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.

A Street Gallery

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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

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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.

‘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

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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.

Chuck Prophet

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Modern Prophet

Americana forerunner visits Santa Rosa festival

By Greg Cahill

Chuck Prophet is exploring the Mason-Dixon Line of the mind. As a member of the long-defunct Green on Red–the Paisley Underground band that during the ’80s crafted a rustic roots-rock sound laden with punk sensibilities, and served as a precursor to the current crop of Americana artists–the San Francisco-based singer, songwriter, and guitarist often visited Memphis blues and blue-eyed Southern soul in his songs. A longtime associate of Memphis producer and keyboardist Jim Dickinson–who helped countrify the Rolling Stones’ Sticky Fingers sessions and produced landmark albums by Big Star, Jason and the Scorchers, and the Replacements–Prophet has delved deeply into the Southern regional music milieu.

“Jim was a huge influence on me when I was about 20 years old and we first started working together in Green on Red,” says Prophet over the phone from a truck stop outside Nashville. “He taught us so many things and had a profound affect on our approach to making records. He always encouraged us to wave our freak flag high and always be willing to offend ourselves.

“I mean, Jim Dickinson’s philosophy is that pop music shouldn’t be trusted and making records is a moral act. After all, you’re making something that’s good or bad. Yeah, I learned a lot of things from him: just those basic principles of space and time and physics.”

Prophet has applied those esoteric lessons well on his latest album, No Other Love (New West), with echoes of countrypolitan star Bobbie Gentry’s 1967 smash hit “Ode to Billie Joe” and Nashville guitarist Tony Joe White’s funky stylings.

Self-effacing and laid-back, the Whittier-born Prophet started playing alt-country right out of high school as a member of Green on Red, which also featured Dan Stuart and Chris Cacavas. Prophet eventually recorded one EP and eight albums with the band for both indie and major labels. The band became closely identified with the then burgeoning L.A.-based Paisley Underground, a loose-knit, neopsychedelic collective that also included the Dream Syndicate, the Three O’Clock, Rain Parade, and the Bangles (before their big-hair days).

“By the time 1981 had come around, hardcore punk had managed to alienate a lot of folks who had gotten into it when the vitality and the excitement and all the possibilities it seemed to offer initially were turned into a uniformed Nazi approach to things,” Prophet explains. “The Paisley Underground was a reaction to that. Also, it was inevitable that people who had grown up listening to the Beatles, the Mamas and the Papas, and all that kind of stuff coming out their car radios would create a musical movement that reflected that.”

Still, Prophet balks at the suggestion that the Paisley Underground was a real musical movement. “Everyone brought something different to the table,” he says. “Bands like Dream Syndicate, Three O’Clock, and Rain Parade all owned record collections and knew about Syd Barrett and other psychedelic minutia. We didn’t know shit about that. Green on Red was just a white-trash rock and roll band.”

Green on Red disbanded in 1992. Prophet has since released several critically acclaimed solo albums. Yet Prophet and his old cohorts are widely recognized these days as forerunners of the modern Americana movement, which has spawned the likes of Son Volt, Uncle Tupelo, and Wilco.

Despite critical acclaim for his role in such one-off projects as Raisins in the Sun (an all-star alt-country and blues lineup that set out a few years back to write and record an entire album in one day) and Go Go Market’s Hotel San Jose, which he likens to “a postmillennial, freaky frat-boy, Booker-T.-with-turntables sort of thing” created by his wife and musical partner Stephanie Finch, commercial success remains elusive.

“For better and mostly worse,” he says, “the approach has always been to make the records that we thought we would like. We figured that if we like it, then other people will.

“We were just way wrong,” he adds with a sly laugh. “Way wrong.”

Chuck Prophet and his band perform Saturday, Oct. 19, at the Rhythm and Roots Festival. Also appearing are Peter Case, Doyle Bramhall II and Smokestack, Michael Burks, Angela Strehli, and the Brass Monkey Band. The concert begins at noon. Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Tickets are $22 advance or $25 at the gate. 707.546.3600.

From the October 10-16, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

California Tiger Salamander

Homelessness Crisis: The California tiger salamander is in danger of losing its habitat to an office park.

Salamander Sorrows

Sonoma County’s California tiger salamander is at the center of a battle against development

By Joy Lanzendorfer

The California tiger salamander is a cute little guy, as amphibians go. It’s a thickset, fairly large animal–ranging six to eight inches–with a short snout and eyes like black beads on the top of its head. Its skin is slick and black with yellow spots on its sides, tail, and back; its legs stick out from its body at wayward angles, like some sort of windup bath toy.

But you aren’t likely to see one unless you’re out on a rainy night in early winter, when salamanders emerge from their underground burrows for mating season. And even then you would have to be near a body of water, like a vernal pond, which is dry in the summer and wet in the winter, or somewhere in the path between the pond and the salamander’s tunnel–a distance that can often span more than a mile.

And yet this shy creature is at the center of controversy in Sonoma County, thanks to its recent emergency listing by the U.S. Fish and Wildlife Service as an endangered species. The business community is up in arms about the possible effect this listing may have on future and proposed developments, while environmentalists claim that growth and economic impact always come second to the survival of a species. And even more troubling, some are saying that the salamander is being used as an excuse for antigrowth politics and that this issue is evidence that Sonoma County is becoming more of a target for new environmental regulations.

Small Scapegoat

On July 16, the FWS granted emergency protection to the Sonoma County population of the California tiger salamander under the Endangered Species Act. The emergency listing came after the Berkeley-based Center for Biological Diversity filed a petition and lawsuit against the FWS. As a result, the salamander has endangered status for 240 days while the FWS determines whether the creature warrants permanent protection. In most cases, emergency listings lead to permanent listings.

Until a decision on permanent listing is made, it is a crime to disturb or harm a tiger salamander, punishable by jail time and a fine. The emergency listing protects seven vernal ponds in Sonoma County, which are the only known breeding sites for the salamander.

The FWS has defined the salamander’s potential breeding sites as anywhere within the Santa Rosa Plain, which stretches from southwest Santa Rosa to Cotati. Any developments within that area must now go through the FWS. According to Jim Nickles, an FWS spokesperson, the critical habitats will be further defined assuming that the salamander is permanently listed.

Several specific sites near the former Santa Rosa Naval Air Station have already been identified. Two of these sites are already protected, but urban development has been proposed on or near three more of the known breeding sites, according to the FWS. It is unclear how these proposed developments will be influenced in the long run by the salamander.

“The U.S. Fish and Wildlife Service hasn’t communicated what they’re going to do yet,” says Victor Gonzalez of Monahan Pacific Construction in San Rafael. “That’s what everyone is asking. As many as 40 or 50 projects could be affected.”

At least one local construction project will be delayed by the emergency listing: the South Sonoma Business Park in Cotati. The 35-acre site, which is located along Highway 116 and can be seen off U.S. 101, is owned by Monahan Pacific. The park would provide Sonoma County with 583,000 square feet of office space and 45 new townhouses.

From the very beginning, the business park has been opposed by some Cotati residents who have been notoriously reluctant to embrace growth. In 2000, when the South Sonoma Business Park was first proposed, a group called the Citizens for a Sustainable Cotati formed. The group was outspoken in its efforts to stop the development, speaking at city council meetings, filing appeals, and circulating petitions. The group felt that the small town of Cotati, with only about 7,000 residents, would be unable to sustain the estimated 2,500 jobs the park would bring into the town, causing housing, water, and traffic problems.

“The park is so out of proportion with the town of Cotati, we thought it would split the town in two,” says Jenny Blaker, a Cotati citizen and former member of the group. “But not only does the growth induce potential sprawl in Cotati, it would push into other towns and cause sprawl in the entire county.”

The Cotati City Council, which in 2001 had newly elected “business friendly” members, approved the project. The park has been estimated to bring in more than $1 million in tax revenue.

Seeing that the city council was unresponsive to their demands, the Citizens for a Sustainable Cotati contacted the Center for Biological Diversity for help in stopping the business park.

“They did get us involved, partially for the tiger salamander and partially to help stop this big, ugly, sprawling development,” says Brendan Cummings, attorney for the Center for Biological Diversity. “Every state agency unwisely approved this project, even though they knew the status of the salamander.”

But even though the California tiger salamander issue came up through an antigrowth battle, state and federal agencies alike have ignored the Sonoma County population of the salamander for some years now. In fact, environmentalists have been concerned about the salamander for nearly 10 years.

In 1992 UC Davis professor Bradley Shaffer petitioned the federal government for statewide protection of the salamander. In 1994 the salamander was given “warranted, but precluded by higher priority listing” status, which means that the salamander should be listed but the service hasn’t gotten around to it yet. In 2000 the salamander was emergency listed in Santa Barbara County and was later given permanent endangered status for that area.

The Center for Biological Diversity filed the petition with the FWS for protection of the Sonoma County population. Upon receiving no response, the center filed a lawsuit in February accusing the FWS of ignoring their petition and of keeping the salamander in “warranted, but precluded purgatory,” explains Cummings.

Emergency listings are rare and are only given when a species is in serious jeopardy or their habitat risks irreparable damage. Aside from emergency listing for the California tiger salamander in Santa Barbara and Sonoma Counties, the only other emergency listings in recent memory were granted for the big horn sheep in the Sierra Nevada and the kangaroo rat in San Bernardino County.

The Sonoma County population received its own emergency listing because it is isolated from other salamanders, making it what the FWS calls a “distinct population segment.” Its closest brothers are separated by nearly 50 miles and are located in Contra Costa, Yolo, and Solano counties. Since there is no natural interchange among groups of salamanders, the Sonoma County population is genetically distinct from other groups.

Casualty of Growth

Scientists say it’s nearly impossible to estimate the number of tiger salamanders in Sonoma County, partly because they hide underground for most of the year and partly because their numbers are dependent on the climate. However, known populations have decreased, according to research used in the petition to the FWS, which was gathered by Sonoma State University professor Phil Northern and research biologist Dave Cook.

“Several populations of the salamander known by local and amateur scientists have disappeared,” says Northern. “Though it’s virtually impossible to get exact numbers, scientists are able to tell that there are less and less of them as time goes on.”

Urbanization is one of the largest threats to the California tiger salamander. Ideally, habitats are made up of reserves of multiple breeding ponds surrounded by 1,000 acres or more, according to the Center for Biological Diversity. In Sonoma County, four known breeding sites were lost within the last two years due to urbanization, according to Cook. Scientists determine loss of habitat by tracking the salamander’s historical territory.

“To estimate whether the population is depleting, you have to look at the salamander’s historic habitat, most of which has been eliminated,” says Cook. “Historically, vernal pools have occurred in the Santa Rosa Plain, which stretches from Windsor all the way to Petaluma. Now their habitat has been restricted to one slim strip of land.”

Other factors have affected the lives of the Sonoma County population as well. Because they roam so much during the breeding season, the salamanders are endangered by traffic. For example, according to the FWS, between Nov. 21 and Dec. 5, 2001, 26 California tiger salamanders were found dead on Stony Point Road.

The salamanders also have low birth rates. They typically live four to six years before they breed, so it’s estimated that half of adults only breed once in their lifetimes, which can last up to 11 years but normally lasts closer to five or six years. If there is a drought, the salamanders may not breed at all.

Scientists believe the loss of habitat, high death rates, and low birth rates are enough to warrant looking into protecting the population. Environmentalists claim they have a moral responsibility to protect species from extinction.

“It’s an extremely arrogant and unwise step to remove any portion of this planet,” says Cummings. “Every species on this planet has its own worth and value.”

Gone Salamandering

But some are saying that the science presented in the FWS petition is uneven at best. Because scientists were unable to estimate how many salamanders are in Sonoma County or by how much the population is decreasing, the FWS may be needlessly halting development by issuing an emergency listing, and, worse, they may be relying on what it called “junk science” or faulty data.

“Anytime you make decisions without hard data, you run the risk of making bad decisions,” says Mike Falasco of the Wine Institute, an industry lobby group in Sacramento. “The private land-owning community in Sonoma County is concerned because the listing was based on a spotty record with no hard data. The decisions the service makes will have a permanent effect on Sonoma County.”

Faulty data among environmental groups has been more of a concern lately in light of the recent spotted owl controversy. A report in 2000 by the FWS indicated that the original listing said there were fewer than 2,000 pairs of the spotted owl and that they could only live in old growth forest. Newer data suggested that there are well over 3,500 pairs of owls and that they flourish well within new growth forest as well as old growth.

According to a Washington Times article published in March, the U.S. Forest Service did not have a “rational basis” for halting timber sales to Wetsel-Oviatt Lumber Company or for halting timber sales to other lumber companies in the 1990s. The article indicates that the Forest Service knew their data was faulty but acted anyway. The federal government paid Wetsel-Oviatt $9.5 million and $15 million to other lumber companies for halting timber sales.

“Has a delisting process begun on the spotted owl? No,” says Falasco. “There are many elements of the environmental community that want whatever isn’t developed to remain that way forever, regardless of the economic impact.”

But Sonoma County has a greater chance of becoming like Santa Barbara than do areas in Oregon and Northern California affected by the spotted owl. After emergency listing of the tiger salamander in Santa Barbara, industries had a harder time getting development passed.

“A winery might apply for 1,000 acres and end up with only 11 approved acres,” says Falasco.

The business community fears that in addition to stronger antigrowth feelings, environmentalists are increasingly focusing on agriculture, which might have severe impact on Sonoma County’s second largest industry: wine.

In addition to the problems that may arise if a tiger salamander is found near a piece of potential land, vineyards are also seeing more restrictions on wetlands, water supply, tree preservation, and vineyard development fees.

“There have been a lot of environmental regulations for some time, but industries like agriculture and wineries are becoming the focus where they haven’t been before,” says Judy Davidoff, attorney at San Francisco’s Steefel, Levitt & Weiss. “It really depends on the project and the zoning involved, but in general it is becoming more of a problem.”

However, others feel that the tiger salamander won’t have a detrimental effect on Sonoma County development. Even projects directly affected, like the South Sonoma Business Park, were slowed more by the down economy than by environmentalists.

The FWS downplayed the outcome of a permanent listing on projects. “There is a concept that endangered species stop development, yet development is thriving in the Bay Area,” says FWS spokesperson Pat Foulk. “An endangered species doesn’t mean development will stop. It may slow it down, but it will eventually catch up. It just means there are more hoops that developers have to jump through.”

As it stands right now, owners of properties under the emergency listing must apply for a “take” permit, which is designed to prevent the killing, harming, or harassment of a federally listed species. Getting a take permit is a lengthy process. It includes filing an application, which is then followed by a formal consultation through the FWS, which writes a biological opinion on the proposed development and reviews if and how the project will move forward.

All of this means more red tape. The addition of the salamander to the endangered species list may become a costly and time-consuming problem for developers. It can mean delays in projects, costly permits, and a redesign of plans. Even worse, sometimes it can stop a project dead in its tracks.

“I think the salamander situation will negatively affect the economy,” says Davidoff. “The longer a project takes, the more expensive it is. It scares people away.”

An Oct. 1 public hearing on the listing in Santa Rosa “was well attended,” according to FWS’ Nickles, “with testimony from people on both sides of the issue. It was an opportunity for people to ask questions as part of the official record. We will have to answer those questions if we make the listing permanent.”

Prior to the listing, Monahan Pacific satisfied mitigation requirements from the Department of Fish and Game (the state agency) regarding the salamander and other environmental concerns about the business park, which included hiring a biologist to look for all endangered species on the property. Salamander larvae were found on the site but were moved under the guidance of the state. Monahan even purchased the new habitat for the salamander.

“We feel we’ve fully mitigated,” says Gonzalez. “The state feels the same way.”

The FWS has extended the formal comment period on the permanent listing of the Sonoma County California tiger salamander from Sept. 20 to Oct. 21. Written comments may be sent to Wayne S. White, Field Supervisor, Attn: CTS, Sacramento Fish and Wildlife Office, U.S. Fish and Wildlife Service, 2800 Cottage Way, Room W-2605, Sacramento, CA 95825. Comments can also be faxed to 916.414.6713 or e-mailed to fw******************@****ws.gov.

From the October 10-16, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

The Bioneers Conference

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Each One Teach One

The Bioneers Conference spreads the good word

By Tara Treasurefield

On Sept. 22, Sebastopol held its first Sustainability Conference and Festival. Local exhibitors, speakers, and workshop leaders promoted permaculture, car sharing, solar energy, water revitalization, shamanic healing, green finances, and more.

It was a valiant effort that attracted a tiny audience.

Explaining the poor attendance, Sebastopol Mayor Sam Spooner says, “The sparse turnout was due to a large number of competing events and limited publicity. Despite the short turnout, many of the workshops were successful and community-building. I suspect there will be a second festival next year that will be made better from lessons learned this year.”

However small, the Sebastopol Sustainability Conference and Festival counts as one green shoot among many that are breaking through the asphalt and concrete of the status quo. Now in its fifth year, the Petaluma Progressives Festival drew 1,500 people in 2001; this year’s event, according to organizer Chuck Sher, drew at least 2,000. The Bioneers Conference, first held 13 years ago, had a capacity audience of 3,100 in 2001–only a few weeks after 9-11.

This year, Bioneers is set for Oct. 18-20 at the Marin Center in San Rafael, and is likely to be a sellout once again. In addition, five locations–Toronto, Michigan, New Hampshire, Arizona, and Caspar, Calif.–will each receive a satellite feed from the conference. Then in San Francisco on Nov. 10-11, Global Exchange will present the first of a series of global Green Festivals.

There’s no shortage of great ideas and great ideals at these festivals and conferences. But after all is said and done, do they amount to anything more than progressive-speak in a lonely vacuum? Responding to questions, Nina Simons, executive director of the Collective Heritage Institute, which produces the conference, explains why ecoconferences and festivals are not only inspiring but also practical and effective.

There’s been an alarming loss of civil liberties in this country since 9-11, and we’re on the brink of a full-scale war against Iraq. At a time like this, what’s the point of ecoconferences and festivals?

I think that an event like Bioneers is more important now than ever. I believe that the people in this country don’t want to go to war. Bioneers helps people gather in community so they can get their voices heard. . . . One of the most important things we can do is help mobilize the public toward taking action.

Aren’t speakers and workshop leaders at ecoconferences and festivals preaching to the choir?

When people ask [founder and president] Kenny [Ausubel] and me that question, we ask, “Do you really think there’s a choir?” Even within the narrow confines of the environmental movement, the people who are talking about rivers and oceans don’t even hear each other, much less sing together. It’s a false perception. Bioneers has many intentions. One of them is to bring diverse constituencies together to experience commonalities and work together more. We define the environment in broad terms. It includes the human environment as well as the nonhuman environment. Issues of social justice, fair trade, economics, green politics, ecopsychology, and spirituality all get woven into Bioneers. . . . There are few, if any, other venues that bring people from each of those constituencies together to experience their commonality.

Can you point to any concrete, real-world results that Bioneers has brought about?

One of my favorite stories was told by naturalist and science writer Janine Benyus, author of Biomimicry. Benyus shows that the current ways we have of designing– for industry, fabrication, building–are nonsustainable by their very nature. She’s teaching how we can learn from nature to live on this planet in a way that is fundamentally sustainable but also conducive to life. When she spoke at Bioneers two years ago, there was a woman in the audience who was a bookkeeper at a Bay Area engineering firm that has 300 engineers on staff. The bookkeeper said, “Janine, I have a dream. I’d like to set you up with some of our top engineers to go to the Galapagos Islands and teach them to rethink their design process.” This bookkeeper presented the idea to the boss, got approval, and Janine went to the Galapagos with 30 engineers and introduced them to a whole new orientation to design. They started out cynical. By the end of the week, they were saying, “Wow! We can reevaluate how to desalinate water by studying how mango trees do it!” They were like five-year-olds on the beach, running up to Janine with new ideas. The bookkeeper is now director of environment at her company. There are also some very important outcomes about how we transform content into media. In many ways, what we are facing right now is a crisis of perception. People are so overwhelmed and disempowered by the coverage in the mainstream media that they don’t know there are solutions that already exist to many of our most pressing problems. What the Bioneers show us is how much one person can make a difference. When we’re not producing the conference, we pitch stories and get media coverage for these amazing people who are the Bioneers. We reached over 9 million readers in print last year with stories about the Bioneers. We also produce an annual radio series with New Dimensions. Last year, we were on 120 radio stations in the U.S. and 500 stations globally.

What about at the local level? Can ecoconferences help communities fight against pesticides and other toxins, environmentally linked diseases like asthma and cancer, unbridled development, and the urgent need for affordable housing?

Piloting the satellite program is allowing us to both expand capacity and accelerate local organizing. Each [remote conference] site is going to get a satellite feed of four hours of plenary sessions from the conference, and program the rest of the day with local speakers discussing local issues. Each of these sites becomes a hub for organization about local issues, helping people organize.

The Bioneers Conference runs Oct. 18-20 at the Marin Center, 10 Avenue of the Flags, San Rafael. At press time, full access passes were sold out; limited access passes are available for $75 day; $68 for Bioneers members. 877.BIONEER or www.bioneers.org.

From the October 10-16, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

ARTrails

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Hitting the Trail

Get out those maps, it’s ARTrails time again

By Gretchen Giles

To get to the studio of veteran ARTrails exhibitors Gerald and Kelly Hong, park on their suburban Petaluma street, come down the side yard, resist the urge to pick a ripening tomato, admire their 20-month-old son’s colorful toys, step past the outdoor kilns, and at the end of the path, find their backyard workplace.

Certainly, it is no secret that the purpose of ARTrails, now in its 17th year, is to introduce the public directly to those who produce fine art and decorative pieces that enliven home, body, and spirit. But being able to walk around the spaces in which these items were created and ask all the questions that occur–both pertinent and idle–to the very people who made them does appeal very directly to the sweet, loving gawker within.

Sharing a home, a child, a career, and a studio might make some couples snarl. But ask longtime participating ARTrails ceramic artists Gerald and Kelly Hong about this and they just smile. “We’re both really easy-going people and have a really easy relationship,” Kelly says. “The cool thing about our collaborative work is that we’re able to make things that neither of us would have been able to make alone.

“Often when you’re a working artist and you know what sells and what you have to make to make a living, you tend to make the same stuff, but it’s been really great to be giving birth to all of these new ideas together.”

She uses porcelain; he does raku. She paints insects and flowers and animals onto their work; he airbrushes abstract shapes. Together they show nationally and expect to see some 300 people a weekend resisting their tomatoes during ARTrails. The number of high school art students forced by their instructors to seek extra credit through a quick tour particularly gratifies them. Kelly says, “It’s nice because it helps them to see that you can actually make a living as an artist.”

For sculptor and assemblagist Charles Churchill, this year’s ARTrails, his third, is a culmination of a life as an artist. “This [exhibit] is a complete representation of everything that I’ve done for 30 years,” he says. Working with glass, neon, wood scraps, and piano, motorcycle, and guitar parts, Churchill builds sculptures that play with the senses and with light, and are mesmerizingly beautiful. But in a sweet twist, Churchill’s doing more than just creating art–he’s become . . . a muse?

“Last summer I became a figure-drawing model and did so much that I lost my day job,” he says. “It’s given me a new appreciation for art in general. I’m a tubby, middle-aged guy–I’m not an Old Spice guy. All I can be is a good Charlie, and that’s what I am with my spare tire and the pain and fatigue in my face, and all of that has turned into art. I turn everything I can get my hands on into art: I teach art, I make art, and now I am the art.”

Alice Thibeau, who repaints salvaged furniture when she’s not creating life-sized oil portraits, is preparing for her fifth year of ARTrails exhibition, fully dressed. “The people who are coming around are getting much more sophisticated,” she assures. “They all used to ask the same question: ‘How long did that take you?’ It eventually got to be marvelously funny. But last year not a single person said it.”

Generating over $500,000 in direct sales last year, ARTrails prompts some 5,000 visitors. This year 152 artists are scheduled to throw open their doors to the public.

Liz Meyerhoff, the interim executive director of the Cultural Arts Council of Sonoma County, which spearheads ARTrails, explains that while the money and visitor numbers have grown, so has artist interest. “We had a lot more new applicants this year than we’ve had in the past several years–60 new people applied. I assume it’s because the program has become so well-known and well-regarded that people are more drawn to participate.”

Marta Shannon is among the newbies attracted to this event for its distinction and the fact that artists must undergo a jury process for admittance. “I don’t usually participate in anything that’s not juried,” she explains, standing among the colored threads and gold-wooded looms of her weaving studio. Four “secret” jurors, two of whom are participating ARTrails artists and two from outside the county, whose names Meyerhoff will presumably keep to the grave, decide who will participate. “We won’t tell you who they are,” she says firmly. “Jurors get very protective about their identities, especially when there’s a lot of money involved.”

That last phrase about money casts a certain spell, though the bottom line isn’t the only reason that artists join. For Shannon, making the commitment to ARTrails, with its ancillary fees, preparations, and time, is tantamount to making a commitment to herself. With 25 years of weaving experience enlivened by child rearing, Shannon chose ARTrails as a way to push herself back out of the home and into the professional world she loves. “It’s really a challenge to myself,” she says simply.

Thibeau declares herself “repulsed” by the notion of creating art with the end aim of creating money. “Of course I desperately want the money, give me all your money!” she jokes. “But if you start making art just to make money . . .” She trails off with a comical sigh. “It shows how old I am. I still think that Andy Warhol is the Antichrist.”

For photographer Rory McNamara, debuting with ARTrails is the end result of an unusual progression. “I had a show last year at [Santa Rosa’s] A Street Gallery that I was really delighted about,” he explains. “Then I was approached through the Cultural Arts Council to be one of the judges for ‘Zone of Focus,’ a high school photographic competition. Through that I got more familiar with the arts council. It seemed like a really good thing to support, and that led to ARTrails.”

But to hear McNamara–who is also a Bohemian contributor–tell it, these kinds of serendipitous connections are just a way of life. Born in London, McNamara came to the States as a young man with the intention of playing bluegrass guitar at every honky-tonk on the way to the Alaskan pipeline, then under construction. He got as far as San Francisco and was snagged by the beauty of the Bay Area.

Naturally anxious to earn some dosh, McNamara took publicity shots for other bands. “I got away with it by the skin of my teeth,” he laughs. “I had no training at all, but I thought it was a really cool way of earning a living so had the good sense to enroll in school at the San Francisco City College at a time when it had a really great photography department. I started working right away, and it almost never stopped.”

As well as his work for the Bohemian, McNamara earns his keep as a photojournalist for the San Francisco Examiner, doing the weekly food shots for the San Francisco Bay Guardian, and contributing to the Pacific Sun. McNamara works almost exclusively in black and white. “I’m interested in people’s relationships with each other and their surroundings, and how none of us are really totally at ease,” he says. “We’re all kind of aliens here in our own way because everyone’s approach to the world is so unique.”

And so it is with painter Mario Uribe, a first-time exhibitor who was born in Mexico to parents who ran a Japanese import business in a house wholly filled with Japanese art and artifacts. With his wife Liz, he now operates the nonprofit American School of Japanese Arts, offering study in everything from calligraphy to raku pottery to flower arrangement to the tea ceremony. “We are the only place in the entire world where you can come and have such an intensive experience with the Japanese arts,” he says.

The most basic of shapes–the circle–is the dominating symbol in Uribe’s work; he’s painted them almost exclusively for the last 12 years. This seemingly simple figure expresses exactly who he is at the moment that he’s made it, and Uribe’s been deconstructing them slowly, moving from ink to print making, as he’s evolved.

“It’s a discovery process,” he says of his own work, though he could be speaking for all the ARTrails artists. “It’s limitless. You’re simply never done.”

ARTrails runs throughout Sonoma County Saturday-Sunday, Oct. 12-13 and Oct. 19-20, 10am to 5pm at participating studios. Look for the distinctive ARTrails signs. All events free. To pick up a map or for more information, call 707.579.ARTS or visit www.artrails.org.

From the October 10-16, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Santa Rosa Junior College Area Dining

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Not Just For Students: Leo Buc (left) and Sam Coble soak in the ambiance of Commie Market.

Starving Students

Are there any good places to eat around the JC? Now, yes.

By Sara Bir

Higher education is not synonymous with good eating. It seems to be a tradition that during the collegiate phase of life, one must fuel one’s fertile, studious brain with a parade of ramen noodles, burritos, sugary cereal, fried rice, and pizza. Cheap, convenient, and chock-full o’ fast-burning energy units, greasy starch is the way to go.

Down the block from my freshman dorm at Ohio State, there was a hole in the wall called Catfish Biff’s, which sold highly undistinguished pizza for a dollar a slice. Far into the early hours, ravenous young Buckeyes, their stomachs growling ferociously after pitchers and pitchers of piss-cheap beer, came to feed hangovers in the making.

We substituted key letters of Catfish Biff’s questionable moniker (they sold only pizza, not catfish) to create the less than loving nickname of Catshit Bits. For the very drunk or very broke, Catshit Bits was the place.

Such pizzerias, burrito joints, and coffee houses make up a sort of holy trinity of collegiate dining. With a junior college and a neighboring high school supplying hungry scholars both young and old, Santa Rosa’s JC area has multiples of all three, though notables are few.

For a pizza fix, Mombo’s, a relative newcomer, is in a class high above the Catfish Biff’s level. Mombo’s is prompt and efficient with its pies, which are New-York-by-way-of-Santa-Cruz (home of the first Mombo’s) style, meaning that the crust is thin and the topping options are eclectic.

I’m a purist and partial to plain cheese, which Mombo’s does well, maintaining a balanced cheese-to-sauce-to-crust ratio. Fans of more elaborate toppings have no shortage of choices, though. Mombo Vego with red onion, tomatoes, peppers, and mushrooms is tasty and colorful.

Mombo Blanco (fresh mozzarella, ricotta, and feta, with garlic, basil, and olive oil for good measure) has the sort of richness that very good homemade macaroni and cheese does. With fresh tomatoes, black olives, feta, artichoke hearts, and oregano, the Greco is more like dressed-up focaccia or flatbread and makes for a less filling (in a good way) change of pace.

What’s most killer about Mombo’s is its lunch special, which runs from the very liberal hours of 11am to 5pm. For five bucks, you get yourself one slice, a small green salad with an interesting celery seed vinaigrette, and a big ol’ soader. Plus tax, that’s a fairly wholesome lunch for $5.38–five times more than an emergency slice at Catfish Biff’s but five times more worth it.

Affordable and realistically portioned lunch specials aside, Mombo’s has a nice little atmosphere too, with hip, upbeat music, a bright and tidy eating area, and a friendly staff. I suppose if you’re not one to frequent JC haunts but do fancy a good pizza on a Friday night, it couldn’t hurt to give Mombo’s delivery a spin.

Of course, if you want atmosphere atmosphere, there is honestly only one place to go, and that is the Community Market Cafe–you know, where all of the hippy-gutterpunker-reggae-and-any-mixture-thereof kids hang out (or loiter, depending on your perspective). The place used to be Higher Grounds, and the interior has altered little since the switch over.

What has altered is that the worker-owned Community Market Cafe (affiliated with the worker-owned Community Market natural foods store, and heretofore good-naturedly referred to in this review as Commie) has gone beyond coffee drinks and ready-made pastries to serve a full breakfast and lunch menu that’s 100 percent vegetarian, very often vegan, and usually organic.

Commie offers the typical lunch fare: sandwiches and salads and soup. I tried an Italiano (avocado, basil, tomato, cucumber, romaine, “vegenaise,” and mustard on choice of bread with organic corn chips for $ 5.99), and while the Italian-ness of this particular combination eluded me, it was a satisfying (if slightly bland) sandwich.

The one thing about Commie is that the lunch menu there, which is beautifully well-intentioned, tends to fall very much into the tired and cruel cliché of lackluster hippy food.

Case in point: going out on a limb, I ordered the special, which happened to be samosas (tasty little fried, savory Indian pies with a potato and pea filling) on a bed of cabbage and carrots for $6.50. And that’s exactly what was on the plate: three lukewarm and too-chewy samosas on a gigantic but prettily arranged pile of roughly chopped cabbage and coarsely grated carrots–which were naked, as in undressed and unseasoned. On the side was a little cup of simple dressing that tasted like apple cider vinegar mixed with apple juice.

The samosas were OK–actually, they were better than the samosas you get at most Indian restaurants, because they did not sit in the stomach like lead, giving you that too-much-cheap-Indian-food feeling. The “slaw,” though, had some problems. You have to really, really love cabbage to eat a hunked-up mound of it with only the assistance of apple cider vinegar and a few carrots. It’s about as appetizing as sitting down to a halved raw potato.

I wanted to wrap up a copy of Deborah Madison’s Vegetarian Cooking for Everyone and give it to the kitchen staff and say, “Look! Deborah is a goddess, and she says it doesn’t have to be like this! Food can be vegan, whole-grain, wholesome, and full of flavor! You can have your oat cakes and eat them too!”

But some people, I realize, really do like to eat raw cabbage, and I suppose they are entitled to eat out too. Those of you who enjoy Diet for a Small Planet food circa 1974 can go to Commie and take the crapshoot with the lunch specials. Otherwise stick to the menu.

Soups over the summer have included a delicate, delightful melon soup–light and fruity, almost dessertlike–and a chunky gazpacho. The coming cold weather is sure to prompt some good, hearty options. Or go there for a stellar breakfast. After ordering the daily scramble special one recent morning, I looked at my plate and thought, “This is more like it.”

For $5.99 the Santa Cruz scramble has black beans, corn, onion, zucchini, peppers, and cumin, and a generous side of well-seasoned grilled potatoes. You can substitute tofu for the eggs, if you wanna. No toast, though. For $5.99 you figure you’d get a few slices of bread, but as is it’s still a wonderful breakfast that fills you up without leaving that greasy breakfast hangover feeling. Toast, which you can get on the side for $1.99, might be gilding the starchy lily.

Commie’s greatest asset, ultimately, is its laid-back, settled-in feel. There are very few nonrecord stores around here where you can regularly hear Tom Waits or the Smiths on the stereo. Unlike the vast majority of its franchised, cookie-cutter Mendocino Avenue kin, Commie has a true personality and sense of place. It is a hangout you actually want to hang out in.

With mismatched chairs and tables, the all-important coffeehouse velvet sofa, piles of good reading material, local artwork (of varying quality) on the walls, and huge windows to peer out at scenic Mendocino Avenue traffic, Commie is practically the only JC eatery that reflects its proximity to a college campus. A newly reinvigorated music schedule adds to the true hangout vibe.

Plus, it’s one of the few places where you can take solace in the fact that, no matter what, there will always be someone there whose outfit is worse than yours. It’s comforting in a scrappy kind of way. A nurturing way, not a Catfish Biff’s way.

Mombo’s Pizza. 1800 Mendocino Ave., Santa Rosa. Eat-in, takeout, and delivery. 11am-10pm daily.707.528.FAST. Community Market Cafe. 1899 Mendocino Ave., Santa Rosa. Breakfast and lunch daily. Monday-Saturday, 7am-9pm; Sunday, 9am-5pm.

From the October 10-16, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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