz movement or whatever flavor-of-the-month is in vogue. “Well, that whole acid-jazz thing is going to wear thin pretty soon, and it’s never really applied to us,” explains Hunter, who prefers to call his groove “antacid jazz.”

And then there’s that alt-rock thing. Hunter spent the late ’80s playing guitar for the agit-rap group Disposable Heroes of Hiphoprisy, but found the experience musically unrewarding. But his own jazz group have appeared on the Lollapalooza alternative music stage and routinely play at rock clubs. A few years back, Hunter contributed a track to Primus chief Les Claypool’s first solo album.

In his spare time, Hunter has dabbled in a side project, a jazz and soul tribute band signed to Warner Brothers called T. J. Kirk. But it was his eagerness to cover grunge songs that helped tie him to the flannel-shirt-and-pierced-nose set.

“I think that because we covered a Kurt Cobain song on the first Blue Note record, people have decided that we’re really into alternative rock. Actually, Nirvana is probably the only alt-rock band that I know,” he adds with a laugh, “but Cobain was a really good songwriter.”

Does he identify with the Alternative Nation? “Yeah, I think our music is an alternative to the suit-and-tie club that says you have to be well-to-do and super intellectual to understand jazz music,” he responds. “We don’t have that attitude. We play at places where people aren’t interested in pigeonholing instrumental music.”

So don’t look for Hunter among the stylish, Italian-suited retro pack epitomized by Wynton Marsalis and the so-called young jazz lions. “That’s just not where I’m at,” he says. “I feel a real urgency in life and that’s reflected in my music. It’s my only creative outlet. It’s the only avenue I have to scream about my life and what’s happening in other people’s worlds. It’s my fail-safe antidote to the world.”

Charlie Hunter, with legendary drummer Idris Muhammad, performs a rare duo show on Friday, Oct. 25, at 9pm, at the Mystic Theatre, 21 Petaluma Blvd., Petaluma. Realistic opens the show. Tickets are $20. 707.765.2121.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Art Garfunkel

0

The Original G

Worldwide walker Art Garfunkel comes to the LBC, new album in tow

By Sara Bir

For anyone who has been wondering, this is what is, or was, on Art Garfunkel’s answering machine:

“Shoo fly pie And apple pan daddy Leave your message now And let your tummy say howdy.”

Only it’s not Art singing. It’s his son, James, who’s 11 and a half now. “I’m nuts about this boy. He’s just a wonder. It’s like a phoenix coming out of . . . never mind,” says Art from his office in New York, his mind trailing off for the slightest second. Otherwise, though, Art’s tone is focused, intense, and patient–to the point that referring to the legendary singer with a curt, journalistic “Garfunkel” does not seem to do the man justice. Art it is.

These days, outside of his music career–which has been amazingly active ever since Simon and Garfunkel split up in 1970, encompassing some 10 solo projects–Art is known also for his long walks. He’s already crossed America, and he’s working his way across Europe now.

“Usually I’m a loner,” Art says. “I’m headed for Istanbul, and I’ve gone now through about half of France. The last leg was about 140 miles. It’s a nice leg of . . . continuity, a great break from the New York City life I live, which is not enough horizon.”

Walking 140 miles leaves much time for pondering. “I look for parallels: What is there in God’s natural world that is like human nature? What are we humans inclined to do, and what’s going on in nature that’s doing the same thing?”

This is the stuff that eventually makes its way into Art’s poetry. He came out with a book, Still Water, in 1989, and those poems have, for the first time, morphed into songs on his new album, Everything Waits to Be Noticed.

A collaboration with singer-songwriters Maia Sharp and Buddy Mondlock, the album’s seeds were planted when producer Billy Mann suggested that the three write together. At that point, Art hadn’t heard or met either musician.

“We met when I began to trust Billy Mann as a record man,” he relates. “He said, ‘I want you to meet these two people that I see you writing with and singing with, so come to Nashville–Buddy’s working on one of your prose poems.’ And that excited me a lot, because I believe in my writing, and nobody’s successfully tried to make my [poems] become songs.

“It was thrilling to see him give me that perfect moment from one of my things. Maia Sharp flew in the next day. We turned to my book, and they said, ‘We like one of your poems, “Wishbone”–“A wishbone was broken, I’m left holding the smaller part. . . .”‘ We all started working on it, and right around there I became a writer!”

Since then, Art’s been performing some of his songs. “It’s great . . . it’s similar to the normal show I do, but it’s got a plus factor. Each time I execute this song compared to the others, I step back and go, ‘Gee, that satisfies me. That’s exactly my taste.’ And then I think, ‘I know–I wrote it!'”

Everything Waits to Be Noticed refers to a notion Art’s friend Jimmy Webb once related. “Scientists look at microorganisms in a lab, and they see these little microbes do something and it will be recorded, and then they’ll turn off the lights and go home. Overnight, the organisms do much, much more of it–whatever it is.

“And that really intrigued me. When things are not watched, what kind of existence do they have? The old ‘If a tree falls in the forest . . .’ It tugs at my mind in a fertile way.”

It’s that tugged-at mind that led Jack Nicholson (who starred with Art in Mike Nichols’ film Carnal Knowledge) to give Art his enigmatic nickname: the G. “It makes me laugh, because I associate it with Jack [Nicholson]. He’s been calling me the G for years and years . . . or the New G. I’ll pick up the phone, ‘Jack! It’s the old New G!'”

Art Garfunkel performs with Maia Sharp and Buddy Mondlock at the Luther Burbank Center on Friday, Oct. 18. Tickets are $39-$62. 50 Mark West Springs Road, Santa Rosa. 707.546.3600.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘The Turn of the Screw’

Cleaning House: Victoria Rhoades and Steven Abbott, as the governess and her guv’ner, face down evil spirits.

Fear Factor

AT delivers chilling ‘Turn of the Screw’

By Patrick Sullivan

What children want is a mystery,” exclaims one confused adult in The Turn of the Screw, now onstage at Actors Theatre. And the audience, in its heart, wants to shriek, “Amen!” Who hasn’t felt the vertigo that comes from looking into a child’s eyes and suddenly sensing a spooky inscrutability?

The weird unpredictability of kids has launched a thousand plots. But it’s used to particularly good effect in this drama, playwright Jeffrey Hatcher’s adaptation of Henry James’ tale of suspense set in Victorian England. Hatcher has assigned all the story’s roles to two actors: Victoria Rhoades and Steven Abbott in this AT production directed by Sheri Lee Miller.

The plot is a masterpiece of confounded expectations. A naive young governess (Rhoades) stumbles across what seems to be a dream job. She’s hired by a gentleman playboy (Abbott, who also plays every other part here) to take full charge of his orphaned niece and nephew, who live in a remote country mansion.

Alas, the governess quickly discovers that her employer’s job description omitted some important facts, including juvenile delinquency, insanity, a couple of corpses, and possibly an evil spirit or two.

Her young charges are deeply troubled. The four-year-old girl, Flora, will not utter a word. The boy, Miles, has been expelled from boarding school for what the headmaster calls “unspeakable acts.” And then there’s the house itself, which has a dark history. Soon, the governess is spotting lurking figures on the tower and finding bizarre riddles written in her bible.

Eventually, she persuades the only other adult present, a harried housekeeper, to tell the truth: the previous governess perished under mysterious circumstances after getting involved with the mansion’s knavish manservant, who is also now dead. The governess comes to believe that the lovers’ spirits are lingering to exert a malign influence over Miles and Flora.

Hatcher’s play depends heavily on having two excellent actors making fantastic chemistry together. AT’s production offers mixed results in this area. Rhoades and Abbott get off to a slow start with the first scene. Abbott doesn’t convincingly portray a sexy playboy, and there’s no real erotic tension here.

But that turns out to be the weakest scene in the play, which quickly builds a strong head of steam. Rhoades delivers an excellent performance as the governess, offering a subtle transition from bright-eyed enthusiasm to more complicated emotions.

As the fey Miles, Abbott is simply a wonder. He moves and talks like a 10-year-old boy, and he offers a delicate portrayal of Miles’ mental disturbance. As the governess starts to see evil influences at work in the boy, she talks of seeing “a smile like the glitter of a drawn blade” in his face. Abbott fully delivers on that description, yet still manages to leave his character’s motives open to interpretation.

Indeed, it’s the uncanny chemistry between Rhoades’ governess and Abbott’s Miles that distinguishes this production. That chemistry also focuses attention on an often overlooked theme in the original story: the essential strangeness of kids.

When the lights dim, the audience is left with the distinct impression that there is the adult world and the world of children, and between them a gulf so deep that adults can drop all their preconceptions and idealized notions into it and never hear them hit the bottom.

‘The Turn of the Screw’ continues through Nov. 2 at Actors Theatre, 50 Mark West Springs Road, Santa Rosa. 707.523.4185.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Teens and Oral Sex

It’s 10pm, Do You Know?

Kids aren’t having casual sex, they’re having oral sex

By Joy Lanzendorfer

Brad, 15, has had oral sex with three different partners, only one of whom was his girlfriend. The other two girls were “just friends,” he says.

It’s common among his friends for girls to perform fellatio on boys they aren’t dating. In fact, he says, they do it all the time–at parks, parties, and even at school.

Ashley, 14, agrees with Brad. She says that oral sex is definitely more common than intercourse among the teens she knows. She first performed fellatio when she was 11, she says, but most of her friends started later, around 12 or 13. Though she says that at her school people don’t have oral sex with friends like they do at Brad’s school, in most cases it’s the girls doing the giving, often because they feel they have to in order to keep their boyfriends.

“Girls don’t have to sleep with their boyfriends, but boys will say, ‘Give me a blow job, or I’ll break up with you,'” she says.

Whitney, 16, hasn’t had oral sex because it’s “nasty,” but she says that almost everyone she knows has done the deed.

“My friends tell me that I’ll like it if it ever happens to me,” she says. “They tell me that giving it is not so bad.”

Of the 25 teens interviewed, almost all said that the girls performed fellatio on the boys. The only time the guys reciprocated was when the girls were their girlfriends. In a few cases, as Ashley described, some girls seem to feel they have to perform oral sex to keep the guy’s interest. Alcohol and drugs are sometimes part of the equation. Several teens described the girls who casually perform oral sex as “druggies.”

The drawbacks for girls in this situation are obvious and typical. As well as potential infection, girls also face long-standing preconceptions about sexual availability–being “easy” if they “give it up” to a boy.

However, oral sex doesn’t always fit into the same category as intercourse. In today’s girl-power world, some girls view oral sex as a means to assert control over when and how they are sexual. Some may even use oral sex as a way to maintain their virginity while still pleasing their boyfriends.

A Kiss Goodnight

These North Bay teens are part of a growing segment of teenagers embracing a more casual view of oral sex. Healthcare professionals and educators alike are starting to see evidence that teens as young as middle school are viewing oral sex as a fun activity to be done among friends. Some even view it as another kind of kissing. Often, teens see oral sex as a safer alternative to vaginal sex, because they are unaware that STDs can be transmitted through oral sex.

On the May 7 episode of the Oprah Winfrey Show, Winfrey and her psychological sidekick Dr. Phil, who recently launched his own show, showcased a group of teens who shared this new, casual view of oral sex. Shocked parents and audience members watched as teens described having oral sex with people they weren’t dating, simply because they wanted to. The teens said that parents who thought of oral sex as intimate and to be done after vaginal sex were old-fashioned. The show called oral sex the new “spin the bottle.”

But Winfrey’s show was not the first to tackle this issue. Back in 1997, articles appeared in major newspapers such as the New York Times, Washington Post, and USA Today talking about this new trend. While the anecdotal information continues, few studies have emerged giving factual data on how serious this issue has become.

However, a 2000 study by the Alan Guttmacher Institute in New York revealed that there was a lack of information among teens on oral sex and other noncoital behaviors, such as mutual masturbation and anal sex. According to the study, “many teenagers perceive oral sex as safer and less intimate than intercourse. Teenagers seem to be especially misinformed about the STD risks of oral sex.”

How serious is this issue in the North Bay? Are more local teens practicing oral sex, or is this another example of media exaggeration?

“In the past five years, we have seen an increase in oral sex among teens,” said Barbara Branagan, RN, Sonoma County’s Public Health Services director and head of the Sonoma County Public Health Clinic. “Teens are definitely more casual about oral sex and view it differently than other generations have. Some teens are having it at parties, in groups, and they don’t see anything wrong with it.”

Just how many students are doing this remains a question. Branagan is quick to point out that she does not believe the majority of teens are having oral sex, just that her clinic has seen an increase.

Branagan acknowledges the girl-power issue plays a role. “It’s almost as if the girls are getting a kind of reversed power out of it,” she said. “Instead of sex, which is thought of as something boys do to girls, they are doing the oral sex to the guys.”

Of the 25 teens–between ages 13 and 17–interviewed for this article, the results were mixed. While plenty of teens had views like Brad and Ashley, almost an equal number have not had oral sex, and several of them called it “immoral behavior.”

Among the five 13-year-olds I talked to, none of them had had oral sex. However, all but one student said that either their friends or other students at school talked in detail about having had oral sex.

“They are having it,” said Shannen Farrell, matter-of-factly. Farrell is a health information specialist who presents sex education through the Sonoma County Public Health Clinic to county schools. “Many students have talked to me about this issue. And I can see it on their faces when I talk to them about oral sex. It’s not all of them, but it’s clear that a lot of them are. It’s fair to say that the number of students having oral sex is increasing.”

The clinic has heard of parties where teens have group oral sex, doing it in front of each other as past generations played kissing games. The change in attitude has shocked more than one educator.

A principal of a local middle school called the clinic about a teenage couple in the parking lot of the school caught masturbating and performing oral sex on each other. When confronted, neither teen thought it was a big deal.

“To older generations, oral sex is something that comes after sex, something that is considered quite intimate,” said Farrell. “To this generation, it’s more casual and seen as something that comes before sex. For some teens, it’s almost a part of getting to know each other.”

Presidential Precedents

Experts say the reason for the shift in attitude toward oral sex is partially due to our sex-soaked culture. The Monica Lewinsky and Bill Clinton scandal made oral sex seem more acceptable, and some teens have used it as an excuse for their behavior, according to Lynn Ponton, a psychiatrist at UC San Francisco. “Kids tell me over and over in my office, ‘The president did it.'”

In the media, sexual images are aimed at younger audiences. MTV seems to get more sexual every year. For example, this season of the reality-based TV show The Real World, set in Las Vegas, has already featured young, attractive cast members engaging in a threesome–a far cry from the aspiring poets and police officers the show put on when it first started in 1990.

Recently, during an episode of The Real World, MTV aired a commercial encouraging the awareness that oral sex is not safe sex. The ad, with four women sitting around a cafe table, was a spoof on HBO’s Sex and the City.

Pop music is being manufactured for younger teens–the new target demographic–while it is becoming more sexualized. Singers like Christina Aguilera, Shakira, and Jennifer Lopez sport less and less clothing and more provocative dancing and lyrics. Britney Spears, whose fan base is grounded in junior high-aged teens and younger, presents a particularly conflicting image, talking about saving herself for marriage while prancing around half-naked and singing lyrics fraught with sexual innuendoes.

“There is a lot of talk about not doing it before you’re married, like Britney Spears telling us that, and then we found out she lied,” says Jennifer, 14. “It gives you a more broader view of day-to-day life. You see it happening a lot on TV or movies, which we seem to copy.”

A lack of education also contributes to why some teens are adopting new attitudes about oral sex. While kids are bombarded with sexual imagery in their daily lives, they don’t necessarily understand the risks involved with the sexual behavior. Forty percent of the teens interviewed for this article had not been taught about oral sex in school. In addition, many of the students didn’t consider oral sex to be sex.

Some sex educators encourage this view, leaving personal definitions up to the student. Jennifer Weaver, community health director for Planned Parenthood, teaches sex education throughout the Bay Area. She tells kids that they need to decide for themselves whether they are virgins or sexually active.

“Everyone views it differently,” she says. “Some people view mutual masturbation or oral sex as sex, and some don’t. I just try to define terms for them and let them decide for themselves.”

For the past two decades, sexual education has focused on intercourse with an emphasis on abstinence. Oral sex is sometimes ignored because sex education doesn’t always break down all sexual activities, one reason why there is so little data on teens and oral sex.

Most research surveys ask whether or not a student is sexually active. To many teens, being sexually active means having sex. So even if they are engaging in other sexual activities, like oral sex, when asked if they are sexually active, they will often answer no. Thus, researchers are gathering data from a question that many students misunderstand. When the term “sexual activity” is broken down, the answers are quite different.

“You ask them, ‘Are you abstinent?’ and they will say, ‘Oh yeah, I’m abstinent,'” said Farrell. “Then when you start to break down the different kinds of sexual activities, you hear a different story. We break abstinence down for them as absolutely no sexual activity with another partner.”

A 1996 UCLA study of 2,026 teens revealed that while 47 percent said they were virgins, 35 percent of those same teens engaged in sexual activity ranging from mutual masturbation to oral sex and beyond. Another survey by Twist magazine of more than 10,000 girls revealed that though 80 percent said they were virgins, 25 percent of those virgins had had oral sex.

Because of spotty education, many students are unclear about whether STDs can be transferred through oral sex. A 2001 survey by the Kaiser Family Foundation of more than 500 teens said that though 72 percent were sexually active, 93 percent didn’t think they were at risk for an STD. One quarter of those teens didn’t think an STD could be spread through oral sex.

Of course, STDs such as herpes I and II, gonorrhea, and syphilis are transmitted through oral sex. HIV and chlamydia can also be transferred through oral sex, though to a lesser degree. Condoms and dental dams reduce the risk of transferring STDs through oral sex.

Data on STDs in Sonoma County is not broken down into whether the diseases were transmitted via vaginal or other sexual activities. However, the 2000 Sonoma County Adolescent Health Perspective, which focused on the 13 to 19 age group, found that gonorrhea had increased 25.4 percent for males and 26.9 percent for females. Chlamydia has also increased in the last few years among teens, according to Branagan, but she says there is no evidence that the higher rate is related to oral sex.

Two-thirds of reportable STDs occur in people under 25 years old, according to the Kaiser Family Foundation. Part of this is because the reproductive systems of younger women are less resistant to infection, so they are more vulnerable to disease. Sonoma County is seeing higher rates of abnormal Pap smears in women under 20, and the rate is now comparable to abnormal Pap smears seen in 40-year-old women a few years ago, according to Branagan.

Educating the Educators

The first step to combatting this problem is a shift in how sex education is presented. A May 27 U.S. News and World Report story focused on how abstinence education has failed to hinder the high rates of STDs among certain groups of teens. The Sonoma County Public Health Clinic developed its sex education curriculum around how to maneuver a relationship, and the dangers of different sexual behaviors.

“We’re trying to get teens past thinking sex is just sex and that it’s not just hopping into bed with someone,” said Farrell. “We want them to think about the consequences of their actions, to realize that sex is emotionally complex, and that potentially getting a disease or pregnant is a serious thing. We are trying to show them that it’s not emotionally or physically easy to deal with something like having an abortion, for example.”

The sex education program explains what constitutes a sexual behavior and the dangers of each behavior.

“I really rail on the oral sex so they are clear,” adds Farrell.

Parental involvement is also deeply needed. Many parents are unaware that oral sex is a separate and complex issue from vaginal sex. Not a single student interviewed for this article had talked with his or her parents about oral sex, though many had had “the sex talk” (well, except for John, 16, whose Dad told him that it “doesn’t matter if a man is good in bed, as long as he’s good at oral sex”).

Sex educators suggest that parents define all possible sexual behavior with their teens, including oral sex, and talk about the emotional and physical ramifications of each behavior, as well as when it should be done and with whom. Parents should be prepared for arguments like “it’s not a big deal” and “everybody is doing it.” Also, avoid making assumptions about what teens know or don’t know regarding sex.

As a society, however, this trend speaks to a larger problem.

“We really need to ask ourselves as a society what we are teaching our children with this saturation of sexual images like we have,” said Branagan. “It’s not that the teens don’t have a responsibility in this issue, but in a way, they are mirroring back what we are teaching them.

“We need to really look at the images we’re sending out to our children.”

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Merci Pour le Chocolat’

Separated at Birth

‘Merci Pour le Chocolat’ will make you nice and drowsy

By

Sometimes a civilized entertainment is just too civilized. When that occurs, you can guess that Isabelle Huppert wasn’t far from the scene. Merci Pour le Chocolat is Claude Chabrol’s latest. And in the lead–playing another stiff-backed, polite murderess–we have Isabelle Huppert, late of The Piano Teacher, demonstrating almost expressionist levels of repression. I know that sounds like a contradiction in terms, but it isn’t so easy to describe the performance of an actress whose characters are so high-strung you practically hear a vibrato when they walk.

Huppert plays a chocolate heiress named Marie-Claire “Mika” Muller. She lives in Lausanne, Switzerland, with her husband, André Polonski (Jacques Dutronc), a noted pianist. His son from a previous marriage is Guillaume (Rodolphe Pauly). The parents understand that the boy, without ambition or apparent talent, is a disappointment.

Into this correct but not unhappy menage arrives a young woman, a piano student named Jeanne (Anna Mouglalis) who is possessed by an odd idea: she’d heard from her mother that there was possibly a mix-up of babies at the hospital and now believes André might be her real father.

André intuits that there’s merit in Jeanne’s idea. In her playing, he hears a reflection of his own talent, as clearly as he can see her in the reflection in the highly polished lid of his grand piano. Together, the two practice Liszt’s Funeral March, an unusual composition that starts with bass notes tolling like bells and ends in such an ornate series of chords that you temporarily forget that the grave is the goal.

This new friendship disturbs Mika, and she shows her jealousy like Huppert always does, by thinning out her already frosty smile of welcome. Perhaps Jeanne wouldn’t have intruded on Huppert’s household if she knew Mika might be capable of murder. And Guillaume may have grounds for moping.

Just as Hamlet had an uncle who was a stepfather, he himself has an aunt who is a stepmother. Mika inherited Guillaume from her dead sister who perished in an unfortunate automobile accident, having somehow got barbiturates in her bloodstream. Mika’s ritual of offering hot chocolate at night to her guests makes it clear how she might have done the trick.

Merci Pour le Chocolat has its good points, especially the flashback where we see the night of the mother’s death, with the bile-colored light puddling around Huppert. Chabrol also gets a frisson out of the way spilled chocolate looks like spilled blood. And Mika spends her free moments crocheting an uncuddly-looking Afghan from brown yarn. When spread around her, it’s the shape of a spider web.

The film is based on the novel The Chocolate Web by Charlotte Armstrong. Armstrong was a vintage mystery novelist whose book Mischief was the source for Marilyn Monroe’s B-picture Don’t Bother to Knock. She also wrote the basis for 1947’s The Unsuspected, a film noir with Claude Rains as a true-crime host forced to solve a murder he committed.

Merci Pour le Chocolat does seem like a similarly elegant late-show refugee. But in old age, Chabrol is applying himself to abrade the viewer’s nerves as gently as possible, like a cabinetmaker applying the finest sandpaper. Unfortunately, this opus is so well-bred it’s hard to stay awake for it. The way Chabrol directs here, he seems to have been imbibing from Mika’s barbiturate-laden aperitifs.

‘Merci Pour le Chocolat’ opens at the Rafael Film Center, Friday, Oct. 18. See Movie Times, p26, for showtimes.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Sonoma County Healthcare Crisis Forum

0

Critical Condition

SRJC conference to consider universal healthcare

By Joy Lanzendorfer

The Sonoma County healthcare system is broken. Despite desperate attempts to save it, every year it sinks deeper beneath a mound of seemingly unsolvable problems, which include mounting costs on all sides, a severe personnel shortage, and the ever increasing number of uninsured. The recent collapse of Health Plan of the Redwoods, the second largest HMO in the county, has put even more stress on a system that most agree is not working anymore.

On Oct. 19, a forum on the Sonoma County healthcare crisis at SRJC will look into alternatives to the system as well as discuss solutions to existing problems. Between 150 to 300 people are expected to attend. Speakers will include healthcare professionals, legislators, and educators. The event will be co-sponsored by SRJC, the Children’s Healthcare Access Coalition, California’s Physicians Alliance, and the SEIU Local 707.

Universal healthcare, a governmental form of healthcare that covers all citizens, will be presented as a new direction for the healthcare industry.

“The U.S. is the only industrialized nation that doesn’t offer some form of universal healthcare,” says Mike Smith, a former emergency room nurse who organized the conference. “It’s a way for everyone to have healthcare coverage. We need to stand up and demand that our legislators and representatives take it seriously.”

The conference will devote one of four panels to universal healthcare. Among the speakers is Judy Spelman, legislative director of Healthcare for All, a group heading a statewide coalition for universal healthcare. California legislators are currently drafting a universal healthcare bill, which she is expected to discuss.

“When writing this bill, legislators are looking at how other countries insure their citizens for much less money than we pay for healthcare in this country,” said Patricia Souza of the Children’s Healthcare Access Coalition. “There are a lot of issues to consider, like how it would preserve quality of care and prevent abuse of the system.”

The bill will be introduced to the state senate in January, which might mean California would be the second state to seriously consider universal healthcare after Oregon, which will vote on the issue in November. The Oregon plan would cost $19 billion, more than the entire state budget of $16 billion. If passed, Oregonians will see an 11.5 percent increase in payroll tax for businesses and an increase in personal income tax.

The remaining three panels will be devoted to the current healthcare problems, which are legion. More than ever, people are seeing double-digit rate increases on insurance. Local hospitals are struggling to pay bills and at least three hospitals–Healdsburg, Sonoma Valley, and Palm Drive–are faced with the possibility of collapse. The failure of HPR has flooded the entire system, taxing the resources of even stable entities like Kaiser Permanente.

While Sonoma County has always had a fairly large percentage of uninsured residents, recent events have caused that number to skyrocket. The sour economy is increasing the number of adults and children without insurance. Health Plan of the Redwood’s demise left thousands of local residents without healthcare coverage.

And since HPR was a large competitor in the senior market, many of the newly uninsured are elderly people who can’t afford to shift to a new plan. It’s so bad, some uninsured seniors have to choose between food and medicine, according to Smith.

The personnel shortage will also be a hot topic at the conference. The high cost of living and relatively low pay make it difficult for hospitals to attract and retain doctors, especially specialists. Other employees, from nurses to technicians, are also in demand. SRJC will present its healthcare programs, which range from nursing to technician to medical assistants. For the first time ever this fall, enrollment in SRJC’s healthcare program was full.

“We think the increase in students is because of the current economic reality and because many students reexamined their lives after 9-11 and wanted a more meaningful career,” says Ezbon Jen, dean of health and life sciences.

The conference will be held on Saturday, Oct. 19, 9am-3:30pm at SRJC’s Newman Auditorium. The fee is $10 and includes lunch and materials. 707.545.7349, ext. 111.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

A Street Gallery

0

Good as Gold

Printmakers practice alchemy at the A Street Gallery

By Gretchen Giles

Printmakers are an odd lot. Like alchemists with a sharp gift for drawing, printmakers tend to bob absorbedly in obsessive little worlds of technique and refinement, favoring such multisyllabic inbred passwords as monotype, intaglio, collograph, and lithography. Acids and other murky poisons make their work, papers must be literally rolled upon, and the end result is indeed sometimes pure gold. For the second year in a row, the most wonderful A Street Gallery in Santa Rosa showcases their exertions.

Showing through Nov. 2, the A Street’s annual printmaking exhibition, this year titled “Printed Matter,” should be declared an extra-credit enticement to every budding art student in the North Bay. While there, young budder, please consider the tale of Frank Ryan and take note.

Ryan is 23, he’s just finished a year studying in Italy, he’s been privately sponsored for this show–a patron paying the framing costs to ensure he could exhibit–he is collected by most of Sonoma State University’s canny art faculty, and he’s only just beginning to roll the boil of his alchemy. Frank Ryan, young budder, is aiming to be a star. Frank Ryan, O collector, is still cheap.

Trained as a painter, Ryan’s work in monotype printmaking is as maquette, the preparatory studies for finished work. Using a severe paucity of movement, relying almost solely on the reliable glory of light and a viewer’s brain synapses to put images together, his quick, deft strokes paint an everything from a nothing.

Viewed from across the A Street’s gallery floor, Ryan’s work looks photographic, intense, real. Viewed up-close, a truck’s headlights that had glared with such cinematic film noir intensity (Unloading) from way back on that wall now reveal themselves to be two brushes of white paint on this wall.

Profoundly influenced by English painters Francis Bacon and Lucian Freud, Ryan’s work also centers on human narrative, be it the discovery of a stiff bird in the backyard (Dead Jay) or a red-hued restaurant fight (The Argument). But the representational figures almost cease to matter, as Ryan’s surfaces are infinitely fascinating from any vantage.

Adjacent to Ryan’s work is the deep private world of master printmaker Jennifer Sturgill. Associated with San Francisco’s prestigious Aurobora Press as a master artist since 1994, Sturgill makes wood-block prints that are layered with paint, more prints, water stains, and even the shortened pieces of handmade paper that they’re made upon.

Seemingly placed in some mythical world (indeed, she has recently retitled some pieces in this exhibit that previously referred to such standard myths as Narcissus), prints like Sky have a stylized Grecian look, as though her figures are bending to pick up Diana’s golden balls in some long ago god sport. Mesmerizing in their proficiency and beauty, Sturgill’s works above all have a beckoning mystery, for her revelations–while certainly personal–are just within the thinking viewer’s grasp.

Why shouldn’t the image of a paunchy, nude, bald man reaching an oversized hand to fondle a leafless shrub be titled Unknown Beauty? Above the shrub, like a half-remembered dream, hangs the image of a younger man, dressed in a button-down shirt. Lover or self or son–it doesn’t matter who the younger man is, only that Sturgill’s work contains more than its share of unknown and unknowable beauty.

William Smith and Deborah Salomon fill out the rest of the show, Smith exhibiting his dark, witty, cartoony prints of stubble-faced men battling various demons. Smith–a printmaking and drawing instructor at both Santa Rosa Junior College and SSU–draws just like ringin’ a bell and has also put his time in at Aurobora Press.

There’s a vaudevillian air to the characters hiding in the corners of his work that whiffs of Poe Dismuke’s drawings, and his male noses acknowledge colleague Kurt Kemp’s proclivity for the phallus. Overall, his pieces share a naughty man-boy quality suitable for hanging in Maxim magazine’s hallways; were but all the editors there Harvard graduates over 30.

Salomon’s work exemplifies the technical obsessions of the printmaking profession, though her artist’s statement claims interest in the unpredictable rather than carefully staged result. Using collage to build her tiny pieces, none more than 12 inches high, Salomon in her work focuses on the graphics of letters and numbers and on subtle colorations.

Unfortunately, in an exhibit this lush, one dominated so hugely by Ryan and Sturgill, her meditative work gets largely lost.

‘Printed Matter’ runs through Nov. 2 at the A Street Gallery, 312 South A St., Santa Rosa. Gallery hours are Wednesday-Saturday, noon-5pm. Free. 707.578.9124.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

SMOVA

0

Coast to Coast

SMOVA’s ‘New York Experience’ brings East to West

By Gretchen Giles

One painting that you won’t see by Freestone artist Tony King at the Sonoma Museum of Visual Art’s newest exhibit, “The New York Experience,” is NYC, Target. Depicting the kingdom of Manhattan as seen from the back of the Staten Island Ferry, the city shines in gloriously clear colors on this canvas, a muted bulls-eye target enlivening the dark depths of its borders.

Conceived both as an homage to Jasper Johns’ target paintings and to the city itself, King painted NYC, Target in 1991 to laud New York as the art center of the world, the target of all ambitions. Back then both of the World Trade Center towers were extant.

Looking at this work today, it seems ominously prescient–which was not King’s point at all. “It’s so uncanny that I actually don’t want to show [it]. I don’t want to have to explain that I did this 10 years ago,” he says, shaking his head.

Which is not to say that King isn’t available to answer a lot of other questions. One recent afternoon, as his paintings lay stacked against SMOVA’s walls in advance of hanging, the poor man was made to talk and talk and talk as both this reporter and SMOVA executive director Gay Dawson waved recorders at him, peppering him happily with questions.

Beginning with his first sight of the city at age six and traversing the many years before he and his wife, the painter Pamela Glasscock, moved their family to Freestone from Manhattan in 1992, King tried to explain just what it is about New York.

“The clich´es of New York really are true,” he says at one point, referring to every giddy tale of artists glorying in bohemia from the Tin Can School of painting forward. “You didn’t have to work at making art your life,” he says later, reflecting on the milieu surrounding the 4,000-square-foot SoHo loft near Bleeker Street in which he lived from 1968 until moving to Freestone. “It was your life.”

King couldn’t walk down the street without running into someone connected with the art world. Parties were lousy with artists and writers, and everyone had huge, luxurious studio spaces as big as his own 4,000-foot monster back when SoHo was suspect rather than upscale. “There was something of a pioneering spirit to it all,” he remembers.

Whether that pioneering spirit still exists or is just the product of being young and passionately active in a career will be examined by the other artists participating in “The New York Experience,” which shows Oct. 16 through Dec. 22.

Museum director Gay Dawson won a grant in 2001 to spend part of that spring visiting artists’ studios in New York. The result is that seven Manhattan-based artists will fill the main gallery with work as disparate as a “talking” coat by China Blue, Richard Humann’s human artifacts, and Charles Orrs’ subversive investigations into the messages of commercial graphic design.

Other artists include sculptor Laura Sansone, assemblagist Top Changtrakul, sculptor Lars Chellberg, and painter Christopher Beirne.

“We’re kind of using [this exhibit] to explore what it’s really like to live in New York,” explains Dawson, adding rhetorically, “Do they get lost in the masses? They’re sort of ‘regular’ artists who might be analogous to many of the artists in our county. They’re not showing with [star-level gallery owner] Mary Boone; they’re emerging artists for the most part, but they’ve been at it for at least a decade.”

Dawson emphatically did not plan this to be an exhibit of post-Sept. 11 emotional wellspring. “The topic became relevant in an odd and unpredicted way,” she says, noting that she began work on the show well in advance of the tragedy. “National attention is focused on New York as a metaphor for recovery, but that’s not how we’re looking at it–we’re seeing it as a mecca for art.”

King provides a local balance in his works. Following a rough swathe of time from the late ’60s to early ’90s, these canvases reflect his growing interests as a creator, from the dizzying geometric tessellation of his first period to the massive photo-emulsion canvases of the middle, to the refined landscapes–banded top and bottom with the talkative columnar noise of aging newsprint–of his more recent work.

While attending Stanford, King trained as a mathematician and also took art classes taught by Richard Diebenkorn and Nathan Oliveira. Leaving college for a hiatus after his sophomore year, he headed back to the Big Apple.

There he found the uproarious learning cacophony of the New York Studio School, then in its first year. Run largely by students, the Studio School offered King drawing marathons and camaraderie and a strange twist on the usual lecture circuit.

“The students would call up artists and ask if they would come down,” King remembers. “Philip Guston and Willem de Kooning came–the students there felt no compunction whatsoever about asking them. Usually [the artists] would just say, ‘Yeah, OK, I’ll be there around noon,’ and they’d wander down.”

Even in his spacious SoHo studio, King eventually felt restless. Deciding to settle on the 60-acre Freestone property that he and his family visited each summer, he found himself refreshed by the land. While he refuses the title of plein air painter–one whose work is made on-site out of doors–he nonetheless now does much of his work on-site, out of doors.

A member of the Sonoma Four group that included William Wheeler, Jack Stuppin, and the late William Morehouse–a rowdy gang of painters documenting their outdoor visual adventures on canvas–King reflects, “If you can finish a painting outside, you’ve accomplished something different, because you’re willing to keep all your mistakes. For some reason, in the studio you’re not.

“It has to do with archetype,” he continues. “You might think or know that there really isn’t that drip of red on that mountain, but when it happens outside you think, ‘Christ, it’s just process.’ The art is so much about being outside; it’s about being in a place. You’ve already found the harmony, and hopefully it will flow through you.”

And finally, while Oliveira has remained a lifelong friend, King’s true teacher has aged a bit. “My mentor was Rembrandt,” he says somewhat surprisingly, given his detailed geometric and landscape work.

When asked why, he responds thoughtfully, “I probably would have told you something else even 20 years ago, but now I think that he’s at the essence of the mystery of painting. He had that ambiguity that we see in Cézanne and Diebenkorn–the ambiguity of the paint and the image, the space and the flatness–and in my own way, I’ve been dealing with that forever.”

‘The New York Experience’ exhibits at the Sonoma Museum of Visual Art Oct. 16-Dec. 22. A reception is slated for Saturday, Oct. 19, from 4-7pm. Museum hours are Wednesday-Saturday, 10am-4pm; Sunday, 1-4pm. Admission for nonmembers is $2; free for members and children under 16. 707.527.0297.

From the October 17-23, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Mill Valley Scrabble Club

Scrabble's just as close as a Mill Valley pizza joint If you go out for pizza in Mill Valley and see more people playing Scrabble than eating pizza, don't do a double take. Especially if it's a Thursday night at Round Table, because that is when and where the Mill Valley Scrabble Club meets weekly. They...

Lucy’s

Slow Cooked Enjoy Lucy's at your leisure By Davina Baum This is the way to eat at Lucy's: slowly. The Sebastopol eatery, sitting comfortably off the plaza, luxuriates at a pace that approximates the passage of the ages. No matter what time of day, what server, or what you order, Lucy's...

Charlie Hunter

Antacid Jazz: Charlie Hunter reluctantly leads the pack of alternative jazz musicians. Jazz Nation Guitarist Charlie Hunter targets alt-rock fans By Greg Cahill I think all musicians are on a mission--at least the real dedicated ones are on a journey," says jazzman Charlie Hunter, 32, who, when onstage,...

Art Garfunkel

The Original G Worldwide walker Art Garfunkel comes to the LBC, new album in tow By Sara Bir For anyone who has been wondering, this is what is, or was, on Art Garfunkel's answering machine: "Shoo fly pie And apple pan daddy ...

‘The Turn of the Screw’

Cleaning House: Victoria Rhoades and Steven Abbott, as the governess and her guv'ner, face down evil spirits. Fear Factor AT delivers chilling 'Turn of the Screw' By Patrick Sullivan What children want is a mystery," exclaims one confused adult in The Turn of the Screw, now onstage at...

Teens and Oral Sex

It's 10pm, Do You Know? Kids aren't having casual sex, they're having oral sex By Joy Lanzendorfer Brad, 15, has had oral sex with three different partners, only one of whom was his girlfriend. The other two girls were "just friends," he says. It's common among his...

‘Merci Pour le Chocolat’

Separated at Birth 'Merci Pour le Chocolat' will make you nice and drowsy By Sometimes a civilized entertainment is just too civilized. When that occurs, you can guess that Isabelle Huppert wasn't far from the scene. Merci Pour le Chocolat is Claude Chabrol's latest. And in the lead--playing another stiff-backed, polite...

Sonoma County Healthcare Crisis Forum

Critical Condition SRJC conference to consider universal healthcare By Joy Lanzendorfer The Sonoma County healthcare system is broken. Despite desperate attempts to save it, every year it sinks deeper beneath a mound of seemingly unsolvable problems, which include mounting costs on all sides, a severe personnel shortage, and the ever increasing...

A Street Gallery

Good as Gold Printmakers practice alchemy at the A Street Gallery By Gretchen Giles Printmakers are an odd lot. Like alchemists with a sharp gift for drawing, printmakers tend to bob absorbedly in obsessive little worlds of technique and refinement, favoring such multisyllabic inbred passwords as monotype, intaglio, collograph, and lithography....

SMOVA

Coast to Coast SMOVA's 'New York Experience' brings East to West By Gretchen Giles One painting that you won't see by Freestone artist Tony King at the Sonoma Museum of Visual Art's newest exhibit, "The New York Experience," is NYC, Target. Depicting the kingdom of Manhattan as seen from the back...
11,084FansLike
4,446FollowersFollow
6,928FollowersFollow