9-11 Tribute

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“And Death Shall Have No Dominion”

By Dylan Thomas

And death shall have no dominion. Dead men naked they shall be one With the man in the wind       and the west moon; When their bones are picked clean       and the clean bones gone, They shall have stars at elbow and foot; Though they go mad they shall be sane, Though they sink through the sea       they shall rise again; Though lovers be lost love shall not; And death shall have no dominion. And death shall have no dominion. Under the windings of the sea They lying long shall not die windily; Twisting on racks when sinews give way, Strapped to a wheel,       yet they shall not break; Faith in their hands shall snap in two, And the unicorn evils run them through; Split all ends up they shan’t crack; And death shall have no dominion.

And death shall have no dominion. No more may gulls cry at their ears Or waves break loud on the seashores; Where blew a flower may       a flower no more Lift its head to the blows of the rain; Though they be mad and dead as nails, Heads of the characters hammer       through daisies; Break in the sun till the sun breaks down, And death shall have no dominion.

From the September 20-26, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Robert Cray

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Blue Soul

Robert Cray is feeling satisfied

By ALAN SCULLEY

ROBERT CRAY being an artist who has recorded a dozen studio albums and has established a readily identifiable sound that draws liberally from classic Memphis soul and smooth yet punchy blues, it can be tempting to think that one Cray CD sounds pretty much like the rest. That could easily be the first impression with Cray’s new CD, Shoulda Been Home (Ryko). It boasts the familiar trademarks fans have come to expect from the 47-year-old singer-guitarist–such as the wrenching ballads dealing with heartache and wayward lovers, Cray’s silky smooth vocals, the tight, grooving interplay between Cray and his longtime bandmates, keyboardist Jim Pugh, drummer Kevin Hayes, and bassist Karl Sevareid.

Yet Cray–a Novato resident–can point to enough new wrinkles on Shoulda Been Home to make a case that the CD is as notable for its differences as for the traits it shares with the other albums that make up his catalog. “I think when one listens to the current record, you hear a lot of different influences,” Cray says.

And some of those influences are ones that Cray says he feels give the disc a unique identity. For starters, the CD includes covers of two Elmore James blues songs–the rollicking hard-swinging “Cry for Me, Baby” and the gut-bucket ballad “12-Year-Old Boy.” One actually has to go back several Cray albums–to 1995’s Some Rainy Morning –to find him doing this sort of straight-ahead blues.

“It’s just the songs weren’t there,” Cray says, explaining the absence of blues material on recent records.

“That’s what happens for me. The songs weren’t there.”

Shoulda Been Home marks the second straight album in which the Robert Cray Band has worked with producer Steve Jordan. It also was recorded in the same studio–Woodland Studios in Nashville–as Cray’s preceding CD, the 1999 release Take Your Shoes Off. On such early albums as Bad Influence, Cray forged a close partnership with Dennis Walker, who co-wrote with Cray many of the songs and produced each of the group’s albums. But with the 1993 album Shame + a Sin, Cray split with Walker and assumed production duties. Cray says he hasn’t minded giving up some of the control over his albums, even though Jordan is a highly proactive producer who takes a major role in everything from song arrangements to getting precise instrumental sounds for each song. “I’m open to new ideas, especially with somebody whose work I admire,” he explains. “He’s also a great person to get along with.”

The teaming of Jordan and Cray has proven to be a potent combination. The acclaimed Take Your Shoes Off, a CD that explored Cray’s deep roots in the Memphis soul sound of the ’60s and ’70s, earned the Cray Band a Grammy Award for best blues album.

Cray had won Grammys before, but this award had a special meaning to him. “What was really cool was the fact that this particular band won a Grammy,” Cray says, noting that the earlier awards were with a different edition of his band. “With Jim and Kevin coming in ’89 and Karl in ’92, it’s been 10, 11 years, 12 years for somebody being in this band and being nominated a lot, and they finally got to take one home.

“That was really cool.”

The Robert Cray Band performs Friday, Sept. 28, at 8 p.m., at the Luther Burbank Center for Performing Arts, 50 Mark West Springs Road, Santa Rosa. Tickets are $35. 707/546-3600.

From the September 20-26, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Bookends

By Patrick Sullivan

Rage and ‘Fury’

IT WAS AMONG the smallest casualties of this month’s devastating terror, but it offered a special irony. Two days after the World Trade Center attack, Salman Rushdie was scheduled to appear at Book Passage in Corte Madera. Rushdie, whose The Satanic Verses once earned him a death sentence from Iranian clerics, planned to read from Fury, his new novel about runaway rage in New York City. But like those of countless other airline passengers, Rushdie’s travel plans changed drastically. “We don’t really know if he’s going to reschedule, but he might,” explained one Book Passage employee. Meanwhile, Rushdie’s new book couldn’t seem more relevant: “Life is fury. Fury–sexual, Oedipal, political, magical, brutal–drives us to our finest heights and coarsest depths.”

Book Beat

THE EVENTS of that black Tuesday also cast a pall over the much-anticipated Sonoma County Book Fair in Santa Rosa. Many scheduled authors were unable to make it. But most events went ahead, including a crowd-pleasing reading by short-story master Roy Parvin.

From the September 20-26, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Camera Art 3

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Photograph by Kathleen McCallum

The Big Picture

Camera Art 3 organizer sells photography as investment

By Patrick Sullivan

“IT’S A NERVOUS time for many people,” Kathleen McCallum says. “Especially artists. But I feel art is essential. It was my first success, it’s my cause of choice, and it’s my life.” Even as the declining economy and the sagging stock market send a chilly blast through the soul of the nation’s artistic community, McCallum is once again bringing together dozens of North Bay photographers for a weekend art festival in Montgomery Village Shopping Center in Santa Rosa.

Can local artists survive the death of dot.com-fueled conspicuous consumption? McCallum’s 3-year-old festival, called Camera Art 3, aims to help them try. The goal is simple: to help local shutterbugs catch the fickle eye of the public and break through to new levels in their careers.

McCallum, 43, who is the event’s founder, organizer, and chief cheerleader, thinks her effort is paying off.

“I think we’re definitely making a difference,” she says. “The festival is taking talented people and helping to launch their careers.”

As evidence, McCallum points to the success achieved by several Camera Art participants, including Santa Rosa Junior College student Brian Gaberman, who was picked up by Petaluma’s Barry Singer Gallery, which landed him shows in New York City and Los Angeles.

Of course, McCallum has also weathered a major disappointment since the last festival: the closing of the Silver Stone Gallery, a collective art gallery she helped put together in Montgomery Village to build on the success of Camera Art 1. The gallery closed in Febuary, one year after opening, because the landlord moved McCallum and her collaborators to a month-to-month lease.

“You can’t really plan shows if you might lose your lease at any minute,” McCallum says. “But we had a great run.”

Diversity has always been the main focus of Camera Art shows. In the previous two years, between 3,000 and 4,000 people trouped through Montgomery Village during the two-day show to see work by artists ranging from Rolling Stone photographer Baron Wolman to Polaroid-transfer artist Kathleen T. Carr to McCallum herself to little-known nature photographers.

On exhibit is everything from traditional figurative works to stuff some purists would be loath to even admit is really photography: liquid-emulsion works, hand-colored images, and photography combined with computer art.

“I always welcome new photographers,” McCallum explains. “Their enthusiasm is contagious.”

But this year, the bar is set a bit higher. McCallum organized a juried portion of the festival: Katie Burke of Pomegranate Communications selected works, awarding more than $1,000 in prizes to four winners, including Santa Rosa photographer Diane Miller, who took first prize. In all, fewer photographers will exhibit: 30 instead of last year’s 50.

“Artists will have more room,” McCallum says. “They’ll have a better chance to make some money.”

THIS YEAR’S festival is also making an almost evangelical effort to convince ordinary folks who attend the festival that art is a good investment, both financially and socially. As part of that effort, Barry Singer of the Barry Singer Gallery will give a talk about collecting fine art photography.

“Artists enrich our lives,” McCallum says. “What I’m trying to communicate is that the community needs to support artists too.”

But if that sounds a bit too much like charity for your tastes, McCallum offers another incentive: the possibility of big bucks. She studied with the late Ansel Adams back in the ’80s, and she looks back with chagrin on her decision to pass on the opportunity to purchase prints for a couple of hundred dollars, prints that would now be worth $40,000.

The only trick, then, is distinguishing the next Ansel Adams from the artist whose work soon won’t be worth the price of the paper it’s printed on. But McCallum urges a less mercenary attitude.

“I think you need to be in it for the long haul,” she says. “You need to follow artists through their transformations and growth.”

McCallum says she already sees photographers reacting to the softening art market by adopting such cost-cutting measures as producing smaller prints. But regardless of how big a bite the high-tech crash takes out of the art world, McCallum can’t imagine most artists she knows walking away from their work.

“It’s in your soul.” McCallum says. “Stopping is not an option. I’ve worked three jobs at a time before.

“You do what you have to do.”

Camera Art 3 takes place Saturday and Sunday, Sept. 22-23, from 10 a.m. to 5 p.m. at the Village Court Mall, Montgomery Village Shopping Center, Santa Rosa. Admission is free. 707/539-1855.

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

‘Nuggets II’

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Feelin’ Groovy

‘Nuggets II’ delves deep into rock arcana

By Greg Cahill

FOR A NATION that wasn’t big on garages (thanks to the popularity of rail lines, small cars, or no cars at all), England sure did produce a lot of garage bands. And here they are, in all their punkish glory, compiled on Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964-1969 (Rhino). This four-CD set is the latest in an enduring franchise that started in 1972 when Patti Smith and guitarist Lenny Kaye–a major garage-rock freak–assembled a two-album collection of ’60s garage rock that included fuzz-fried and psychedelia-steeped songs by the Shadows of Knight, the Standells, the Count Five, the Amboy Dukes, and other legendary proto-punkers, all mostly raw and unprofessional and mostly one-hit wonders.

Nuggets spawned the Pebbles series of obscure regional garage bands and unleashed a sonic tsunami of reissues.

Over the years, Rhino Records has reissued that original Nuggets album as a pair of beefed-up single CDs and later as a four-CD box set with a bunch of extra tracks, some nifty, some decidedly forgettable. Nuggets II is surprisingly strong (a single CD sampler sent to radio stations kicks ass); such songs as “Everything (That’s Mine)” by the Dutch band Motions bristles with mod grooves and explosive art-pop guitar solos. And there are some relatively big names among the pack, caught in their apprenticeships, including a young Van Morrison (post-Them), Jimmy Page (with the Primitives), David Bowie (then Davey Jones), the Rolling Stones’ Ron Wood (with the Birds), the Bee Gees (backing Australian singer Ronnie Burns), and the Small Faces, which morphed into Rod Stewart’s first band. Other ragged rockers showcased here in their early years include guitarist Steve Howe (later of Yes), who pops up with Tomorrow on the Pink Floydish ditty “My White Bicycle”; Beatles producer George Martin, who supervised the studio for the Action, who offer a raucous cover of the Marvelettes’ “I’ll Keep Holding On”; ELO headman Jeff Lynne (who more recently got to produce the Beatles’ comeback singles), contributing vocals to the Idle Race’s “Imposters of Life’s Magazine”; pub rocker Dave Edmund with Live Sculpture; Led Zeppelin bassist John Paul Jones, doing a stint with the Poets; and John’s Children, featuring guitarist Marc Bolan of T Rex.

A few of these bands–Los Bravos, the Small Faces, the Easybeats (whose “Friday on My Mind” climbed to No. 16 on the U.S. charts)–broke through to a mainstream audience. But most of these bands–the Pretty Things, the Kaleidoscope, the Move–languished in the shadows of the Beatles, Rolling Stones, Kinks, Dave Clark 5, and other big-name Brit acts, barely noticed in the backwaters of the British Invasion.

Still, these are the cream of the underground R&B rave-ups, psychedelic soul, Motown dance grooves, and teen anthems that surfaced in the wake of the unfathomable success of the initial Nuggets box, what compilation producer Gary Stewart calls “the fruits of decades spent reading fanzines, attending record swap meets, bidding at vinyl auctions, and other forms of dysfunctional record-collecting-as-lifestyle behavior (all too perverse or embarrassing to recount here but captured well in the film/novel High Fidelity).”

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

‘Rock Star’

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Fame Aim

Chris von Sneidern wants to be a ‘Rock Star’

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 discussion of art, alternative ideas, and popular culture.

FAME. David Bowie turned it into a song. Captain Hook called it an “insignificant bauble” just before leaping overboard into the jaws of the crocodile in Peter Pan. And in Rock Star, Mark Wahlberg has it handed to him on a platter–and finds it isn’t what he expected.

So what about Chris von Sneidern? Is underground acclaim enough to content the technically successful, but largely unknown, San Francisco pop-rocker (affectionately known as CvS) behind such underground hit CDs as Wood + Wire?

“Oh, I’m still pursuing [fame], in my own way,” von Sneidern admits. “But the further along I go, the further away it seems. The deeper in I go, the more I realize how far away it is.”

Though not exactly a household name, von Sneidern has a reputation that’s strong in the music world, both as a producer (John Wesley Harding’s New Deal and Awake) and a session player. He played with the Sneetches in the ’80s and Paul Collins’ Beat in the ’90s.

For the last hour, the two of us have been having a conversation that’s traveled all over the map. We’ve touched on such subjects as the easily crushed feelings of struggling musicians, the enduring pleasures of Spinal Tap, and the curious fact that, in most rock-and-roll movies, the only guy with any intelligence is the road manager.

“They’re always like the Shakespearean fool character,” CvS notes. “Old and wise.”

Our talk started, a dozen tangents ago, with Rock Star, the new Mark Wahlberg movie about a wannabe metal god who works as an office-supply salesman before he’s recruited to front his favorite big-hair rock band. Co-starring Jennifer Aniston and Timothy Spall (as the wise road manager), the film’s a drug- and sex-fueled fable about a regular guy whose dreams come true. . . for a while.

“People love films like this,” CvS suggests, “because we all want to be rock stars, and this movie says it’s possible. But it also reinforces the idea that we don’t really need to be a rock star, because being a rock star, in the end, is really just a bunch of shit.”

So what really makes people want to be rock stars? CvS recalls discussing that very topic recently with a former child actor.

“We were sitting by the pool in L.A. drinking beers, and he said, ‘Being a performer is the best way to receive love and not have to give it back,'” CvS recalls. “So if you can’t give love, or you’re too afraid to commit to giving love–but you want to be loved–becoming a performer is the way to go, because there’s a moat between you and the audience.

“You do your thing, and they sit out there and give you love and affection and applause,” he continues. “And you get to go back to the green-room and drink your booze.”

Wow, that’s depressing.

“Yeah, but that’s life,” CvS says. “That’s why people want to be rock stars. It’s a charge, especially at the level of the guys in this movie–it’s a big, big charge. But, at the end of the day, all you really get is pussy and booze and first-class tickets.

“We all know that’s not anything but a holiday.”

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Bill Ayers

’60s radical offers unapologetic autobiography in ‘Fugitive Days’

By Jonah Raskin

LIKE SO MANY members of his generation, Bill Ayers was seduced by the serpent of revolutionary romanticism. In the 1960s, while at the University of Michigan, he shed his upper-class upbringing–his father ran Commonwealth Edison, the energy giant–and became a vocal antiwar activist, intoxicated by his own rhetoric.

Later, Ayers helped create Weatherman, a radical splinter group. Soon thereafter he became a leader of the Weather Underground, the clandestine organization that set off mini-bombs–they damaged property, not people–in the U.S. Capitol Building and the Pentagon to protest the war in Vietnam.

Now in his 50s and a professor of education at the University of Illinois at Chicago, Ayers is still spouting revolutionary rhetoric as though it has never gone out of fashion. Indeed, the language of insurrection and defiance washes all over Fugitive Days (Beacon; $24), Ayers’ unapologetic account of his years as a rabble-rouser and a saboteur.

“I was born into an orgy of explosions,” he writes at the beginning of this autobiography, which also serves as a fiery political manifesto and a legal brief for Ayers and his ex-comrades, who turned themselves in to the authorities in the early 1980s and made their peace with America.

Ayers’ dilemma as an author is that he wants to talk, but can’t–not without incriminating himself and others. Of course, he is fully aware of the literary burden he bears. In the process of telling his tantalizing tale, he provides provocative comments about the nature of lies, secrets, and silence. His book is, in part, the compelling story of a man struggling to tell a story he knows he can’t tell without recourse to myth and fiction. Ayers changes names, dates, and places–and alters more than a few facts, too, which is distressing.

The first part of Fugitive Days feels genuine. Here, Ayers relates his activities in the early and mid-1960s, when he was a member of Students for a Democratic Society. He describes real people and events, the laws he broke, the occasions when he was arrested and jailed–all of which he seems to have enjoyed tremendously.

When the story follows his underground exploits in the 1970s, it seems less trustworthy. Indeed, while this book can be fascinating and entertaining, it’s also a highly romanticized view of life as a fugitive, and I wouldn’t want anyone–especially anyone going underground–to take it as gospel.

Ayers insists that he and his ilk were “exiles in America,” but that’s not how I remember it. I knew most of the members of the Weather Underground, and, in my recollection, they were in close contact with friends, family members, and the aboveground antiwar movement. Indeed, they were probably never more in touch with America than when they were wanted by the FBI.

Ayers insists that he and his comrades lived a more or less working-class life on the lam. Again, that’s not my recollection. I remember visiting fugitives in comfortable surroundings in Marin County and Brooklyn Heights. Hippie chic was more their style. And though Ayers likes to think that the Weather Underground was invincible, that just isn’t true either. Several fugitives were captured by the FBI, and Ayers himself was nearly caught in New York, though he doesn’t seem to remember that occasion.

Is this book worth reading? Yes, it is! Despite flaws, it’s the best book there is on the Weatherman and the Weather Underground. What redeems it is Ayers’ loving portrait of Diana Oughton, one of three Weather Underground members who accidentally killed themselves in 1970 when a bomb they were making exploded in a New York townhouse.

Ayers describes Oughton as a Quaker, a teacher, and an activist, without recourse to revolutionary rhetoric. He also returns again and again to the explosion itself and tries to understand why his friends blew themselves to kingdom come.

With a prose style that can make you positively dizzy, Ayers recaptures the surreal sense of a time when young people from elite families began to make bombs. “The serpent of rage was loosed in the wide world,” he writes. “It sank its passionate fangs deep into our inflamed hearts.” And so it did.

Sonoma State University professor Jonah Raskin is the author of ‘For the Hell of It: The Life and Times of Abbie Hoffman.’

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

La Toque

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A classic: Chef Ken Frank’s elaborate wine-pairing menu has earned La Toque a reputation for excellence.

Polished Plates

La Toque presents a near-perfect dining experience

By Paula Harris

A CADRE of wait staff assembles in the wide corridor between the swanky exhibition kitchen and the gorgeous rustic dining room. Each holds a plate of food that resembles an oil painting rather than a towering sculpture. “Ready?” inquires the headwaiter. Grave nods all round. Then, with the precision of formation flyers, they swoop grandly into the dining room up to a table of eight where they simultaneously place a dish before each diner. The patrons swoon, the wait staff evaporate into the background. This is service and sustenance at its most polished.

This is La Toque.

The ultra-chichi French Laundry–a perennial entry on the North Bay’s best-restaurant lists and boasting a three-month wait for reservations–may be just down the road, but this lesser-known restaurant tucked away in Rutherford’s Rancho Caymus Inn is attracting gourmets with similar topnotch cuisine but slightly more accessible prices and reservation availability.

Set in a comfortable but elegantly rustic dining room reminiscent of a French country lodge, with a blazing stone fireplace and gardens glowing with golden lamps, La Toque makes for memorable special-occasion dining.

Chef Ken Frank’s elaborate wine-pairing menus (which change daily) are chock full of riches–the food is largely French-inspired with occasional Asian and Mediterranean influences.

The fixed-price menu is $72, which includes five courses (with choices for each course), coffee, miniature cakes and bonbons, and unlimited San Pellegrino or Evian bottled water. Or you can splurge another $40 for wines specifically tailored to match each forkful.

Tonight’s meal comprises seared Sonoma Muscovy foie gras with Fuji apple and mango; porcini-crusted dayboat scallops with lobster-crushed potatoes; roasted Oregon quail with rice beans, bacon, and red wine vinaigrette; Bodega Bay king salmon with roasted baby beets and merlot; and finally, cream cheese pound cake with crème fraîche sherbet, pineapple rum sauce, and broiled Mission figs.

Every course is carefully planned to be luxurious without being over-the-top. The touch is light, the portions moderate. The one quibble tonight is that the quail is overly salty.

Talking of the quail, a young blond woman in a red camisole is obviously not accustomed to such delicacies and eyes the small bird uncomfortably. Eventually she switches plates with her companion (he has ordered the even more unusual but more accessible-looking wild Scottish hare “au poivre.”) Indeed, La Toque is a great place to try lesser-known fare. On another night, they were serving South Texas antelope with lentilles du Puy and cabernet foie gras sauce.

However, for balance, I take along a vegetarian companion, and the staff couldn’t be happier. They laud the pleasant “challenge” for the chef and help pair wines. Everything, from a chilled tomato soup to a risotto studded with sweet corn and Canadian chanterelles, is equally delicious.

Lovers of black fungus should note that in January and February La Toque also features a $95 All-Truffle Menu, with fresh black truffles (not truffle oil) in every course.

While the food, wine list, service, and ambiance are all exceptional, it’s the total experience that steals the show. Allow between two and a half and three hours for your feast.

La Toque Restaurant Address: 1140 Rutherford Cross Road, Rutherford; 707/963-9770. Hours: Dinner, Wednesday-Sunday, 5:30 to 9 p.m. or later Food: French-inspired with occasional Asian and Mediterranean influences Service: Expertly trained and solicitous Ambiance: Serene rustic elegance Price: Expensive Wine list: Excellent selection Overall: 3 3/4 stars (out of 4)

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Argyle Sox

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Pup Rally

Pesky puppet provokes provincial politicians

HEY, SAN RAFAEL! What’s that smell? No, not the scent of kettle corn wafting over the heads of the crowd. Nor the aromas of tangy tangerines and grilled, spicy sausages, tantalizing passersby at San Rafael’s weekly farmers’ market. I mean that other smell: the bright, breezy, cling-free odor of freedom and political expression, gloriously rising from that sock puppet across the street.

Right, that sock puppet, the one who, come November, just might get elected to San Rafael’s spectacularly unamused City Council.

Since late July, Argyle Sox–the floppy-eared dog with mismatched eyes–has been running a colorful, if somewhat troubled, campaign for a seat on the council, which has two seats–those occupied by incumbents Cyr Miller and Barbara Heller–up for grabs. Denied an official application for candidacy–some fine-print detail about candidates needing to be registered voters over the age of 18 (evidently dog years don’t count)–Argyle Sox has rebounded with high spirits, launching a populist political campaign that aims to win enough write-in votes to land him as the underdog in office.

It’s a campaign that has landed Sox in the doghouse with some city officials. Miller has suggested that Cooper stop the nonsense and run for office himself, and councilman Gary Phillips was quoted in the Marin IJ as suggesting that Argyle Sox’s campaign was making a mockery of the City Council.

That is exactly the point.

According to Cooper, Sox feels that the five-seat City Council is a growth-obsessed, mutual-admiration society desperately in need of a dissenting opinion. Which is what brings the puppet downtown tonight.

The farmers’ market, which draws thousands of potential voters to San Rafael’s downtown area each week, is Sox’s favorite spot for flesh pressing and baby kissing. Standing up tall–an imposing eight inches or so–the candidate is assisted by his trusty “campaign manager,” actor/artist/home theater designer Robert Cooper. Clutching a clipboard and a sheaf of “Argyle for City Council” bumper stickers, man and puppet scan the milling crowd, preparing for their weekly public appearance. Approaching Kaye Spence of San Rafael, the gruff-voiced puppy introduces himself.

“Hi, I’m running for City Council,” he says, waiting a well-timed beat before adding, “I heard there’s already four puppets on the council, so I thought I’d fit right in.”

Charmed, Spence spends the next five minutes engaged in meaningful dialogue, during which she never once looks at Cooper, focusing all of her attention on the puppet.

Sox lobbies a series of questions, covering topics ranging from traffic and local-growth issues to the more immediate problem of whether any write-in votes he earns in November should be tallied and reported.

“Do you think every vote in an election should be counted?” he asks.

“Well, we’d have a different president if they were,” Spence says with a laugh. Asked if she’d vote for Argyle Sox when the election rolls around, she says, “I might. I just might.”

THE ARGYLE SOX campaign, though certainly novel, is hardly unprecedented. In 1996, a fig bar from Detroit mustered a lively Internet campaign. History reveals a number of dead people who’ve received healthy numbers of write-in votes.

From the late comedian Pat Paulsen–whose straight-faced grabs at the presidency resulted, in 1992, in a second-place showing in the New Hampshire primary–to the regular “Nobody for President” campaign run by political clown Wavy Gravy, there’s always been room for candidates whose very existence blends social activism with political theater.

Just ask Jonah Raskin. A professor of communications at Sonoma State University, he’s the former secretary of education for the Youth International Party (commonly known as the yippies), which in 1968 ran a pig against Republican presidential candidiate Richard Nixon.

“Her name was Pigasus,” says Raskin. “The idea was to make people aware that there are pigs in politics. Unfortunately, she did not win.”

But at least Pigasus was alive. Any hope of an inanimate object winning an election seems to have been dashed by Al Gore’s recent defeat. Still, Raskin likes the idea of Argyle Sox running for City Council, and he strongly objects to San Rafael’s refusal to put him on the ballot.

“There are plenty of nonhuman beings in office already,” he says.

As for the age thing, come on, right now we have a babbling frat boy in the White House, and Bill Clinton exhibited some fairly immature behavior. So age shouldn’t be an issue. “It’s a free-speech issue,” Raskin insists. “You can burn the American flag. You can burn a cross in front of a black person’s house. Why shouldn’t a sock puppet be allowed to run for office? Politicians do seem to be pretty puppetlike. Their strings are pulled by the powers that be.”

Raskin’s only criticism of Argyle Sox is his name. The former yippie thinks he might be enjoying better success had he changed it. “Mr. Sox should have consulted me,” Raskin says. “A candidate’s name is very important, Pigasus was a great name. It was mythical. It had pizzazz.”

Even so, Raskin would be happy to lend some experienced campaign advice to Sox.”If he needs me,” he says, “I’m available.”

BACK AT THE FARMERS’ market, Sox is wrapping up his work for the evening. After chatting up a woman laden with grocery bags, he asks if she’d vote for him in November.

“Darlin’, I’d vote for you three times and come back for the fourth,” she says with a smile.

The exchange delights the candidate and his campaign manager.

“No matter who they are or what their politics might be,” says Cooper, “nearly everyone Argyle meets and talks to leaves with a great big smile.”

Adds Argyle Sox, brightly, “And what other candidate can say that?”

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

News Bites

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News Bites

Basin Street Blues

Those big plans for Basin Street Property’s ambitious development of five blocks along Petaluma’s blighted downtown waterfront are on hold until city officials formulate planning policies for the area. Company president Bill White says the city must still sort out issues regarding historic preservation, parking, and traffic in the plan area. Under the plan, Basin Street would construct a hotel and cinema; office, retail, and residential buildings; and a parking lot on the west side of the Petaluma River near the Turning Basin. After nearly three years of delays, White had planned to submit his applications for the much-anticipated project in December. Basin Street’s plans are a key part of a 396-acre redevelopment project intended to revitalize the area.

Bring It On

Santa Rosa–a city known for public officials who seem to discourage the proliferation of fun (witness the dearth of night life in that city of 142,000)–is now putting the dampers on another all-American tradition: charity car washes. Claiming that the runoff from such events pollutes local creeks, city officials are telling local cheerleaders to scrub the car washes by the spring of 2003. Cheerleaders say the ban will hurt their fundraising efforts. City officials are standing firm and hinting at legal action if the girls continue their actions. “It is a [misdemeanor] violation of our storm water ordinance to have a charity car wash and let all the soapy, cruddy water into our creeks,” Colleen Ferguson, an engineer with the city’s Public Works Department, told the local daily. “We’re trying to keep the creeks clean, and having a concentrated flow [of contaminants] where cars are washed isn’t good for the creeks or the fish.” Rah-rah-sis-boom-bah, indeed.

Feeling Cranky

While emphasizing that Marin County is far from a major supplier of illegal methamphetamines, local law enforcement said in a published report this week, the bust of a makeshift meth lab north of Novato earlier this month indicates that the local manufacture of crank is on the rise. A tip from a distributor arrested in Wyoming last month led to the arrest of a ranch hand in connection with the lab at the Silveira Ranch, north of Novato. Police say the lab was capable of producing hundreds of pounds of the drug, according to the Marin Independent Journal. Meanwhile, law enforcement officials add, most of the meth manufactured in the North Bay continues to pour in from Sonoma County. The bulk of the drug in the area is cooked in so-called superlabs in California’s Central Valley.

Ferry Tale

Good news for commuters. The $10 million high-speed ferry M.V. Mendocino joined the Golden Gate Bridge District fleet this week, pulling into the Larkspur ferry terminal after a 30-minute run from San Francisco. The new ferry–which can cruise at 36 knots–can complete the trip 15 minutes quicker than the older ferries. Like its other high-speed counterpart, the Mendocino has two passenger decks and can hold 408 people. With the addition of the new boat, the number of high-speed trips on the weekday commute run has increased from 16 to 26, including five of the six morning commute trips and six of eight evening commute trips.

From the September 13-19, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

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