Labor And Social Action Summer School

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Means of Change: Bill Fletcher advocates “a social force that challenges the wealth and power polarization.”

Photograph by Skipper Gerstel


Spotlight on Tyranny

Labor and Social Action Summer School shines a little light

By Tara Treasurefield

When Bill Fletcher was 13, he read The Autobiography of Malcolm X. He’s never been the same. “It changed my life,” he says. “It gave me a very different insight into the United States, race, and the international situation, and helped me think about what I wanted to do with my life. I’ve been involved in social justice issues ever since.” Now president of TransAfrica Forum in Washington, D.C., Fletcher spends much of his time working to reverse the devastating effects of rampant racism and greed.

“The top 1 percent of the United States population,” he says, “controls close to 40 percent of the world’s wealth,” condemning billions to poverty.

On Friday evening, June 21, Fletcher and two other keynote panelists will have an opportunity to put the spotlight on “corporate tyranny,” which they see as the driving force behind much of the world’s misery. The venue is Sonoma State University, and the event is the opening panel discussion of the fifth annual Labor and Social Action Summer School. Fletcher’s fellow keynoters are Medea Benjamin, founding director of Global Exchange in San

Francisco, and Stephanie Luce, assistant professor of sociology at the University of Massachusetts, Amherst.

Fletcher says that he’ll explain why it’s important for U.S. workers to support unionizing efforts in Mexico, South Africa, Brazil, and other parts of the world. In brief, he says that depressed wages anywhere in the world trigger a race to the bottom everywhere in the world. “Unions are important because there needs to be a social force that challenges the wealth and power polarization that’s going on,” he says.

Like Fletcher, Medea Benjamin began her life’s work at an early age. At the tail end of the Vietnam War, when she was in high school, she became involved in the peace movement. Since then, her work has led her to campaign against obstacles to peace, such as the corporate takeover of the global economic system, the World Trade Organization, the World Bank, unfair labor practices, and most recently, the bloated war industry.

“Defense contractors have undue influence on the U.S. response to Sept. 11,” she says, “and the obscene increase in defense spending has huge implications for labor. It means that there’s no money for teachers to get the increased pay they deserve or for home-care workers to get the kind of benefits they have fought for. It means that it’s harder to continue our struggles around everything from a living wage to more money for social services.”

The third panelist, Stephanie Luce, also found her calling early on. At the tender age of 12 she got her first job as a softball umpire. She soon realized that boys were paid more than girls for this work. Later, she became aware of the steady increase of homelessness in San Francisco and the poverty of farm workers in the valley. As a student at UC Davis, Luce put two and two together and focused her education on living wages, economics, and social justice issues. At the Labor and Social Action Summer School, Luce will discuss the living wage movement.

“Between a quarter and a third of U.S. workers with families earn hourly wages that are below the federal poverty level,” she says. “The federal government has been slow to raise the value of the minimum wage over the last few decades. Many jobs done for cities–such as the janitorial services in public libraries and city halls, or security services–used to be done by city employees who had good wages, a union, and stable employment. In many cases, the push to save on taxes meant that these jobs were privatized.” Luce says that the corporations that now employ these workers provide low wages and poor working conditions.

The Labor School will resume on Saturday morning, June 22, with a plenary session on organizing for social change. Fifteen workshops will follow, under the direction of inspiring and nationally known organizers. Topics include Building a Movement, Living Wage Campaigns, Election Reform, Sexual Orientation and Organizing, Puppet Theater and Direct Action, Coalition Building, Working with the Media, and more. The Labor School will end with appetizers, a no-host bar, networking, and socializing.

The North Bay Central Labor Council is the lead sponsor of this event. The 40 co-sponsors include Petaluma Progressives, Catholic Charities, and the League of Women Voters. For more information, please call 707.545.7349, ext. 219.

From the June 13-19, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Organically Grown Wines

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Drink Deep of Life: Organically grown wines differ in the growing, but not in the sipping: It’s all in the nose, the legs, the body.

Off the Beaten Vine

The best organically grown wines of California

By Mari Kane

Everything is organic these days, but perhaps you think that organic wines are somehow inferior, as if made in less-than-sterile labs by aging hippies with more ecological motivation than enological experience. You know this because the one organic wine you tried years ago proves it.

The reality is that today’s organically grown wines have come so far from their well-intentioned roots that you would be hard pressed to single them out from the chemically raised ones. Few wines are entirely organically made (and therefore entitled to use the moniker “organic wine”), meaning they don’t use sulfites as a preservative. Without these sulfites, wines can go bad, which is why the naturally occurring chemical is used, albeit sparingly, in the organically grown wines.

The Producers: A list of organically grown winemakers.

While the following wines do not necessarily taste superior by virtue of their chemical-free farming, I have found that knowing they first did no harm to the environment tends to make them taste all the more sweet. In essence, organically grown wines are good karma in a glass.

Here now, in order of weight and color, are my top picks among the current releases. (Note: the prices are suggested retail from the winery and may be 15 percent to 20 percent less at local outlets.)

White

Alas, I could not find an organic-anything sparkling wine from California, so I’ll start with the next bubblicious thing: Everett Ridge’s 2001 Sauvignon Blanc from the Powerhouse Vineyard in Mendocino County ($14). Slightly sweet and very crisp, with zesty slices of grapefruit and lemon-lime, vanilla, and hazelnut, make it perfect to partner with a strawberry-filled fruit salad with whipped cream.

Who’d have thought Humboldt County raised grapes, given the other high-profit crop they grow, but Briceland Vineyards has some interesting offerings. Their 2001 Sauvignon Blanc ($14) is full-bodied with a soft mouthfeel, but it’s a little too oaky for Thai food. Lolonis Vineyard’s 2000 Fumé Blanc ($13) from their Redwood Valley vineyards in Mendocino has a nose of marshland air and melons; a palette of kiwi, apricot, and cantaloupe; and a long finish of nuts and spices. It could stand up to the spicy and salty alike. Lolonis’ 2000 Chardonnay from the Redwood Valley ($17) is earthy and well-oaked with lovely fruit–an able mate for fish, foul, or veggie.

Bonterra Vineyards has the only organically grown Viognier I could find. Their 2000 Mendocino County ($18) has bright fruit: peaches, apricot, butterscotch, and hazelnut with a hint of sweetness, though not cloying. And what a pleasant surprise from Madonna Estate/Mont St. John–Pinot Grigio! From the Carneros region of Napa, their 2001 Grigio ($22) has forward fruit of lemon-lime, with lots of herbs and nuts and well-balanced oak. A delightful wine to pair with any spicy food. Their 2000 Carneros Chardonnay ($22) is also smooth in the mouth and has ripe fruit, spices, and butterscotch that feel soft, yet chewy and substantive.

Benziger’s 2000 Semillon, Sonoma Mountain ($22) has good tropical fruit–grapefruit, lemon–but not a ton of it. It’s an oaky Semillon with an edge of fruitiness. But if you want a consistently typical California Chardonnay, check out Bonterra Vineyards of Mendocino County. Their 2000 Chardonnay ($13) features clean, fresh apple-pear-peach and figs with well-integrated oak and a soft mouth that’s made to appeal to a broad array of palates. Perfect for summer or to cut the heat of a curry.

Red

Starting off the light summer reds collection is Lolonis Vineyard’s Non-Vintage Carignane from Redwood Valley ($12), an easy, late-afternoon wine to sip on the veranda. It’s approachable and almost refreshing with tannins that don’t bite back.

One of the finest organically grown Pinot Noirs is Davis Bynum’s 1999 from the Lindley’s Knoll vineyard in the Russian River Valley ($45). With big flavors of bright cherry, raspberry, peppers, tobacco, and wood ash, this is a real California-style Pinot. Pair it with pork loin and savor. Briceland Vineyards’ 2000 Pinot Noir from Phelps Vineyard in Humboldt County ($22) is way fruity on the palate, with woody spices on the long finish–the kind of Pinot that grabs you below the throat. Madonna Estate/Mont St. John’s 2000 Pinot Noir of Carneros ($26) has a similarly big schnozz of cherry and tea, and follows with smoky fruit and peppers and hints of Burgundian funk. Perfect with duck breast pâté.

Yorkville Cellars 1998 “Richard the Lion-Heart” Bordeaux blend Red Table Wine from the Rennie Vineyard in Yorkville Highlands ($25) is earthy, complex, and brooding, but with a sweet side. Yorkville also makes the only organically grown Malbec with grapes raised in the Rennie Vineyard. The 1999 Malbec ($17) has a nose of blanched raspberries and cooked eggs followed by a big mouth of roast turkey, blackberries, plums, and black cherry. A bit inky and pleasantly chewy, it’s a wine to accompany blackberry pie. For Rhone lovers, Bonterra Vineyards makes a delicious 1999 Syrah that possesses big aromas of earth and black fruit, a mouth of rich plumminess and smoke with a fleshy edge.

Excellent organically grown Zinfandels are also abundant in California, making it hard to pick a favorite or put them in order. Everett Ridge Vineyards of Dry Creek Valley has a 1999 Estate Zin ($26) that tastes like the fruit in the middle of a blackberry pie. Lush and deep with a smooth mouth, this has concentrated fruit with hints of licorice and a long, jammy finish of blackberries and cocoa.

While less impressive than their Zinfandel, Everett Ridge’s 1998 Estate Cabernet Sauvignon ($24; 10 percent Cabernet Franc) is similarly rich and complex. Wild Hog Winery’s 2000 Estate Zinfandel, Sonoma Coast ($20) is luscious, complex, and full-bodied, bulging with blackberries and candied cherries.

Wild Hog’s 2000 Estate Pinot Noir ($22) is fleshy, with cherry and strawberry, black tea and wood notes. The Frog’s Leap 2000 Zinfandel ($22; 7 percent Petite Sirah, 6 percent Carignane) from Napa Valley is big and spicy with notes of wild cherry, raspberry, and smoke. Soft and silky in the mouth–just what you’d expect from a Napa Valley Zin. Fife’s 2000 Zinfandel, from the iron-rich Redhead Vineyard in Mendocino’s Redwood Valley ($24), is the more delicate of the bunch and unusual in that citric notes accompany the forward fruit of cherry and raspberry. Subtle, but with attitude–perfect for summer barbecues.

The Madonna Estate/Mont St. John’s 1998 Cabernet Sauvignon ($28) is dark and lush, with black fruit, dark cherry, toffee, cocoa, and tobacco in its fat schnozz. With a smooth, velvety mouthfeel, it’s every inch a Napa cab. For their 1997 Petite Sirah, “Private Reserve Orpheus” ($30), Lolonis received a laudable 92 point rating from the Wine Spectator. One look at the inky purple color and dark, hairy legs of the 1999 vintage explains why. This is a great big, voluptuous Petite, rich in plumminess, blackberry, wood smoke, and licorice, with the consistency of a port. Slurp!

What’s left to say but so long and thanks for all the wine!

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Julia Whitty


Photograph by Richard Upton

The Queen Of Forestville: Julia Whitty charts new territory.

Deep Ecology

Julia Whitty crafts a careful collection

By Jill Koenigsdorf

Forestville author Julia Whitty’s debut short-story collection, A Tortoise for the Queen of Tonga (Mariner Books; $12), is that rarest of birds: a collection of fiction that educates as well as entertains. Mining a large body of knowledge about the natural world from her 20-odd years making documentary films on everything from sharks to spinner dolphins to manatees, Whitty tackles life’s larger concerns: death, reproduction, extinction, loneliness, evolution, suicide, poetry, trust, and humanity’s responsibility and relationship to other species. The 10 stories that compose this book span the globe, exploring flora and fauna, covering vast bodies of historic and scientific terrain. We enter caves in the Dordogne, feel the cruel captivity of the creatures at Ocean World in Florida, go on a safari gone awry in Botswana, spend time with several generations of Tongan royalty, get a glimpse of what Heaven might be like with Darwin and Richard Feynman as residents, even tag along on a scientific dive that has great repercussions for two male friends in Antarctica.

Clearly, from the opening sentence of the O. Henry Award-winning title story–“She died in the palace gardens in 1966, of extreme old age and a heart that had swelled insupportably from nearly two centuries of loneliness”–we are in for an amazing journey. The only thing short about these stories is their length.

There has been a trend in short-story collections in recent years to make them interconnected, as if each story were more like a chapter in a seamless longer work, and I think it is to Whitty’s credit that hers are so distinct. If there is a common thread, it’s the harm done when we remain unconscious of other species or of our own blind spots. It is a tricky task to have a short work of fiction carry such warnings without the author sounding like she is on a soapbox, but Whitty gets her message across in writing that remains alive.

“Lucifer’s Alligator,” a heartbreakingly strong cautionary tale of the hopelessness of creatures in captivity, is a prime example: “Lucifer had been at Ocean World the longest. Twenty years, Amanda, the oldest of the manatees reckoned: crunching on carrots, counting the bites, measuring the steady disintegration of cellulose into liquid. She grew panicky when carrots were scarce. Without carrots, there was no counting and without counting there was no time, therefore no motion, no approach of deliverance.” Perhaps not since Orwell’s Animal Farm has anthropomorphizing been as powerful a literary tool as it is in this story, and again in the title piece, where we see war, birth, death, and the transformation of an entire culture through the eyes of a tortoise.

When Whitty’s settings move closer to home, she writes of the strength of women on their own. In “The Story of the Deep Dark” we meet Phoebe, who “runs a computerized graphics animator called a Harriet in a video house in San Francisco, where her purpose is to transform her clients’ products into things of magic: cans of cat food into waltzing tunas, aspirin into the soothing hands of a masseur, cereal boxes into blooming jungles.”

Phoebe travels to France after breaking up with her boyfriend because he wants children and she does not. She goes to see the cave art of the Dordogne and is immediately confronted with prehistoric depictions of many of the issues she is wrestling with–fertility, males and females, power–which ultimately help her realize that she has made the right decision.

Whitty is best at making complex and seemingly esoteric realms come to life for the layperson. You don’t need to be a scientist to imagine Darwin’s pleasure in seeing the organisms known as cyanophytes, or blue-green algae, when he thinks he may have discovered, posthumously, the origin of life on Earth (“Darwin in Heaven”).

The weakest story in the collection, “Stealing from the Dead,” is also the least nature-related and deals instead with a May-September romance between a young artist and a Byron scholar. After so many stories of life-and-death struggles (and here I think of the wonderful passage in the strongest story, “Senti’s Last Elephant,” where a young girl on safari smells a bad odor, and her mother asks the guide Senti: “‘Is something dead?’ Something is always dead, thinks Senti, but he turns his head and says over his shoulder, ‘No. Just these trees smell dead.'”), we have simply come to expect Whitty to lead us into uncharted territory and to illuminate beautifully all that we encounter there.

Julia Whitty will be reading from her book on Tuesday, July 16, at 7pm at Copperfield’s Books in Sebastopol, 138 N. Main St., 707.823.2618.

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Bad Company’

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Facing a summer cineplex awash in Secret Agent movies, espionage expert James Bamford helps separate the ‘Bad Company’ from the good

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

As he stands up, preparing to exit the jam-packed movie theater where we’ve just seen Bad Company — the critically reviled, Jerry Bruckheimer-produced, spy-themed comedy starring Anthony Hopkins and Chris Rock — James Bamford wears the baffled and battered expression of a man who’s just escaped from a raving band of gibbering idiots.

“Oh my God! Who was the technical advisor on this thing — Bozo the Clown?” he wearily grumbles, tossing a backward glance at the credits, still rolling up the screen. Bamford, a Washington-based journalist and expert on the history of modern intelligence gathering — whose investigations into the ultra-secret National Security Agency have spawned two best-selling books, The Puzzle Palace and Body of Secrets — admits to being easily irritated whenever spy flicks get the facts wrong, which, he says, is most of the time.

“This movie illustrates everything that is wrong with modern spy movies,” he sighs. “It also explains why I don’t go to the movies that often.”

Well, Mr. Bamford, you’d better stay out of the theaters for the rest of the summer, because Bad Company is just one small piece in a massive, unprecedented invasion of motion pictures that feature spies, secret codes, clandestine government organizations, and/or the threat of nuclear annihilation. It more-or-less started with the May release of The Sum of All Fears — in which C.I.A. paper-pusher Ben Affleck tries to stop a thermonuclear war — and continued with Enigma, a Mick Jagger-produced art-house thriller about over-sexed code-breakers working at England’s ultra-secret Bletchley Park during World War II. The next few months will see the arrival of The Bourne Identity, K-19: The Widowmaker, and Windtalkers (another WWII code-themed drama), plus Spy Kids 2, Men in Black 2, Austin Powers in Goldmember, and Vin Diesel’s XXX. With the exception of Steven Spielberg’s aforementioned Minority Report, all of these films portray secret agents as heroes, a far cry from the not-too-distant days when films like Enemy of the State, Mercury Rising, and Hearts in Atlantis gave us sneaky secret agents — often in the employ of the real life National Security Agency — who were patently, unapologetically evil.

These days, they’re the good guys.

“Let’s see how long that lasts,” laughs Bamford, nursing a late-night cappuccino at a coffee shop near the theater. “Things may change in a few months if the American people find out that the C.I.A. and the F.B.I. screwed up real bad. If we get proof that a bunch of Government screw-ups let 9-11 happen, then there might be a backlash against movies that portray intelligence people as heroes.”

Until recently, Bamford served as Washington Investigative Producer for ABC’s World News Tonight with Peter Jennings. A Washington D.C. resident, he’s just finished a semester-long stint as Distinguished Visiting Professor at the Richard & Rhoda Goldman School of Public Policy, at the University of California at Berkeley. He’s also concluding a nationwide publicity tour for the paperback release of Body of Secrets (Anchor Books, $14.95), which contains a brand-new, white-knuckle account of the September 11 attacks, including some revealing minute-by-minute details of the event from the National Security Agency’s point-of-view.

“There seems to be a growing hysteria over the whole terrorism issue,” concedes Bamford. “And movies like Bad Company, and all these others, just tie into that and add to the hysteria. There’s nothing wrong with plain-old entertainment, but when you begin to think its something other than entertainment, when you begin to think all of it or parts of it are reality, then we’re in trouble.”

The best spy films, Bamford insists, citing such classics as The Spy Who Came in From the Cold, and even the new Enigma, find plenty of drama in real, honest-to-goodness, explosion-free espionage.

“There’s very little violence in espionage,” he says. “Espionage is cerebral, it’s beaurocratic, it’s all about salesmanship.

“Salesmanship?”

“Basically. A good C.I.A. person is a good salesman,” he says. “What they’re trying to do is to sell the United States to some possible informant who might be tempted towards helping the U.S. Just like in sales, you need a good closer to finalize the deal.”

“Doesn’t sound like much of a Jerry Bruckheimer movie,” I agree.

“It doesn’t. But in reality, it’s just that simple,” Bamford nods. “And it really is dramatic. When an agent swings a new informant, convincing someone to become a traitor and steal their country’s secrets and hand them over, it’s the equivalent of an Air Force fighter pilot shooting down an enemy plane.”

It’s obvious that Bamford holds the business of espionage in high regard. In higher regard, anyway, than the administration currently in control of the country’s clandestine services.

“Espionage is a long, slow business, but it usually works,” Bamford says. “It worked in capturing the bombers of the embassy in East Africa, it captured the first World Trade Center bombers. Instead of sending the Army, Navy, and Air Force over to Afghanistan, waging this macho war against the Taliban, the government could have taken the long, slow route that has, most of the time in the past, always proved successful. We might have Osama Bin Laden in custody right now, if we’d had the patience to use our Pakistan informants and other intelligence sources. It might have taken years, but it would probably have worked, and it wouldn’t have cost any American lives — which the action in Afghanistan did, and it wouldn’t have caused so much anti-American hatred around the world.”

Bamford sees irony in the fact so many spy movies of the last decade focused on the scariest aspects of intelligence gathering — presenting the government as a frightening, unstoppable menace, striving to keep its citizens in the dark while taking away all of our freedoms. This at a time when our freedoms were actually being gradually reinforced, protected from the abuses of the McCarthy and Vietnam eras.

“Now, he says, “so many of the reforms that had been made over the last thirty years are being washed away — but nobody seems to care, because it’s being done gradually. Those reforms were enacted for a reason. It was because these government agencies have abused their power in the past.

“So now,” he continues, “right when our freedoms are disappearing at a rate on one or two a week, the theaters are filled with movies in which the government is the only thing that can save us.”

“With the occasional help of some bankable, streetwise, African American standup comic,” I add.

“Right,” Bamford laughs. “And probably one who can’t act.”

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Slow Foods Movement

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Head Games: A wild-boar roast was one of Michael Dimock’s slow food moments.

Once More, with Relish

Slow Food energizes communities, one table at a time

By Heather L. Seggel

One day last summer, I was riding through Healdsburg with my father on one of our occasional thrift store junkets. The road was wavy with heat, and the car’s black interior was acting as a solar oven, trumping the air conditioner and melting our brains. My dad made a U-turn so abrupt I jumped, then pulled into the shade of what looked like an abandoned produce stand. “Look at that,” he said.

I looked and saw more tomatoes than I’ve ever seen in my life.

Wheelbarrows full of tomatoes, boxes full to overflowing, and row upon row of plants. They were a mess of leafy green at first glance, then suddenly I could glimpse the red, gold, and green fruits peeking out seemingly everywhere. We got out, hoping to find someone, and looked around for five minutes or so. Nobody came, so we picked up four bulging, red heirloom tomatoes so full of juice they threatened to explode before we could set them in the car. We folded up a few dollars and stuck them in a six-pack cooler that was under the funky folding table out front, and left, jokingly watching for police or pitchfork-wielding farmers in the rearview mirror.

The tomatoes. Each one big enough to make a meal, juicy enough to sauce a pound of pasta, as delicate as angel food yet substantial as a steak at the same time. The tiniest dash of salt brought out sweet and acid notes, and a stale baguette drank up the juice and became extraordinary. It was a perfect meal–almost no ingredients, just pure flavor, feeding more than simple hunger.

I didn’t know it at the time, but I was experiencing a slow food moment.

“Those moments can be very nourishing,” said Barbara Bowman. “You took the time to find something wonderful from the earth that someone specialized in growing and that was really delicious and enjoyable.”

As leader of Slow Food’s Healdsburg convivium, or chapter, and head of Sonoma County’s Ark USA committee, which works to protect endangered regional specialties from culinary extinction, Bowman takes deliciousness seriously. It’s a significant part of the Slow Food movement, in fact. Even their manifesto extols the virtues of “suitable doses of guaranteed sensual pleasure and slow, long-lasting enjoyment.” Who could resist?

“It’s more than just getting together and eating well,” cautioned Bowman. She’s right, of course. Slow Food members educate themselves in great detail about the foods they advocate, and the Ark in particular calls for detail-oriented activism and commitment. But when all those things culminate in getting together with friends and pigging out on freshly made organic ice cream, it’s easy to see why more people continue to join and how the movement has grown globally by keeping a local focus and delighting the palates of all involved.

Raiding the Lost Ark

The Slow Food movement started in Italy in 1986, as journalist Carlo Petrini’s inspired response to a McDonald’s opening near Rome’s landmark Spanish Steps. Petrini conceived of the movement (and its mascot, the snail) as both a reaction to and rejection of the encroaching fast-food aesthetic. Rather than identical restaurants throwing together tasteless food for customers to scarf down, Slow Food emphasizes the pleasures of dining on real food in good company at a leisurely pace. Members bring folks to their table, and as word spreads their numbers multiply.

In the last 15 years, that expansion has carried Slow Food to 50 countries worldwide, boasting more than 70,000 hungry members. Slow Food USA has been gaining strength since the early 1990s, with official headquarters opening in New York just two years ago. The United States now has roughly 7,000 members divided among 60-plus convivia (the name comes from Latin for “feast”) and counting. U.S. membership is largely concentrated in the northeastern United States and here in foodie California, where the North Bay alone plays host to five convivia. Interest is also growing in the Midwest and South, which may help the agricultural economies in those areas. Almost any community with a decent farmers market and a healthy curiosity about where its food comes from is ripe for conversion–and is bound to have a good time in the process.

Among the activities various convivia have staged are tours and tastings at community dairies and chocolatiers; a study of honey making complete with an on-site hive, honey, and cheese tasting; and a presentation by a brewer on the finer points of mead making. Events generally contain a teaching segment followed by a tasting, so participants get a feel for how their foods come to be. Sometimes the education occurs more spontaneously and comes with a side of enlightenment.

Slow Food Russian River founder Michael Dimock described an event he participated in a year ago. Friends trapped and fattened a wild boar, and on the day of the event it was slaughtered and prepared with homemade, fresh-from-the-trees applesauce. “We cooked all day,” he said, with about 50 people pitching in. They all ate together at a long table set outside and shared some “terrific” wine. “It was a transcendent moment,” said Dimock. He said the food was exceptional but that it wasn’t the sole source of nourishment, adding, “I’m fed deeply by [Slow Food’s] actions, and by participation with the people involved.”

This hands-on approach gives another spin to the idea of slow food: It’s not just the opposite of fast food; it’s part of a tradition and the product of loving preparation, often on a very small scale. These are the qualities Slow Food members are out to preserve, and the foods that live up to them find a special place in members’ hearts and–if they qualify–on the Ark.

Obscure regional delicacies and “endangered” foods may be saved by the Slow Food movement’s Ark of Taste project. Like its Biblical namesake, the Ark is an attempt to save foods that could slip from our midst, and carry them on into the future. Any Slow Food member can nominate a food item, which then has to meet rigorous criteria before a committee will even sample it, let alone consider it for inclusion. The presence of genetically modified raw materials or transgenic breeding will automatically disqualify an item from the Ark, just as Noah would most likely have sent Dolly the sheep packing come flood time. The food also needs to satisfy the bottom line and exhibit some sales potential. Bowman said the committee looks for foods to be “commercially viable, to have more potential in the marketplace than they’re enjoying now.” If it makes the cut, the group will work to create a sustainable market for the product so it can thrive.

The most recent addition to the Ark USA list is Tuscarora corn, an endangered native species grown by the Five Nations Native Americans in upstate New York. The corn’s inclusion on the Ark has led to the acquisition of a mill and roastery and a growing market for the cornmeal, which lends a measure of economic stability for those who grow and process it. And the toasted cornmeal has found fans among restaurateurs, who have incorporated it into their menus.

Given its protected status, the corn may take off with growing sales among consumers and inspire more planting, or it may remain a mostly local item, but at least it has a fighting chance. Bowman noted that with foods on the Ark, “We’re trying to create a market nationally, but realize many [of the foods] are regional” and may best succeed by staying close to home.

This mission to save foods may seem a tad romantic, but the committee’s goals are ultimately practical with a definite long-range view. The selection committee’s mission statement puts it explicitly: “Future opportunity, not nostalgia for the past, will guide our selections.” They also prioritize locally grown and created products as much as possible.

Bowman described Slow Food as “very grassroots” but with larger ambitions. “We’re appealing to, and conserving, the traditions [connected to] local foods,” she said. Among the local produce to make the Ark USA list are Blenheim apricots, a tree-ripened fruit that blemishes easily and won’t travel well, but bursts with exceptional taste. The Sun Crest peach is also on board for similar reasons. Bowman conceded that Sun Crests aren’t cosmetically perfect. They’re “fragile, but inside they’re the definition of what a peach should be,” she said.

Hopefully, having a place on board the Ark will help these fruits find a bigger share in the marketplace. More people enjoying locally grown foods picked at the peak of ripeness would mean less unripe fruit being planed, trained, and trucked around the world to supermarkets where it sits, perfect-looking but tasteless, the culinary equivalent of Pamela Anderson.

The Ark doesn’t stop at produce. Other local foods to make the cut include the red abalone, Northern California heirloom turkeys, and Vella Cheese Company’s dry aged Monterey Jack Cheese. Fifty years ago, dry aged Jack was produced by over 60 cheese makers as an alternative to Parmagiano Reggiano, which couldn’t be imported from Italy due to wartime complications. Vella is the last remaining producer of this tasty little slice of history, which now at least has a fair shot at surviving into the future. The hope is that if more people are inspired to buy it, more cheese makers will begin producing it again.

The Pleasures of the Table

The benefits of local foods are a cornerstone of Slow Food’s way of thinking: fresher, healthier produce; lower prices for consumers; more income for farmers; more diversity on the farms; less packaging and pollution from transportation. A localized food economy is stronger than one that relies on the imports of transnational corporations, whose vision of diversity tends to involve 10 boxes of cereal with identical ingredients but different labels.

Dimock said one of his main goals as a Slow Food member is “getting people to think about regionalism” as a step toward more sustainable living. “Food is the cornerstone of sustainability and part of [our sense of] community.” One of Slow Food Russian River’s last events was a tasting of duck paired with a variety of Russian River wines, a great way to discover local treasures.

This doesn’t mean all foods from overseas are forbidden or even should be–many convivia stage dinners of authentic ethnic cuisines featuring imported specialty items. Slow Food simply gives priority to the same types of food they always do, regardless of the nation they originate from: those produced by artisans and small-scale farmers for whom quality is key.

Yet another way Slow Food affects change is through community involvement. This starts with consumers and food producers, but extends further into the lives of those involved. The San Francisco convivium has worked with a program that brings chefs into Tenderloin area schools to teach the kids how to cook.

Slow Food Russian River is currently searching for a group with whom to form a similar sponsoring partnership. Dimock has nominated the Occidental Arts and Ecology Center– “They’re awesome,” he enthused–because the nonprofit (formerly the Farallones Institute) shares his interest in permaculture, rammed-earth building techniques, and an intense commitment to sustainability at every level of civilization.

Slow Food Sonoma County has worked in close partnership with young men in Forestville’s Sonoma County Probation Camp, taking them from the garden plot to the dinner table and beyond. The 16- to 18-year-olds grow food in a schoolyard garden, harvest and replant the produce, then learn to cook (and eat) it. This year they’re hoping to grow enough produce to sell some at a farmers market. Working under the supervision of camp chef Evelyn Cheatham, one of the boys grew skillful enough to apply to the Culinary Institute of America. He was also given the honor of helping cook dinner for 150 members attending the first Slow Food USA national congress, held last summer in Bolinas.

If images of kids growing their own food and learning to cook it rings a bell with Bay Area residents, there’s a reason. The idea is similar to Alice Waters’ Edible Schoolyard program, which also teaches kids about food, from garden to kitchen to belly. While Waters embodied the Slow Food aesthetic before the movement even had a name, she’s now the leader of one of Berkeley’s three convivia, giving her another platform from which to spread the gospel of biodiversity, ecology, gastronomy, and tasty, tasty food. That focus on clean, pure, sustainable foods is at the heart of some contentious issues these days, and it’s one of the areas where Slow Food practices radical common sense.

Home Cookin’

The government’s continued refusal to label genetically engineered foods, even as they’ve come to occupy over 60 percent of the products on supermarket shelves, has taken control of what we eat out of the hands of consumers. With 93 percent of Americans polled by ABC News saying they want these foods labeled–a number that rivals President Bush’s much-touted approval rating–the lack of any response has made many feel that their worst fears are justified. And what few kernels of hard evidence have been brought to light thus far have done little to assuage those fears.

The official position of government and science claiming these foods are benign was dealt a significant blow last fall by a New York Times report which found that genetically engineered corn DNA had contaminated some of Mexico’s purest and most genetically diverse corn, despite the fact that genetically altered corn has not been approved for planting there. There’s concern that the modified genes may begin to dominate the population and threaten the genetic diversity that made this corn so special. Largely heirloom species, some varieties are passed on from generation to generation and only grown by subsistence farmers in remote areas. Scientists still don’t understand–and certainly didn’t seem to anticipate–how genetic material could move so far, so fast. However, if it can get to some of the most well-hidden corn on earth, there’s little doubt that our day to day “organic” foods may have been similarly exposed.

Knowing that organic crops grown near GMOs are at risk of contamination by gene transference–as are the people, animals, and insects who live near them and share the land–it’s hard not to want to affect change. With the amount of these products appearing (still unlabeled) in floodlike proportions, an idea like the Ark takes on a new, urgent significance. Slow Food consistently champions those small producers who do the work of keeping food clean and pure themselves, and don’t rely on Monsanto Corporation for pest control.

Slow Food members hope that preserving biodiversity and the pleasures of the table will help the communities involved to become more self-sufficient, and that the fun involved will keep them committed. With their protest-as-dinner-party approach to things, and as long as people stop and follow their taste buds, it’s a good bet that the movement will succeed in its own sweet time.

For more information on Slow Food and how to become a member, see www.slowfood.com.

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Cherish’

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Photograph by David Moir/Fine Line

The Trappings Of Home: Tim Blake Nelson and Robin Tunney explore the intricacies of involuntary confinement.

Muse and Views

Indie filmmaker Finn Taylor learns to ‘Cherish’ his wild side

It could have gone either way. Director Finn Taylor (Dream with the Fishes) knew from the start that his low-budget, independent script–revolving around the subject of house arrest–might sound a bit gritty and bleak. The idea grows no more cheery when one learns the details: an emotionally fractured woman, accused of a crime she didn’t commit; her two-year stint in the electronic bracelet program, confined to a crumbling San Francisco apartment; an anal-retentive deputy; a truly creepy stalker. Yet even with raw material like this, Taylor has created a rare little film that reveals itself as unexpectedly charming, completely engaging, and fun–but with just enough gritty stuff to make it remind you of its indie origins.

Which is exactly what Finn Taylor had in mind.

“Independent films–as marvelous as they are–all tend toward dark, cynical, self-serious dramas,” he explains. “Either that or they’re light, broad comedies about nervous teenagers having sex.” What Taylor envisioned was something in between. “I wanted to make a slightly new kind of film,” he says. “Not totally radically new, but just a little bit new, tonewise.”

On the strength of his quirky, original script–inspired by true stories of people in the electronic bracelet program–Taylor was able to attract a cast of actors similarly eager to try something slightly new. According to Taylor, a parade of big-name actresses competed for the part of Zoe, the nerdy, self-doubting, music-obsessed dotcommer who lands in virtual solitary confinement within her own apartment. The part went to Robin Tunney, whose career has been ping-ponging between Hollywood blockbusters (Vertical Limit, End of Days) and edgy independent stuff like Niagara, Niagara. Tim Blake Nelson–the actor-director best known as the goofball Delmar in O Brother, Where Art Thou?–was tapped to play Daly, the strait-laced “bracelet officer” assigned to Zoe’s case. The rest of the cast includes singer Liz Phair, actors Lindsay Crouse and Jason Priestley, and comedian Nora Dunn. A solid hit at this year’s Sundance Film Festival, Cherish was picked up by Fine Line features and now hovers on the brink of its national theatrical release on June 7.

Taylor–conducting this interview moments before a special prescreening of his film at the Rafael Film Center–admits that some of the best moments in the movie came from suggestions or improvisations by the passionate team of actors.

“This script was in my head for years,” he says. “I literally did 1,200 story boards to prepare for it. But, having prepared, I then realized it was OK to play and to take risks and–as corny as it sounds–to try and follow my muse. Sometimes, my muse appeared in the form of the actors themselves, who truly understood what I was attempting.”

Taylor, it so happens, started out as an award-winning poet. Perhaps this explains his elaborately visual flights of fancy and his imaginative use of syrupy ’80s songs (all of which play like a kind of supporting character in the movie).

“Maybe being a poet has something to do with that,” he allows. “The music came about during a trip through Oregon while I was planning this movie. I was listening to the radio–I’d found this channel that played all these vaguely creepy love songs.” Suddenly, the music and the movie became fused in Taylor’s mind. “Once I decided we were using these songs,” he goes on, “I wanted everything in the movie to stylistically reflect those songs–in terms of the way I shot it, the colors we used, or the big, hyperdramatic zoom-outs.”

But Cherish is more than just a cool soundtrack and a sharp look. At its heart, says Taylor, Cherish is about “an unhappy woman who finds her own power when she suddenly has only herself to rely on. I could have made a film about someone in the house arrest program who falls apart and goes nuts. But I think I’m more interested in redemption, in growth, in moving beyond fear than I am in being edgy and pessimistic.”

Mirroring Zoe’s remarkable evolution, Taylor says he too grew while making the film.

“On my first movie, I was so worried about making mistakes,” he says. “On this one, I said to myself, ‘Life’s too short. I’m gonna take some risks. I’m gonna have fun.’ And at Sundance, I realized that that attitude had translated to the audience. It’s like if you’re hosting a party and you get all stressed out over the appetizers and stuff, nobody’s going to have a good time. But if you relax and have a good time, everybody’s going to have a ball.”

Cherish the thought.

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘The Cunning Little Vixen’

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Human Nature: L-R: Molly Haas, Hannah Haas, and William Neely.

Photograph by Sandra Speidel


Fox Tales

‘The Cunning Little Vixen’ weaves a powerful tale

By Julia Hawkins

In The Cunning Little Vixen, Czech playwright Leos Janácek composed a paean to nature and its consolations for mortality. Under Elly Lichenstein’s direction, the Cinnabar Theater’s production captures much of the magic, humor, and mood of the opera–a product of Janácek’s old age and passionate, one-sided love for a younger woman. Supported by Nina Shuman’s musical direction of Donald Pippin’s new English adaptation, the Cinnabar Theater deserves much praise for mounting a difficult and challenging work and for bringing it off so well.

The opera was inspired by an illustrated 1920s newspaper serial that depicted the adventures of a young vixen (a female fox) raised by a forester. Janácek created both an allegory and parable out of a simple tale of comical misbehavior, transforming juvenile caricature into pantheistic celebration.

In Janácek’s version, the vixen suffers from lack of love, desiring its transformative power. The vixen (a kittenish and mischievous Wendy Loder) rejects the family dog’s advances, attacks the farmer children who torment her, and, when threatened with a beating for killing the chickens, bites through her leash and escapes into the forest. Once free, she appropriates a badger’s hole, finds a proper fox mate (the elegant and eloquent Eileen Morris), and happily raises a family. A poacher (sympathetically portrayed by Kevin Simmons) kills her for stealing his chickens, and in the final scene, her pups reappear on the forest floor in a reprise of the opera’s opening act.

Janácek had earlier set to music Ozef Kalda’s “Diary of One Who Vanished,” a poem about a farmer’s son fatally enticed into the forest by a gypsy girl, away from the parents he loves and the settled future to which he was born. To Janácek, the gypsy image is the link between town and forest; she is civilized man’s connection with Eros and represents the fulfillment of love.

In The Cunning Little Vixen, a gypsy named Terynka–discussed but never shown onstage–becomes the romantic focus of three aged friends drinking themselves into candor in a tavern: the parson (a stolid, thick Stan Case, doubling humorously as the badger), the schoolmaster (made woeful and clueless by David Phillip, who doubles as the submissive family dog), and the forester (an assured William Neely).

The parson sheltered the gypsy and is being driven away by the angry villagers who believe he impregnated her. The schoolmaster adores her from afar and wants to marry her. The forester, numbed by a stale marriage, recognizes the gypsy in the vixen he captures and as the visitor in his dreams. She embodies amoral love and primordial earthiness, two qualities necessary to these men’s souls. In the end, only the forester will win her–philosophically speaking–and then only through renunciation of his will. The two females who do appear on stage–the morally lax bar maid and the forester’s shrill wife (Bonnie Brooks’ exaggeration of these stereotypes is appropriately dismaying)–represent the inadequate range of female succor.

“The story of the vixen is a forest idyll,” Janácek wrote to his publisher in 1927, “only a hint should surface of the sameness of our cycle and that of animal life. That is enough.” Janácek has made it enough. The airy and otherworldly quality of the opera is the creation of the Cinnabar Young Repertory Theater, dressed and dancing as insects and animals. Megan Watt’s choreography and Greek chorus of a dance as the dragonfly complement the music. The costumes, designed by Lisa Eldredge, are extraordinarily imaginative, and the makeup (also by Elly Lichenstein) is genius. Special note must be made of the forester’s wife’s comical chickens (members of Petaluma Sings!) who toddle down a ramp to ridicule the vixen for not being productive, as they are.

The most effortless-seeming works of art are often the result of years of enormous and painful development. This opera was Janácek’s swan song, the culmination of years of unceasing efforts to transpose human and nature’s sounds into their musical equivalents. It was inspired by his love of the forest of his childhood, his folkloristic interests and humanistic sympathies, as well as by his wide readings in aesthetics and psychology.

But above all, it was ignited by passionate love. He requested that the last act be performed at his funeral, and the forester’s concluding song–“When evening arrives / I welcome the rays of the setting sun / Spring comes once again . . . / and flowers will drink the tears of May-time . . . / and all the joy of Heaven will unfold”–summarizes the composer’s ethos and consolation.

‘The Cunning Little Vixen’ plays June 7-9 and 14-15 at the Cinnabar Theater, 3333 Petaluma Blvd. N., Petaluma. 707.763.8920.

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Carol Setterlund

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Solitary Standing: ‘La Primavera’ by Carol Setterlund.

Photograph by Lenny Siegel


Alone in a Crowd

Sculptor Carol Setterlund’s soul totems

By Gretchen Giles

The ancient academic school of formalism dictates that a work of art should stand apart from the artist. Biographical concerns, personal habits, and documented quirks should remain resolutely banished from the mind while in the presence of the artist’s work. That’s all very well and good for the high, sere aerie of academia, but when viewing the heavy-headed beachwood sculptures of Cloverdale artist Carol Setterlund, formalist strictures give way to the simple jaw drop.

Standing perhaps five feet tall and weighing perhaps 100 pounds after Thanksgiving dinner, Setterlund nonetheless snaps on a heavy protective helmet and wields a chain saw to make her figures. She tramps Jenner beaches alone, canny-eyed with a rope, to find her massive logs. And then–like a 21st-century pyramid builder, a crafter of Stonehenge, or a Mayan architect–she somehow manages to get these huge, water-soaked burdens across the sand, up a slippery trail, and loaded into the car home, where she’ll drag them into the studio to create tall, secretive busts of incredible solitude.

Walking into a Setterlund exhibit–which is easy to do, as her “Recent Works” shows through June 23 at the Erickson Fine Art Gallery in Healdsburg–is to be reminded of the ineffable loneliness sometimes found in a crowd. Working from a mythology both private and profound, Setterlund peoples the Erickson’s elegant space with nothing less than 21 relics of the soul.

Primitive, totemic, and brutal, Setterlund’s figures are often tall piled spindles of wood discs built upon each other, topped with a block and towering over six feet. But the “bodies” are useless; it’s the heads that command. Seeming to emphasize the raw intellect of taste and smell and touch over sight and sound, her pieces sport oversized noses and gaping, soiled mouths. Many are blind; their ears, blocked and ineffectual.

However, the sense of sight is most rewarded in meeting these pieces. While the long stretch of Alberto Giacometti’s figures spring to mind upon viewing Setterlund’s sculptures, his work was purportedly made to be seen from a nine-foot perspective–evidently the distance at which he sat from his models when working. Setterlund’s are best seen from the intimate distance of an inch.

Appearing bleached and whitened at first, in close proximity her works are riotously colored, the white pushed back to reveal blues, purples, oranges, pinks–the pulsing hues of the corporeal. The wood is meticulously pitted and worked, hand-knifed into order and then gently salved with putty. One feels an immense empathy for such pieces as Charade, a Buster Keatonesque figure with haywire hubcap hat in mawkish makeup. In fact, one feels an enormous empathy for each of these solitary figures, so like us in their isolation, defects, and beauty.

Above all, Setterlund’s pieces bespeak our basic human desire to reproduce, to leave behind a process, be it progeny or statuary. Like the mysterious heads on Easter Island, her works seem to be mute testaments to–if nothing else–at least making a mark on the good green earth during one’s too-brief sojourn. We haven’t much evolved, she seems to report, when beach-drowned wood is still dragged ashore to be fashioned with meticulous roughness into representations of . . . just plain old us. Setterlund furthers this by adding crowns and wings and breastplates to her figures made from scrap metal and nautical rope and stiffened kelp and old rusty wire. Others’ castoffs and nature’s brusque actions coalesce in human hands to form–more humans?

Drawing from history (Ajax, Minos, Ptolemy, Anacreon), opera (Capriccio), wordplay (Epigram), and fancy (Pirouette), Setterlund creates her own visual vocabulary peopled with fools, freaks, elders, the sainted, the sane, and the sage. Yes, indeed–back to us.

‘Carol Setterlund: Recent Works’ shows through June 23 at Erickson Fine Art Gallery, 324 Healdsburg Ave., Healdsburg. Gallery hours are 11am to 6pm, Thursday-Monday. 707.431.7073.

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

The Waybacks

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New-Grass Bluegrass: The Waybacks play “that high, loathsome sound.”


Smart Pickin’s

The Waybacks ride back to the North Bay

By Greg Cahill

Their shows are legendary, and that legend just keeps on growing. Fresh from their first date at the largest bluegrass festival in the United States–where the band shared the stage with new-grass greats Darol Anger and Mike Marshall and was introduced by the festival announcer at an encore performance as “the hottest debut band at Merlefest”–the San Francisco-based Waybacks are back with a new album (Burger after Church) and an upcoming date at the Rancho Nicasio.

This quirky acoustic quintet, dishing up what they like to call (with tongue planted firmly in cheek) “that high, loathsome sound,” is an irreverent round-up of “crabgrass” music, countrified humor, and virtuoso licks that has led to a cult following coast to coast. It’s all about virtuosic flatpicking, fingerstyle, fiddle, and mandolin, sowed with an exuberant joie de vivre.

“The group’s air-tight arrangements swing with fervor and intensity, spotlighting spine-tingling vocal harmonies and some of the hottest instrumental playing you are likely to hear on either side of the Rockies,” opines Steve Barker of the Freight & Salvage nightclub in Berkeley.

While their stage antics are all about fun and their albums are rife with irreverence (their 2000 CD Devolver–which Acoustic Guitar magazine hailed as “an album that no fan of modern string bands should miss”–chronicled the descent of man), the Waybacks are strictly serious about their sound. Lead guitarist, mandolin player, and singer James Nash, who also plays with Lane and the Badass Chicken Bones, studied with Nashville session regular Jerry Kimbrough.

Fiddler, mandolin player, guitarist, and singer Chojo Jacques is a longtime contributor to various new-grass bands and honed his chops playing with the Lost Highway Band, who recorded their first album on Augie Meyer’s Texas Record label. He has performed or recorded with Ramblin’ Jack Elliott, Frank Wakefield, Johnny Paycheck, Michael Hedges, and others.

Guitarist Stevie Coyle taught himself to fingerpick while touring with the Royal Lichtenstein Circus. He is a TV commercial actor, a standup comic, and former member of the Foremen (a satirical folk group that fired well-placed barbs at the nation’s leaders circa 1994).

Standup bassist Joe Kyle Jr. has contributed to the amazing Hot Club of San Francisco (the Django Reinhart-Stephane Grappelli-inspired ensemble), as well as the North Bay-based Trailer Park Rangers and Bone Cootes and the Living Wrecks.

Drummer Chuck Hamilton, an ex-member of the Lost Highway Band, has performed with musicians as diverse as blues great Clarence “Gatemouth” Brown and champagne music king Lawrence Welk.

“The Waybacks are a string band that long ago surpassed the pinnacle of technical prowess on their respective instruments,” noted online guitar-music magazine Minor 7th (www.minor7th.com), “thereafter ‘devolving’ to a point that their music is so free and natural that the most primitive brain centers of the Homo sapiens listener goes into electrical storm.”

Kinda gives ya goosebumps–a remarkable assemblage of traditional musicians, to be sure.

The Waybacks perform Father’s Day, Sunday, June 16, at 6pm, at Rancho Nicasio, on the town square, Nicasio. Tickets are $10 for adults and $5 for customers under age 10. 415.662.2219.

From the June 6-12, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Pepe’s Mexican Restaurant

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Belly Up: Co-owner Fernando Barragan of Pepe’s on Fourth Street prepares platters full of steaming goodness.

Photograph by Michael Amsler

Best Burritos in Town?

Pepe’s says so, and they just might be right

By Sara Bir

I’m from Ohio, where there are no taquerias. There are Mexican restaurants, usually decked out in velvet sombreros and airbrushed murals, with a wait staff of local college kids who serve indistinguishable entrées that get washed down with giant pitchers of Slurpee-like margaritas.

No wonderful carnitas, no savory al pastor, no tender lengua, and no way will you find cabeza or sesos. Menudo is the teen band Ricky Martin used to be in, not tripe soup. Mole is a thing you go to the dermatologist to get removed.

When I moved out to California, it was a revelation to discover that the Mexican food here is actually Mexican. To novices, the sheer volume of taquerias in most California towns can be dizzying, and neighborly advice is often the best place to start. My boyfriend, who had graduated from Sonoma State, raved about one taqueria in Rohnert Park that he claimed was the best he knew. I went there and was sadly unimpressed. I came to prefer a joint closer to home, on Mendocino Avenue. When I lived in Sonoma, my favorite place was on Arnold Drive, a mere few minutes’ walk from my apartment.

That’s when it struck me: the criteria for best taqueria may have as much to do with where the taqueria is in relation to your house as it does with overall quality. Rolling a block home–the comalike effects of a burrito setting in–is far preferable to (and probably safer than) stepping into a car.

In Ohio, the closest thing to a taqueria in the whole state was La Bamba’s in Columbus, where you could buy a “burrito as big as your head.” California burritos are always as big as your head. The point is, in Ohio you had to go out of your way to get good Mexican food; here, you often just have to cross the street.

Pepe’s Mexican Restaurant in Santa Rosa has just added a Fourth Street location to their original joint on Sebastopol Road, and I’ve found that they have a more legitimate claim to the best taqueria in town: the food is standout taqueria fare. Their sign boasts the “best burritos in town,” and I felt this needed testing.

Pepe’s new location is in what was once Quinley’s Drive-In, a place replete with chrome styling, black-and-white tile floors, and red vinyl booths that scream out “diner!” Instead of tearing out the Mel’s look, Pepe’s simply strung festive banners and stuck a few standard cheesy Mexican knickknacks up on the bright, white walls. It’s a bit disarming to step in there and see the classic American diner counter with its stools stretching out before you under the fluorescent lights. But it’s a fun juxtaposition.

Burritos come in regular and super sizes, the difference being that super has additions of guacamole, lettuce, cheese, and sour cream. A minimalist, I opted for a regular burrito al pastor (spicy barbecue pork–what burritos were made for!). The pork was superb, richly seasoned, not gristly, and it had just enough grease to be moist and appetizing without being greasy.

The ratio of meat to beans and rice in the filling leaned way to the side of meat, another plus–no one wants to dig into a rice burrito. (Pepe’s does offer a veggie burrito, which is slightly misleading as it contains no additional veggies, save salsa, lettuce, and guacamole; it’s essentially a regular burrito with no meat and more rice for the same price.) As pleased as I was with the seasoning of the al pastor, I promptly dumped both types of house-made taco sauce (surprisingly mild) all over it and dug in.

Next visit I tried a torta. I’m surprised these joyful bundles of gluttony are not more popular. A torta is kind of like a burrito rearranged in sandwich form on a soft white roll. I ordered the grilled steak torta, which at $6.50 was kinda spendy, but the generous amount of steak spilling off the bun served as redemption. Also plopped on my torta was shaved lettuce, slices of avocado and tomato, and pickled jalapeño. Sadly, the steak was a bit bland, and though I doctored it up just fine with salt and taco sauce, I felt let down (al pastor tortas are the way to go). A tasty, sloppy, filling dinner, overall.

Pepe’s offers dinner plates as well as à la carte options. I tried a combination with one chile relleno and one tamale, thinking it would be a reasonable amount of food. I think I am still full. For $9.95, you get a platter laden with copious piles of rice, beans, salsa, guacamole, and sour cream. The chile relleno, its delicate batter smothered under a mild tomato sauce, oozed with a gooey, barely tangy cheese filling. The whole affair was a treat, but so very rich that it was tough to finish (such is the nature of a good chile relleno). The chicken tamale was good, but the chile relleno’s filling gushed all over it bloblike, and after that, discerning separate flavors and textures was a lost cause.

In true diner fashion, Pepe’s is open all day, breakfast to dinner. A breakfast burrito is $6.95, more than either a regular or a super burrito, but still cheaper than an omelette in most local breakfast places. I ordered a chorizo burrito one morning (sausage in keeping with the breakfast theme) and found myself face-to-face with a bulky burrito of earthshattering proportions. Inside were tiny bits of egg, a small handful of rice, some beans, a scattering of melted cheese, and about one pig’s worth of chorizo. The only way I could have burned off the caloric count of the breakfast burrito would have been to scale Mt. Shasta or build myself an impromptu log cabin. I ate the burrito (well, most of it) at nine in the morning and did not feel stirrings of hunger until seven that night.

For a taqueria, the prices at Pepe’s seem a little high–until you actually get your food and realize how much of it there is. As you may have gathered, they don’t skimp on the meat. Those of you into the takeout thing can easily squeeze two meals out of one dinner. Tacos, at $1.95 each, are on the cheap side, but if you want more elaborate fare, you’re going to have to pay for it. And salsa fresca is 60 cents for a side!

Pepe’s new Fourth Street location seems to be doing pretty brisk business so far, and it has more than a few nearby taquerias downtown to contend with. Pepe’s, however, unlike its local competitors, has lengua, sesos, cabeza, and all that good stuff (real taquerias offer offal), plus breakfast, plus big, roomy booths, plus parking. And they sell beer. So even though Pepe’s is not as close to my house as a few other taquerias are, I am happy to overlook this technicality and proclaim it my new favorite taqueria.

Pepe’s Mexican Restaurant, 1079 Fourth St., Santa Rosa. Open daily for breakfast, lunch, and dinner, 8am-9pm. Order in and takeout. 707.571.7478. (Also 2000 Sebastopol Road, Santa Rosa. 707.545.7425.)

From the May 30-June 5, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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Human Nature: L-R: Molly Haas, Hannah Haas, and William Neely.Photograph by Sandra SpeidelFox Tales'The Cunning Little Vixen' weaves a powerful taleBy Julia HawkinsIn The Cunning Little Vixen, Czech playwright Leos Janácek composed a paean to nature and its consolations for mortality. Under Elly Lichenstein's direction, the Cinnabar Theater's production captures much of the magic, humor, and mood of...

Carol Setterlund

Solitary Standing: 'La Primavera' by Carol Setterlund.Photograph by Lenny SiegelAlone in a CrowdSculptor Carol Setterlund's soul totemsBy Gretchen GilesThe ancient academic school of formalism dictates that a work of art should stand apart from the artist. Biographical concerns, personal habits, and documented quirks should remain resolutely banished from the mind while in the presence of the artist's work. That's...

The Waybacks

New-Grass Bluegrass: The Waybacks play "that high, loathsome sound."Smart Pickin'sThe Waybacks ride back to the North BayBy Greg CahillTheir shows are legendary, and that legend just keeps on growing. Fresh from their first date at the largest bluegrass festival in the United States--where the band shared the stage with new-grass greats Darol Anger and Mike Marshall and was introduced...

Pepe’s Mexican Restaurant

Belly Up: Co-owner Fernando Barragan of Pepe's on Fourth Street prepares platters full of steaming goodness. Photograph by Michael AmslerBest Burritos in Town?Pepe's says so, and they just might be rightBy Sara Bir I'm from Ohio, where there are no taquerias. There are Mexican restaurants, usually decked out in velvet sombreros and airbrushed murals, with a wait staff...
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