‘Ram Dass: Fierce Grace’

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Passion Play

Filmmaker chronicles ‘Fierce Grace’ of Ram Dass

New York filmmaker Mickey Lemle has been trying to make a movie about Ram Dass for over a decade. Fortunately, he’s a patient man. Lemle (pronounced LEM-lee), an award-winning documentary filmmaker and television director, knew that Ram Dass–the controversial author and counterculture icon–would make a perfect subject for a film. He’d befriended Ram Dass 25 years ago, but didn’t get serious about making the film until ten years ago, shortly after completing Compassion in Exile, an intimate profile of the Dalai Lama.

But Ram Dass, says Lemle, wasn’t ready yet, so the filmmaker went on to make Hasten Slowly, a documentary about English author-philosopher Sir Laurens van der Post. Still eager to make the long-delayed film, Lemle again approached Ram Dass and was once more asked to wait.

“I kept telling him that he was my next subject,” says Lemle. “But he kept saying, ‘No, no, no. I’m not ready.'”

Now that the finished film–Ram Dass: Fierce Grace–is finally enjoying its first official theatrical release, Lemle admits that the long wait was worth it.

Even so, this deeply moving film is not the same movie he’d so meticulously plotted in his mind all those years. Ironically, because of a devastating–and quite literal–stroke of fate, Fierce Grace is a much more powerful and personal film than either Lemle or Dass could have imagined.

Ram Dass first tasted celebrity when he was still known as Professor Richard Alpert. In 1963, Alpert was ousted from his position at Harvard University–along with fellow professors Timothy Leary and Ralph Metzner–for engaging students in prohibited LSD research.

Following a soul-searching trip to India, Alpert returned to the United States with a nifty new name–Ram Dass, meaning “servant of God,” a title bequeathed him by the late Indian spiritual teacher Neem Karoli Baba. With his new spiritually fueled perspective on consciousness and compassion, the former professor once again became a teacher, though now of a much different kind.

As Baba Ram Dass, he was quickly embraced by a generation of hippies and other youthful seekers of enlightenment. His classic 1971 book, Be Here Now, went on to become, at one point, the biggest-selling spiritual volume next to the Bible.

Then, in February of 1997, having just reached senior citizen status and hard at work on a new book about aging and death, Ram Dass suffered a major stroke that left him partially paralyzed, speech-impaired, and largely dependent on a wheelchair and a revolving team of aides. Now 70, Ram Dass has recently published Still Here, his long-planned book on aging that took an unexpected turn following his stroke.

Lemle recalls a conversation on the porch of Ram Dass’ San Anselmo home several weeks after the stroke. “[Dass] pointed to himself with his left hand, the one that still works,” Lemle says, “and he said, ‘This is not who I thought I was going to be. Because my vision of myself as an old man didn’t have a stroke in it.'”

According to Lemle, the next words that Ram Dass spoke altered his own view of reality: “He said, ‘When I focus on who I used to be or on who I thought I was going to be, it brings up suffering. But if I just rest in awareness, I’m fine.'”

Though reluctant to compare his movie problems to those of Ram Dass, Lemle admits there are parallels.

“For years,” Lemle says, “I knew exactly how I was going to structure the film. I knew what scenes I needed, what stories I’d want to tell. In the same way that the stroke changed everything for Ram Dass, it changed everything I was going to do. I had to let go of that film in my mind and come back to what was really happening in front of me.”

And what was happening in front of him was pretty amazing.

The film is packed with historical information, offering a colorful chronicle of Alpert’s transformation into Ram Dass through archival footage of the professor’s time at Harvard, his trip to India, and his remarkable interactions with ecstatic throngs of flower children

But the most powerful moments show Ram Dass struggling, physically and spiritually, with the aftereffects of the stroke. One sequence shows Ram Dass enduring a physical therapy session. First, he’s gently bullied into standing up and sitting down without assistance. Then he’s forced to walk by himself–fearfully, with painful, halting steps–across the room and back again. It’s a tense, nerve-wracking action sequence.

In another astonishing scene, Ram Dass counsels a young woman who is deeply grieving the murder of her boyfriend. When she describes a dream in which her boyfriend appeared and offered sweet words of comfort, Ram Dass exclaims, “Yum, yum, yum” before being overcome by a flood of emotion, sobbing uncontrollably for almost a minute. It’s not clear whether his outburst is a sympathetic response to the woman’s story or a sudden eruption of his own feelings of grief and loss–or both. Either way, it is a truly stunning moment, one of many in Fierce Grace.

The movie, says Lemle, has been remarkably well received. He tells of a cancer-stricken minister demoralized by his illness who approached Lemle in New York to say the film helped him find his faith again. Then there was the group of twentysomethings in Los Angeles, for whom Lemle screened the film last year. The result was one of the best critical quotes Lemle heard so far.

“I didn’t know how the movie was going to play,” explains Lemle, “because none of them had ever heard of Ram Dass. But at the end of the screening, one of the young women said, ‘I’d like to have 20 copies of this to show to all my friends who think they’re suffering.'”

‘Ram Dass: Fierce Grace’ opens Friday, March 1, at the Rafael Film Center, 1118 Fourth St., San Rafael. For details, see or call 415.898.7469.

From the February 28-March 6, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Election Endorsements

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Our endorsements for the March 5 Primary

Sixth Congressional District

Democrat: Lynn Woolsey. The incumbent is smarter, more experienced, and better attuned to North Bay values than her opponent, Santa Rosa mayor Mike Martini, whose lamentable record includes rubber-stamping the outrageous ridge-top development in Santa Rosa that even he now admits was a big mistake.

Governor

Democrat: Gray Davis Republican: Richard Riordan Green: Peter Camejo

Lieutenant Governor

Democrat: Cruz Bustamante Green: Donna Warren

Secretary of State

Democrat: Michela Alioto Green: Larry Shoup

Controller

Democrat: Steve Westly Green: Laura Wells

Treasurer

Democrat: Philip Angelides Green: Jeanne-Marie Rosenmeier

Attorney General

Democrat: Bill Lockyer Green: Glen Mowrer

Insurance Commissioner

Democrat: John Garamendi Green: David Sheidlower

State Assembly (District One)

Democrat: Ed Robey. Everybody else is too inexperienced or too unfriendly to the environment.

Statewide Ballot Measures

Prop. 40: California Clean Water, Clear Air, Safe Neighborhood Parks, and Coastal Protection Act

What it does: issues $2.6 billion in debt to protect and improve the state’s beaches, parks, farmland, and water quality.

The Bohemian recommends: Yes. Development, pollution, and neglect threaten California’s natural beauty. If we don’t take action now, we’ll regret it later.

Prop. 41: Voting Modernization Bond Act

What it does: issues $200 million in debt to allow counties to buy modern voting equipment.

The Bohemian recommends: Yes. Could a Florida Y2K-style election debacle happen here? Let’s make sure it doesn’t.

Prop. 42: Transportation Congestion Improvement Act

What it does: changes the state constitution to permanently dedicate gasoline sales tax to transportation improvements.

The Bohemian recommends: No. Why bother having a constitution if we’re just going to rewrite it every couple of years?

Prop. 43: Right to Have Vote Counted

What it does: allows county elections officials to petition the Superior Court to extend postelection deadlines so votes can be counted or recounted.

The Bohemian recommends: Yes. Again, let’s not repeat Florida 2000 here.

Prop. 44: Chiropractors Unprofessional Conduct

What it does: creates new restrictions on the way chiropractors procure patients and imposes new penalties for insurance fraud.

The Bohemian recommends: No. Is there fraud in the profession? Some. Is that a problem for the legislature to solve? Yup.

Prop. 45: Legislative Term Limits, Local Voter Petitions

What it does: allows voters to petition to let an incumbent legislator run for re-election. A legislator can use this provision only once.

The Bohemian recommends: Yes. Let’s keep good legislators around a little longer.

Sonoma County

District Attorney

The Bohemian suggests: Stephan Passalacqua. Incumbent Mike Mullins has made some high-profile blunders lately, but the truth is that his entire time in office has been marked by incompetence and dubious priorities. Among other improvements, Passalacqua seems willing to pay serious attention to domestic violence.

County Superintendent of Schools

The Bohemian suggests: Carl Wong.

Board of Supervisors (Second District)

The Bohemian suggests: Ray Peterson.

Board of Supervisors (Fourth District)

The Bohemian suggests: Fred Euphrat.

Measure A: $251 million in bonds for Santa Rosa Junior College

The Bohemian suggests: Yes. In a time of economic uncertainty, education has to remain a top priority.

Measure B: $77 million in bonds for high schools in Santa Rosa

The Bohemian suggests: Yes.

Measure C: $19 million in bonds for the Elementary School District in Santa Rosa

The Bohemian suggests: Yes.

Measure D: $130 million parcel tax for the Sonoma Valley Hospital

The Bohemiansuggests: Yes. This money won’t solve all the problems at this troubled facility, but the alternative is a hospital-free Sonoma.

From the February 28-March 6, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

March 5 Primary Election

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endorsements.

Strange Brew

Weird election baffles progressive voters

By Tara Treasurefield

Gena VanCamp has already voted in the March 5 election. Twice. “They sent me [an absentee ballot], and I filled it out and sent it off,” says VanCamp. “Then I received another ballot. When I called the registrar’s office, they said to complete that one and mail it in too, as that’s the one that will be valid.”

VanCamp received two ballots because she registered twice, first as a Democrat and then as a nonpartisan (Independent). She thought that as a nonpartisan she’d be able to cast her vote for a Green candidate for one office, a Democrat for another, etc.

Wrong. Last year, the courts overturned the state’s open primary system. Now citizens are locked into either voting for one party’s slate of candidates or voting only for candidates for nonpartisan offices, such as county supervisor and district attorney.

The switch from open to closed primary isn’t the only thing that’s unsettling about the March 5 primary election.

There’s the interesting discovery that about a third of the absentee ballots mailed out to Sonoma County voters contain defective return envelopes that could open before delivery and dump their contents. What’s more bizarre is that election officials knew about the defect back in January but did not replace the envelopes or warn voters.

The campaign statement of current district attorney Mike Mullins bragging about his successful handling of domestic violence also elicits a “huh?” from some observers. Tanya Brannan of the Purple Berets, a Sonoma County activist group, offers a terse rebuttal. “Our criticism of Mike Mullin’s handling of violence against women is no secret,” Brannan says. “We’re particularly concerned that he condoned the misconduct of Deputy DA Brooke Halsey in the Louis Pelfini case.”

Mullin’s opponent, Deputy District Attorney Stephan Passalacqua, says that if elected, he’ll prevent domestic violence and stop prosecuting cases involving medical marijuana.

That’s not at all confusing. But the big sign announcing that Sebastopol supports Yancey Forest-Knowles is. For the record, the city of Sebastopol has not endorsed Forest-Knowles in the race for county superintendent of schools.

However, progressive Petaluma City Council member Matt Maguire has endorsed Carl Wong, Forest-Knowles’ opponent. “Carl Wong has earned tremendous respect in the Petaluma community,” Maguire says. “He’s tackled significant problems and issues, built consensus, and done a good job of managing the district here. He has far more experience than Forest-Knowles.”

Democrats in the first assembly district are confused about the best choice to replace Virginia Strom-Martin, whose term is up. Most are spurning Cloverdale mayor Bob Jehn, a former Republican who did not vote against a single development project that came before him in 1999-2000, according to Sonoma County Conservation Action. Candidate Jim Mastin is seen as a nice guy with little experience. Senator Wes Chesbro supports Patty Berg, but she approves of clear-cutting in some cases.

That leaves Ed Robey, who has been endorsed by the Sierra Club, the League of Conservation Voters, and the California Nurses Association.

Amidst the confusion, some things are clear.

Santa Rosa mayor Mike Martini’s bid for the mostly progressive Lynn Woolsey’s seat in Congress, along with his vote against a task force to study a living wage for Santa Rosa city employees, has aroused convictions that he’s still a Republican.

In Sonoma County’s second supervisorial district, progressives are leaning away from Mike Kerns and toward Ray Peterson, who has served on the Sonoma County Board of Education for eight years. Peterson advocates getting all gravel mining out of the river and scheduling evening board meetings to allow more public input.

Fred Euphrat is the progressive choice for supervisor in the fourth district, currently represented by Paul Kelley. Euphrat’s priorities are health, housing, urban growth boundaries, and, as he puts it, “not spending our open space money on a disaggregated dog’s breakfast of projects.”

From the February 28-March 6, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

The Go-Go’s

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Photograph by Chris Cuffaro

Rock Steady

Go-Go’s still got the beat

By Alan Sculley

Flowers bloom and fade too soon / What happened to our daisy chain?

With that simple chorus, the Go-Go’s capture much of the emotion surrounding a whirlwind career that saw the group reach the top of the charts with their first album, 1981’s Beauty and the Beat, then splinter in a bitter breakup just four years and two albums later.

That chorus comes from “Daisy Chain,” a pretty ballad soaked in regret that closes God Bless the Go-Go’s, the studio CD released last year by the reunited group. The song’s verses capture the giddy highs of million-selling success, the debilitating pace of the group’s career, and the pain of the split that came in 1985.

“It just kind of tells our little story,” guitarist and keyboard player Charlotte Caffey says of “Daisy Chain.”

“It means a lot to us–and also in making this record–coming to terms and overcoming a lot of stuff to get to this point; it was just such a poignant and such a well-written song,” Caffey continues.

God Bless the Go-Go’s reunites all five members of the hit-making group: Caffey, singer Belinda Carlisle, guitarist Jane Wiedlin, bassist Kathy Valentine, and drummer Gina Schock.

With rockers like “Stuck in My Car,” “La La Land,” and “Kissing Asphalt,” the album recalls the crisp and catchy blend of pop, punk, and surf rock that typified “We Got the Beat.” Other songs, such as the ballad “Here You Are” and the powerful midtempo tune “Automatic Rainy Day,” reflect the more mature personality of Talk Show, the underrated 1984 album that closed the Go-Go’s original stint together.

“We didn’t want to change who we are,” Caffey says of the new album’s sound. “We’re not going to sit there and go, ‘Let’s be a rap band now.’ I mean, we were just like, ‘What’s the essence of the Go-Go’s?’ Great melodies, guitar hooks, driving drums–it’s like all of that.”

Getting to the point where the Go-Go’s could become a full-fledged recording and touring band has not been easy. The split itself was acrimonious and left plenty of hurt feelings. During the four years that followed the breakthrough of Beauty and the Beat and its two hit singles, “We Got the Beat” and “Our Lips Are Sealed,” the Go-Go’s toured practically nonstop, partied almost as incessantly, and endured arguments fueled by everything from creative differences to ego problems.

As Caffey described it in an interview in 1990, “It was horrible. We didn’t like each other. We didn’t speak to each other for years.”

Today, Caffey has more perspective on the factors behind the split. “There was not one single thing that made the band break up,” she explains. “I have to say, probably above and beyond anything, it was [that] we didn’t have lives outside of the band, number one. That was one thing. Number two, forget all the drugs, forget all the egos, forget all of that–I mean, that’s part of it. But I think the main thing was, we didn’t know how to say no and stop and take breaks and rejuvenate.”

According to Caffey, some of the creative differences and personality contrasts that hindered the group in the 1980s still exist. The difference now, however, is that the Go-Go’s have learned how to deal with those issues.

“We’ve come to accept that we are high-maintenance people here,” Caffey says. “We still have the opinions, we still have the influences, we still have the arguments. It doesn’t matter because you do it and you move through it, and then you get over it. It’s not a big deal anymore.”

Caffey knows that one obstacle facing the group is how to convince people that the Go-Go’s are a current, contemporary band. Their sound has influenced dozens of alternative rockers–one of whom, Green Day’s Billie Joe Armstrong, teamed up with the Go-Go’s to cowrite “Unforgiven,” the lead single from God Bless the Go-Go’s.

“Part of our history is, we started in the ’80s,” Caffey says. ” So many people have grown up with us and they’re here now. We’re lucky.

“And as far as being labeled as an ’80s group–some people will probably end up doing that, and that’s OK,” she continues. “People are going to do that. But we haven’t stopped yet.”

The Go-Go’s perform Monday, Feb. 25, at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Tickets are $38. 707.546.3600.

From the February 21-27, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Robert Mailer Anderson

Photograph by Sven Weiderholt

Town Crier

‘Boonville’ offers a fresh take on Northern California

By Patrick Sullivan

Boonville. John couldn’t believe the town was actually named Boonville. It wasn’t just an expression, a private joke among his family describing where his whacked-out, alcoholic grandmother had lived and made squirrel sculptures from driftwood. This place existed.”

So begins the encounter between a stranger and a strange land in Robert Mailer Anderson’s funny, frenetic, and occasionally frustrating new novel.

In one sense, Boonville the book (Creative Arts; $21.95) is about Boonville the town, that strange little burg, population 715, that lies 30 minutes or so north of the Sonoma County line. And there’s certainly no question that Anderson, who spent a good part of his early life in Anderson Valley, has the place down cold.

Boonville is the stuff of myth and legend. It even has its own language–Boontling. Stories abound about the shootouts between pot farmers in the hills, the two home-schooled kids who once nailed the highest SATs scores in the nation, and the drunken logger who used a chainsaw to cut his way into his wife’s trailer home, only to hit a power line and nearly electrocute himself.

It’s the kind of place where a stranger walking into a bar should expect to be greeted by a lot of hostile stares and one hearty “hello” from a very drunk man with very few teeth.

But this strange stew of hippies and rednecks and lesbian separatists and radical environmentalists and people too weird to be labeled is hardly confined to Boonville. If you weren’t afraid of hyperbole (and who is these days?), you’d call the thirtysomething Anderson’s novel a Gen-X answer to Thomas Pynchon’s Vineland, a fresh take on the meaning and madness of Northern California itself.

The novel’s protagonist is a buttoned-up ad man from Florida who comes to Boonville searching for answers about his recently deceased grandmother. Like 90 percent of people coming to California, John is also looking for a new life.

On his first night in town, he somehow winds up dead drunk in a warm pile of locals passed out in the middle of Highway 128. Before long, John is up to his neck in old feuds, new romance, redneck softball games, and pot farming by moonlight, among other things.

But despite his bewildered charm, John is almost beside the point: His real function is to play straight man to a host of characters brought vividly to life in Anderson’s witty and frantic prose.

There are the Kurts brothers, two permanently drunk rednecks with a flair for head-butting. There’s a blind pot dealer. There’s the inimitable Pensive Prairie Sunshine, a radical feminist who speaks in Beatles lyrics and has a fast hand with a can of mace.

And, most of all, there is the lovely and talented Sarah McKay, a second-generation commune resident whose childhood among the hippies may seem familiar to many people in Northern California. Here’s an account of Sarah’s 11th birthday: “To mark the day, Mom’s friends had given Sarah a string of love beads, a bottle of root beer lip gloss, two eight-tracks of Carole King’s Tapestry album, a subscription to Ms., a copy of I’m OK– You’re OK, and a diaphragm. All of which Mom had borrowed the following week. Dad was a no-show, contracting business in Tahoe. ‘Contracting herpes, I hope,’ Mom said.”

Some readers will think that Anderson’s characters are too outrageous to be real. These readers either don’t live in Northern California or live here but need to get out more often. If anything, the truth is weirder than Anderson’s fiction.

A more valid criticism of Boonville concerns the author’s lack of devotion to his plot. Anderson has a way with words, a flair for one-liners, and an immense talent for description. But he gets so wrapped up in wordplay that he sometimes forgets he’s telling a story. That’s what makes parts of the book frustrating–the endless tangents and occasional lectures, the devotion to telling over showing.

But here’s the thing: The reader never minds that much. True, Boonville could have benefited from a sterner editing job. But the slow bits are short and widely spaced. And even when the plot seems to be off on vacation in another book, Anderson is usually hilarious funny. Maybe real people don’t talk like these characters, but God you wish they did.

Anderson is sometimes compared to Pynchon, but his writing is more in the spirit of the black comedies of Florida novelist Carl Hiaasen, who offers words of praise for Anderson on the book’s cover.

As Boonville’s popularity soars, a lot of people have a question: Who the hell is Robert Mailer Anderson?

A reader could easily get the wrong idea from the author photo on the book jacket, which depicts a frighteningly good-looking male model straight out of GQ.

The real Anderson looks almost nothing like that. At a recent reading in Santa Rosa, the author ambled to the mike, looked out at the crowd a bit nervously, and then began singing “My Heroes Have Always Been Cowboys.” He’s tall in a slightly awkward way, and slightly geeky in an appealing way.

Of course, nobody is supposed to care about the looks and personality of an author in our postmodern world. But we all do, so the postmod lit critics can sit the hell down and shut the hell up.

And besides, it’s important in this case, because Anderson’s outsider personality helps clarify an essential characteristic of Boonville.

A careless reader might decide that the book is just a hippie shooting gallery, a place for Anderson to line up a parade of cruel stereotypes and then joyfully blast away at them.

That’s entirely wrong. Sure, Boonville often skewers its characters for their selfishness and myopia. But the book also celebrates their heroic eccentricity.

Here’s Anderson describing a commune dweller named Franny, an 82-year-old welder who once helped build the Golden Gate Bridge: “Franny said he had had no use for school after the eighth grade himself. He had jumped a northbound train one night back in 1919, back when the stars really knew how to shine and the horizon was full of promise instead of fluorocarbons and a man with a strong back wasn’t afraid to work an honest day for an honest dollar and he could always find that kind of work and get an education on the railroads and in the timber camps of Oregon and Washington making fortunes for other men who sent Pinkertons to do their dirty work, busting heads and unions, while he spent his sweat and script on women and bathtub gin.”

After that, it might be time to forget Pynchon, forget Hiaasen. Maybe the right point of comparison for Anderson lies somewhere between Beowulf and Don Quixote.

Robert Mailer Anderson reads from ‘Boonville’ on Thursday, Feb. 28, at 7:30pm at Book Passage, 51 Tamal Vista Blvd., Corte Madera. 415.927.0960.

From the February 21-27, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Charlie Musselwhite

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Southern Style

Charlie Musselwhite gets back to his country roots

By Greg Cahill

All [the tunes] somehow capture the feeling of the times I remember growing up in Memphis in the 1940s and ’50s,” recalls Charlie Musselwhite in the liner notes of his newly released One Night in America (Telarc). “They were the times I had–the sad ones and the happy ones–it was all I knew.”

There’s no denying that Musselwhite–a Grammy-nominated blues vocalist and harmonica great who makes his home near Geyserville in rural Sonoma County–has tapped his country roots.

One Night in America, featuring country-singing sensation Kelly Willis, bristles with the blues, country, gospel, and early rock and roll of Memphis, that music mecca. It’s Musselwhite’s first album since a near fatal car crash in Mexico a couple of years ago that left him hospitalized for several weeks.

It’s also his first CD for the Telarc label, though that’s hard to believe. In the past year, Musselwhite has contributed tracks to three Telarc tribute albums (playing a pretty fine country-blues guitar on two of them): Down the Dirt Road: The Songs of Charley Patton, Preachin’ the Blues: The Music of Mississippi Fred McDowell, and The Blues White Album (a tribute to the Beatles).

But One Night in America marks a strong return to his roots. Musselwhite was born in Kosciusko, Miss., in 1944 and moved upriver to Memphis 10 years later, his family joining the wave of sharecroppers seeking better jobs in the post-World War II south. There he struck up friendships with Will Shade of the Memphis Jug Band and country-blues guitarist Furry Lewis, another old-time bluesman.

By the time Musselwhite had moved to Chicago in 1962, he had mastered the rudiments of both harp and guitar, and soon was playing in clubs with many of the city’s legendary blues performers.

In 1966, Musselwhite released his first album for Vanguard Records, Stand Back! Here Comes Charlie Musselwhite’s Southside Blues Band, a classic recording of that decade. It was one of the first blues albums marketed to a rock audience and established Musselwhite as a major blues act. In subsequent years, Musselwhite has released albums for Paramount, Kicking Mule, Capitol, Arhoolie, Paramount, and, most recently, Alligator.

Along the way, he has recorded with everyone from John Lee Hooker to Bonnie Raitt to INXS. One Night in America (taking its name from a lyric in the album’s “One Time One Night” by David Hidalgo of Los Lobos) finds Musselwhite setting aside the hard-bitten, funk-inflected blues of his more recent albums. It features the red-hot Telarc studio band–guitarist G. E. Smith, bassist T-Bone Wolk, and drummer Per Hanson–along with guest appearances by Willis and guitarists Robben Ford and Marty Stuart.

The album opens with a pair of great tunes covered in recent years by British pub rocker Nick Lowe: the rollicking “Trail of Tears,” a Roger Cook/Allen Reynolds song that appeared on Lowe’s 1994 comeback album The Impossible Bird, and Ivory Joe Hunter’s wistful honky-tonk lament “Cold Grey Light of Dawn.”

There are four original compositions (including the jump blues number “Blues Overtook Me,” inspired by Musselwhite’s longtime battle with the bottle) and covers of songs by Jimmy Reed and Johnny Cash.

One Night in America finds a much more reflective Musselwhite, mellowed after his bout with mortality and playing songs that sound as comfortable as a pair of well-worn work boots.

Charlie Musselwhite teams up with bluesman John Hammond for a show on March 23 at the Raven Theater in Healdsburg. For details, call 707.433.5448.

From the February 21-27, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Sudden Oak Death

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Rot Spotter: Marin County arborist Ken Bovero inspects a tree in St. Francis Wood for Sudden Oak Death.

Life and Limb

What’s killing North Bay trees? Just about everything

By Tara Treasurefield

The majestic oak tree in Dub and Lyn Hay’s backyard is estimated to be more than 300 years old. Growing beside Sonoma Creek on the east side of Sonoma, the towering oak makes the yard a cool refuge on blistering summer days. Throughout the year, its sheltering presence offers a calm retreat from the world’s woes.

Some of the oak’s branches extend all the way to the property line and over the back fence. To prevent their elderly neighbor’s inheritors from lopping off the errant branches, the Hays hope to have the oak protected as a heritage tree.

This is one lucky oak. But it’s by no means safe. For trees of all ages and types, the world seems to be an increasingly dangerous place.

Sudden Oak Death has killed tens of thousands of oak trees from Monterey County to Mendocino County. But oaks aren’t the only ones at risk: This January, Marin County arborist Ken Bovero sent shock waves through Northern California when he announced that he had found SOD on two dying redwoods.

“University researchers informed me that they already knew it was in redwoods,” Bovero says. “I was surprised that they didn’t let people know.”

As it turns out, the fungus that Bovero found isn’t the same species as SOD. But now the public knows what university researchers knew before Bovero’s announcement: The SOD pathogen is sometimes present on redwood sprouts.

Bearer of bad tidings that he is, Bovero brought SOD to the attention of state and university scientists way back in 1991. “They disregarded it for a long time,” he says. “I was seeing it spreading throughout Marin, and they didn’t feel it was a problem.” Finally, in 1995, Bovero and his friend and colleague Ralph Zingaro went to the press.

Establishment scientists and Bovero still seem to be on different pages regarding the disease. “My feeling is that it will spread and that we’ll continue to see decline in redwoods,” Bovero says.

Susan Frankel, plant pathologist with the USDA Forest Service, says that overall, Muir Woods looks good. “We don’t see any real damage to redwoods,” she says. “We don’t have any indication that anything but the sprouts are affected.”

So far, redwoods have eluded the SOD quarantine that went into effect Feb. 13. But University of California scientists are still conducting tests, and may yet add redwoods to the SOD host list. If that happens, it could become illegal to ship the bark or mulch of redwoods, and each redwood may have to be inspected before it’s shipped.

“It will be a lot of work for regulators and the timber industry,” Frankel says. “The Forest Service is concerned about doing whatever it takes to protect the forests. But we don’t want to be unreasonable and create economic hardship.”

Reality Check

“The trees in the North Bay are really in trouble,” says Lynn Hamilton, a founding member of the Town Hall Coalition, a Sonoma County environmental organization. “I’m looking out the window at a redwood forest, and I’m worried about what I see. The forest is not healthy.”

Hamilton is also grieving for oaks. “In Marin County, I walked through the hills around Fairfax and saw that at least three-fourths of the oaks are dead,” she says. “Sudden Oak Death is everywhere. I have seen hundred-year oaks fall to the ground. The whole watershed in Marin County is beige. It’s devastating.”

Under a contract with the Forest Service, plant pathologist Ted Swiecki studied SOD in Glen Ellen’s Jack London State Historic Park. “The percent of trees affected by SOD is relatively low, but there are a lot of stands that aren’t exactly at the peak of health,” he explains. “There are a lot of other tree diseases out there.”

Insects also wreak havoc on North Bay trees. Codling moths, aphids, fire blight, apple scab, and powdery mildew gang up on apple trees. After nearly polishing off birches in Sonoma County, the voracious bronze birch borer is now sampling the cuisine in Marin. Between 1995 and 1996, Dutch elm disease tore through the elm population, and it’s still active. The long horn borer is feasting on eucalyptus trees.

Pine pitch canker has killed so many Monterey pines that this ill-fated tree may disappear altogether. In inland areas such as Santa Rosa and San Rafael, Monterey pines are doubly cursed, afflicted with both pine pitch canker and deadly bark beetles. If wishes were horses, the Monterey pines of the North Bay would probably be galloping back to Monterey, where their chances of survival are slightly better.

Root of the Problem

Which of these myriad threats pose the worst menace to trees? Soil health, global trade, and land use are at the top of the list, according to local experts.

Trees are what they eat, says arborist Ralph Zingaro. “Air pollution acts as a natural herbicide to trees,” he says. “It actually leaches valuable nutrients from trees and soil. The trees are starving to death.”

“We’ve done a lot of nutritional sampling on thousands of trees, mostly oaks,” says Zingaro, a member of Bioscape, a group of licensed “plant doctors on call” funded by a landowner with 500 acres in West Marin to look into SOD. “Now we’re beginning to test the redwood. Once the soil becomes acidic, which it is–we’re getting acid rain–the phosphorous is completely unavailable. Trees need phosphorous in order to grow and function.”

Zingaro says that injecting trees with phosphite fertilizer boosts their nutritional status and makes them healthier. “It’s not a treatment for SOD, but we all know that healthy trees don’t get sick,” he says.

That kind of talk irks some tree experts.

“It’s baloney to say that you can protect trees from Sudden Oak Death by keeping them healthy,” says Bruce Hagen, urban forester at the northern regional headquarters of the California Department of Forestry and Fire Protection. “Trees that are susceptible to SOD and are exposed to it get it, no matter how healthy they are. The best way to prevent SOD is chemically, with copper sulfate.” Hagen hastens to add, however, that keeping trees healthy does prevent other serious pest problems.

Like Zingaro, Elaine Ingham, associate professor of botany and plant pathology at Oregon State University, stresses soil health. “Our soils are under attack, and we are the enemy attacking them,” she says.

“We have killed the beneficial organisms almost everywhere,” Ingham says, including along roadsides, in agricultural fields, and even in national parks. “Fumigated fields have only disease and pest organisms growing in them.”

Repair is possible. Worm castings restore soil health, according to Ingham. “It doesn’t solve global warming or air pollution or loss of the water table,” she says. “But it will save the trees.” Apparently, insects and fungi know when the jig is up. Studies show that they avoid worm castings.

But reaching for the nearest pesticide is a common reflex, according to Pavel Svihra, horticulture advisor at UC Cooperative Extension in Marin. “When people call for help with their trees, we always give alternatives of chemical and nonchemical solutions,” he says. “Most people choose the chemical option.”

Globetrotters Anonymous

“I don’t want to start some rant about global trade, but based on the evidence we have right now, SOD probably came from another part of the world,” says Steven Swain, Sudden Oak Death Project Coordinator at UC Cooperative Extension. He explains that a large proportion of the trees attacked by a new pest have almost no resistance.

The good news is that genetic resistance develops naturally, since it’s resistant trees that survive and restock. But in a world where impatient humans call the shots, there’s also bad news: Nature works her magic at the speed of a snail with its brakes on.

“Our global economy has been introducing serious new pests every year,” says Swiecki. “With people moving material around, you have the constant threat of new diseases and insects being introduced.” Worse yet, invasive species like broom and star thistle tend to take over and crowd out native species.

To support native trees, says Hagen, “Take your cues from what is growing naturally around you. Plant native trees in the same percentages, on a random basis.”

If Swain had his way, all new materials coming into the country would be monitored, as he says, “to make sure that people don’t bring in nasty pathogens.”

Not Exactly Natural

Of course forests are dying. Of course trees are dying.

“People tend to think of forests as a static thing, but all along, forests have died and moved and shifted,” Swain says. “However, we have complicated things.”

Examples of this interplay between disease and human behavior abound.

Along with root rot and other insults, Sudden Oak Death clobbered China Camp in Marin, which was probably clear-cut around 1890. Jack London State Historic Park was logged several times over, and it has also been hard hit by SOD and other diseases.

When a whole stand is cut down, the trees that sprout up to replace it are all in the same state at the same time, Swiecki says. That lack of diversity can prove deadly: In such cases, disease can kill an unusual number of trees.

Also, trees that grow out of stumps are more susceptible to root decay and may have a shorter life than trees that grow from seeds. “No one was thinking about this 150 years ago when they were looking for gold,” Swiecki says.

Modern-day prospectors are equally clueless. Since 1945, 1.5 million acres of oak woodlands have been converted to other land uses or fragmented by development. In 1996, the Forest Service reported that between 1984 and 1994, Sonoma County lost 38,000 acres of timberland to urban conversions and agriculture. Today, Sonoma County vineyards alone occupy 56,000 acres, most of which were originally forest or woodlands.

“Developers are bulldozing large areas of the mixed forests of the Mayacamas Mountains,” says Marilyn Goode, a member of the Sonoma Mountain Preservation Group.

Similarly, Swiecki points to urban expansion in Marin County. “Where [development] goes into existing woodlands, carves them up, takes out trees, puts in invasives, you’re causing more problems,” he says.

Conserving existing resources is always better than trying to re-create them, Swiecki argues. “Leaving things alone is a large part of helping out,” he says. “The first thing is to do no harm. There are many more ways to damage forests and trees than to help them.”

Ye Gods & Little Salamanders

Of course, it’s not just trees at stake in the battle to save California’s forests. “We haven’t seen many tent caterpillars for more than 10 years, and they’re a food source for many birds,” Goode says. “There’s been a reduction of everything, including birds, snakes, the California newt and other salamanders, and even the lowly banana slug.” This is partly due to lost habitat, according to Goode.

It works both ways. When protected species lose their protection, so does the land they occupy. “We’ve got an administration hoping to turn back the Endangered Species Act,” says Hagen–and that’s bad news for forests and woodlands.

Forests also face threats in the California legislature. Assembly bills 985 and 1561 propose to de-list 37 species protected by the state’s Fully Protected Species Act. Nine of these species depend on oak woodland habitat for their survival. “They were listed in the first place because they had lost critical habitat,” says Janet Cobb, president of the California Oaks Foundation.

The legislation sprang out of obstacles posed to developers and state officials by an endangered lizard, according to David Bunn, deputy director of legislative affairs for the California Department of Fish and Game.

“AB 985 came about during the development of a Habitat Conservation Plan for the blunt-nosed leopard lizard, a fully protected species,” Bunn says. “We could not issue a permit for the incidental [killing] of a fully protected species.”

A kind of tit for tat, a Habitat Conservation Plan allows Fish and Game to sacrifice endangered species and habitat for a specific development project. In exchange, developers contribute to “regional or area-wide protection of plants, animals, and their habitats.” An HCP isn’t possible with fully protected species, which cannot be sacrificed.

Whether or not HCPs serve the greater good is hotly debated by environmentalists and developers.

But two recent government actions are clearly harmful to trees: the Environmental Protection Agency’s decision in December to exempt the agriculture and dairy industries from the Clean Air Act; and the Bush administration’s plan to allow parts of the nation to ignore the “roadless rule” in national forests.

“As a person who understands science and limited resources, I don’t think that politicians can make wise decisions about biology and ecology. They only know compromise,” Hagen says. “High-school teachers would do a better job of managing our resources than our politicians do.”

“It really relates back to people,” Lynn Hamilton says. “It’s not just about trees. It’s about life. Preservation of life.”

From the February 21-27, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Sonoma Valley Film Festival

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Movie Madness

Indie maverick shakes up Sonoma Valley Film Festival

Chris Gore orders his third margarita, flashes a wicked grin, and proudly utters the words again. “Robot Bastard,” he announces, “is a great short film! It’s so off-the-wall, so cutting-edge, that I promise you–I promise you–your jaw will hit the floor when you see it.”

The jaws in the next booth are already dropping as patrons here at Piatti Restaurant in downtown Sonoma crane their necks to see who keeps saying “robot bastard.” They glimpse an energetic gentleman with a well-trimmed beard. Little do they know that he is about to do much more than simply shout “robot bastard” in a crowded cafe.

As the new director of programming for the Sonoma Valley Film Festival, Gore is preparing to bring Robot Bastard–whatever that is–right here to the unsuspecting little town of Sonoma. Gore will also be introducing benevolent drag queens, Star Woids, karaoke addicts, the “real” Spider-Man, and a certain quirky filmmaker known and loved by every fan of TV’s Survivor.

All of this and more hits town April 12-14, when the Sonoma Valley Film Festival returns for its fifth year with a whole new attitude.

Gore, 36, is best known as the founder of the legendary Film Threat Magazine (www.filmthreat.com) and as the author of The Ultimate Film Festival Survival Guide. An outspoken champion of independent films, Gore founded Film Threat in 1985. He sold it to Larry Flynt in 1991, then bought it back from Flynt five years later. Along the way, he acquired a reputation as one of Hollywood’s most persistent and tenacious critics. Raised in Detroit, he now lives in Los Angeles, where he can do the most damage.

Gore’s unlikely involvement with the five-year-old Sonoma Valley Film Festival came about when Brenda Lhormer, the festival’s volunteer executive director, picked up Gore’s Film Festival Survival Guide and suddenly realized what the event needed.

It needed Chris Gore.

“Till now, this festival has been marketed very locally, very niche,” explains Lhormer. “It was time to hire a program director who could achieve the goal of having a more broadly appealing program that has a combination of mainstream elements and also plenty of ‘out there’ esoteric elements.” With the words “out there,” Lhormer gives Gore a solid punch in the arm.

“Here’s the thing,” responds Gore, barely flinching, “we’re not trying to be like other festivals in the Bay Area. We’re avoiding genres of films that are being covered better by other film festivals. And we’re avoiding genres that are overexposed in hopes of being able to champion some other stuff that doesn’t get much attention.”

Right. Stuff like Robot Bastard, which, by the way, will play as part of a new concurrently running minifestival in Sonoma called the Lounge, a showcase for strange movies that also offers–get this–plenty of free beer. Now that should get some attention.

“These films are the cutting edge, the bizarre, the weird,” says Gore. “These films may contain content that will be a problem for more sensitive viewers. Oh my God, this is going to be awesome! I predict that the Lounge will become the sleeper hit of the festival.”

Though final decisions are still being made, Gore confirms that the Lounge will be screening Star Woids, a flick about the crazy people who spent 40 days in line for tickets to Star Wars: Episode I–The Phantom Menace. Also on the schedule is The Real Spider-Man: The Making of ‘The Green Goblin’s Last Stand’, a documentary about a Baltimore filmmaker named Dan Poole who apparently does think he’s Spider-Man–and can climb three-story buildings to prove it.

The main festival will feature about 25 films with a more mainstream sensibility, equally divided between feature films, documentaries, and shorts. About one-quarter of these were made by Bay Area filmmakers.

According to Gore, the criterion used to select these films is that they must all be life-affirming. By that, he does not mean sappy.

“It could be a comedy, it could be drama, it could be an amazing thriller,” he says. “But everything we choose fits the criterion by saying, in some way, that good or bad, life is worth living.”

Asked for an example, Gore launches into a 30-minute rundown of all the films selected so far, nearly floating up out of his seat as his excitement builds. Though maybe that’s just the margaritas kicking in.

Gore describes a documentary called Nine Good Teeth, the life story of a 96-year-old storyteller, and Queen of the Whole Wide World, a behind-the-scenes look at a major drag-queen competition in San Francisco. Gore is especially revved up about a documentary called Karaoke Fever, which tracks a bunch of would-be karaoke champions through 16 months of elimination trials on their way to a final showdown in Las Vegas.

“It’s a major crowd pleaser,” Gore says. “By the end of the movie, you’re on the edge of your seat waiting to see who wins. I like to describe it as Survivor with karaoke.”

And speaking of Survivor, the feature-film category, which inexplicably contains two films starring Happy Days‘ Scott Baio–“You will never think of Scott Baio the same way again,” promises Gore–also boasts a little film called Finder’s Fee, the directorial debut of Survivor host Jeff Probst.

Starring Matthew Lillard (who plays Shaggy in the upcoming film Scooby Doo ), Academy Award nominee Robert Forster (Jackie Brown), and James Earl Jones, Finder’s Fee is a psychological thriller about a young guy who finds a wallet containing a winning lottery ticket worth $6 million.

“This is a great movie,” insists Gore as Lhormer nods in agreement. “It just won the Audience Award at the Seattle Film Festival. I’m telling you, Jeff Probst is a top-notch filmmaker, who just happens to have become the host of the most successful reality show in television history.”

Probst will be in Sonoma for the festival, along with Lillard, Forster, Baio, and several other actors and directors from films Gore isn’t willing to talk about yet. In addition to appearances at the film screenings, Probst and company will be participating in Gore’s other favorite part of the festival: a series of panel discussions that he’s considering calling the “Indie Film Smackdown.”

Moderated by Gore, the discussions boast such titles as “The Secret Life of Actors,” “The Impact of Buzz on the Success or Failure of a Film,” and “How to Shoot a Nude Scene,” which will focus on methods directors use to establish an emotionally secure environment on the set.

Clearly, Gore and Lhormer are swinging for the fences, hoping to win a reputation that draws festivalgoers from far beyond the borders of Sonoma County, even beyond the Bay Area itself.

“There are 1,200 festivals worldwide, and over 400 in the U.S. alone,” says Gore. “And the San Francisco Bay Area has one of the biggest concentration of film festivals anywhere. It’s not like Indiana or Ohio. So my challenge is, how do we make this festival different?”

“This is the pivotal year,” adds Lhormer. “This is our chance to make this festival something that differentiates itself from other festivals, something that people will look to and say, ‘Sonoma Valley really has something different to offer,’ that people will go home from and talk about to their friends, and say, ‘Now that was really something special.'”

Gore goes one step further.

“We want people to say that our festival is short but intense,” he says. “I want the highest concentration of good films in any festival in the world. I want people to see three or four or five films, and walk away saying, ‘You know what? They were all good.’

“Different, but good.”

For information about the Sonoma Valley Film Festival, go to www.sonomafilmfest.org or call 707.939.3889.

From the February 21-27, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Dark Blue World’

Bouncing Czechs

‘Dark Blue World’ is three movies in one–but only one works

By

The Euro-epic Dark Blue World sprawls across the continent and 10 years of turbulent history. It can be neatly divided into three separate movies: (1) I Was a Prisoner in a Communist Hellhole, in which Ondrej Vetchy plays Franta, a feverish postwar internee in Mirov Prison, suffering from bad memories and a case of prison fever; (2) We’ll Meet Again, in which Franta, now a dashing World War II fighter pilot, romances a reluctant English rose named Susan (Tara Fitzgerald, stiff as a board), whose navy officer husband is lost at sea, a romance complicated by triangulation–the other party is Franta’s naive but goodhearted best friend, Karel (Krystof Hádek); and (3) Czech Devil Dogs of the RAF.

The last is not a bad one as these go–and they’ve certainly gone already. After their homeland is overrun by the Nazis, Karel and Franta volunteer for the British air force. This genre is all here, right where you left it: ale drinking over the piano, late-night brawls, adorable canine mascots, Messerschmidts at 3 o’clock, salty innuendoes swapped with the female auxiliaries, the cowardly pilot redeemed.

We’re informed, soberly, that the difference between courage and cowardice is that a real hero doesn’t mind that he’s scared. This is good. Even better is a Nazi officer telling a surrendered Czech airman, “A Cherman officer vould have put a bullet in his head, but you are a different people, nicht wahr?” It’s in subtitles, but the little man in your noggin quickly supplies the Helmut Dantine accent.

Tough but tender officership is supplied by a C. Aubrey Smith type, played here by Charles Dance, whose character’s name is Wing Commander Bentley; the officer’s coldness melts as he tries to keep some kind of discipline among these young Czech cockerels. And the rivalry between Karel and Franta is taken pretty much where the film Pearl Harbor took it–though Pearl Harbor didn’t take it to the limit, with our heroes flying in tandem in heaven together.

Director Jan Sverák, who did the grumpy-old-man-and-needy-child film Kolya, tries to hold this trifold story together. The flying sequences may be enough for some viewers. It’s been a while since we had some RAF on our screens, and if Sverák could have kept this part of the epic more unorthodox–as in a scene where the pilots are training on bicycles–he might have had something worth recommending.

The nostalgia that Dark Blue World evokes isn’t for those gripping days of yesteryear, with Europe under the iron heel of the Nazi boot. It’s actually for the memories it stirs of sleeplessly gazing at midnight-to-dawn movies on TV, sponsored by MMM Carpets, during those long nights when one old war picture after another used to smush together in your cranium like melted sherbet.

‘Dark Blue World’ opens Friday, Feb. 22, at Rialto Cinemas Lakeside, 551 Summerfield Road, Santa Rosa. For details, see or call 707.525.4840.

From the February 21-27, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Zuzu

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Napa’s Tapas

Zuzu delivers Spanish flair in trendy setting

By Paula Harris

It’s a glacial Saturday night, but the high-energy music and hubbub of animated conversation when you walk into Zuzu thaws the soul like an unexpected blast of sunshine from a sultry clime. This new tapas restaurant and wine bar in Napa has only been open a few weeks, but it’s obvious that locals are giving Zuzu a warm reception. This evening the restaurant is swarming with young and beautiful people in stylish shoes and scarves–the sort of trendy, well-heeled crowd you would never encounter in, say, downtown Santa Rosa. They sip on glasses of Argentinean pinot gris or Chilean Cab while primping and people watching.

Since the place is bustling, we go to the bar to wait for a table and check out the scene.

The gorgeous decor is sort of a cross between artsy peasant elegance and trendy religious chic. The floor is paved in decorative Spanish tile and the ceiling adorned with large squares of aged tin that looks like coppery terra cotta. Elongated glass lamps hang from long chains, and the walls feature artwork in subdued tones of cream, brown, and green.

The rustic bar, where a lot of the action happens, is basically a wooden counter in front of some shelves against the back wall, lined with wine bottles and tea lights glowing in amber glass. On the bar’s top shelf stand four statues of praying angels bestowing their saintly blessings on the happy wine drinkers below.

Those drinkers have quite a selection to choose from. Zuzu offers some 15 wines by the glass from Spain, Argentina, Mexico, Chile, and the United States in prices ranging from $5 to $8. In addition to domestic beers, there are also beers from Mexico and Brazil, plus an extensive list of wines by the bottle, and sherries, Madeiras, and ports by the glass.

Zuzu is everywhere informal and lively. You can take your tapas at the bar, in the downstairs dining room, or upstairs in the loft. A black-clad wait staff shimmies between the tables keeping tapa orders filled. Although the place is very busy, the service is attentive and helpful.

It’s centuries old, this Spanish tradition of strolling from bar to bar sampling a huge variety of tapas–bite-sized portions of various cold and hot appetizers–with a glass of wine or beer. Whether the convivial national pastime is a profound way of engaging the community or simply a trick for spacing your drinks so you don’t get smashed is debatable. Either way, it’s good fun.

Tapas can range from a simple handful of olives or almonds to grand and sophisticated creations. Zuzu offers an enticing selection of traditional Spanish tapas fare and ventures beyond it with items like Brazilian-style steamed mussels ($6), Moroccan barbecue lamb chops ($11), and Argentine marinated skirt steak with chimichurri ($6). The tapa portions are, of course, quite small, but they are surprisingly hearty and filling. And extremely flavorful. In fact, we couldn’t stop ordering them.

A portion of sautéed mushrooms in garlic and sherry ($4) is a tasty treat, especially when you mop up the garlicky sherry sauce with a piece of crusty bread. The same goes for the sizzling prawns ($7), Zuzu’s take on gambas al ajillo–three plump, juicy prawns encased in their crunchy skins spluttering becomingly in garlic-scented olive oil.

The classic Spanish tortilla ($4), a potato and green onion omelet, is individually cooked and brought to the table in a tiny, long-handled black skillet. Usually this layered egg cake is thick and juicy. Zuzu’s tasted OK, but it was a little dry.

The cazuela de pollo ($4) is a hearty chicken and fennel soup that’s so thick it’s almost a stew. It boasts tomatoes, carrots, chicken, fennel celery, strips of fresh basil, and potatoes, all meltingly tender in a zesty rich and exotic broth.

A baked goat cheese tapa ($5) has mild goat cheese melting atop a thick and richly smoky tomato sauce. The flavors seems to echo each other. Simple tapas like the grilled onions with romesco sauce ($3) are also satisfying and go perfectly with the Cota de Imaz Rioja Reserva ($28), a velvety red wine.

Also, don’t miss the paella of the day ($8). Tonight’s version is a lusty blend of clams, prawns, mussels, chorizo, short ribs, and saffron rice served in a miniature paella pan.

If you crave something sweet, try the semolina cake with currant syrup and Meyer lemon cream ($5), a yummy muffinlike pudding flavored with raisins and cream. The apple empanada with lime caramel sauce ($5) is also good but would be better warmed.

This is a fun experience. Check it out and you’ll discover that the tapa sampling ritual and camaraderie of Spain translates very well at Zuzu.

Zuzu Address: 829 Main Street, Napa. 707.224.8555. Hours: Open 4 to 10:30pm Sunday-Thursday, and 4pm to midnight on Friday and Saturday. Plans to open soon for lunch. Food: Spanish tapas Service: Friendly, attentive, and professional Ambiance: Lively rustic chic Price: Moderate Wine list: Great selection from Latin American, Spain, and the United States, by the glass or bottle Overall: 3 1/2 stars (out of 4)

From the February 14-20, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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