Sudden Oak Death

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.

The Roches

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Sacred Sounds

Roches set prayers to music

By Greg Cahill

At most church services, prayer is little more than a vehicle to promote often less than inspiring dogma. On Zero Church (Red House)–a newly released collection of contemporary prayers set to music by the acclaimed folk duo the Roches–prayer is reclaimed with Shaker-like purity as an intensely personal experience.

Under the care of the Roches, the singing sister act known for its lush harmonies and quirky songs, these sometimes confessional and even painful petitions are transformed into powerful, life-affirming statements of faith.

The result is a deeply emotional album that, when heard in the context of the background stories that accompany the lyrics, can move you to tears.

This unique work sprang from a project at Harvard University’s Institute on the Arts and Civic Dialogue, founded by playwright, author, and actress Anna Deavere Smith. The institute focuses on artistic collaboration while exploring issues of race, identity, diversity, and community.

But this album is far from an academic study. The Roches–Maggie and Suzzy (joined here by sister Terre and brother David)–set to music 18 prayers by a wide range of people invited by the institute to share their thoughts and feelings about the subject.

Selections include a musical enhancement of the prayer attributed to Mother Teresa and titled “Anyway”; the moving words of a Vietnam veteran and a freed Sudanese slave; a prayer for migrant workers; and, from a woman with AIDS, blessings upon other patients and those who care for them.

The Roches were assisted by Dr. Ysaye Barnwell, a member of the acclaimed gospel group Sweet Honey in the Rock, who also contributed the track “Couldn’t Hear Nobody Pray.” But, for the most part, these are not gospel songs at all; the tracks often forego traditional song structure entirely.

Rather, these are musical meditations on the human condition, sincere pleas for spiritual guidance, or exuberant thank-you notes to some unseen higher power, all delivered with such angelic grace that you expect the singers to be raptured up to the heavens at any moment.

And they come straight from the heart. For instance, Bill Barbeau–a firefighter in Somerville, Mass., who was once recommended for a commendation while serving in the Vietnam war–contributes a heartbreaking prayer asking forgiveness for his actions in battle. “As a young man,” he writes, “I killed a lot of people for no good reason. What became no good reason. I would love to blame someone else, anyone else, for how I feel about what I did, the killing.”

Karen Bashkirew offers “Sounds,” a prayer prompted by recent incidents of gay bashing, including the 1998 murder of Matthew Shephard, the 21-year-old University of Wyoming student who was brutally beaten and left to die after being lashed to a fence. “‘Sounds’ was written in response . . . to hearing the grieving sounds of [Shephard’s] mother in a fragment of television coverage,” Bashkirew writes in the liner notes. “As a mother . . . I felt shattered by the sounds. . . . I began to imagine the place those sounds were coming from and the distant places they might go.”

“New York City” was written by Suzzy Roche, who witnessed the collapse of the World Trade Center twin towers on Sept. 11 while out walking her dog. She later performed the prayer, inspired by an Edna St. Vincent Millay poem, at a benefit for FDNY Squad One, the firehouse at Park Slope that lost 12 men (fathers to 27 children).

“When we started our search for prayers, I wasn’t sure what we were doing,” Suzzy explains in the album’s liner notes. “Now I’m beginning to understand something real about compassion, kindness, and tolerance.”

Indeed, the Roches have created a wonderful gift in these lessons of faith, hope, and endurance that can bolster the spirit in these troubled times.

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

© Metro Publishing Inc.

‘Utopia Now! (and Then)’

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Future Shock

Utopian visions visit the Sonoma County Museum

The devastating 1995 earthquake in Kobe, Japan, left thousands of victims homeless, forcing them to band together in loose communities on the scorched remains of what was once their city. When government aid proved slow to arrive, the renowned architect and artist Shigero Ban–in Kobe to assist with the rebuilding of a local church–began to question the existing definitions of home and community.

As a temporary answer to the massive homelessness he witnessed, Ban designed and built what he called the Paper Log House, a portable home for one or two people constructed of cardboard tubes and beer cases and tenting material. The artist ultimately manufactured and distributed hundreds of these paper log houses, many of which were joined together to form instant disposable neighborhoods–part housing solution, part social protest.

One of Ban’s ingenious houses will be on display at the Sonoma County Museum, which is launching a sensation-stirring new exhibit titled “Utopia Now! (and Then).” The remarkable exhibit, which opens with a reception on Feb. 14, brings together the work of 11 socially active artists from around the world. Each addresses in different ways the growing need for creative urban transformations.

Along with Ban’s Paper Log House, visitors to the exhibit will encounter a model of Nils Norman’s proposed Protest Park, a series of tree-house-like structures rigged with a PA system for use in political demonstrations. They’ll also find architectural sketches for a proposed Netherlands city that would float in the air (riding on methane gas released by a vast garbage dump). Other utopian eye-poppers include a house built into scaffolding, Amy Franceschini’s Destiny Module (think of a house that fits in a backpack), and an inflatable hose structure dubbed the ParaSITE.

The ParaSITE is designed by New York artist Michael Rakowitz to conform to New York’s antihomeless laws, which prohibit tents more than three and a half feet tall. It’s made of plastic trash bags, Ziploc bags, and packing tape, and is engineered to attach to the warm-air outtake ducts on the exterior of large buildings. Like Ban’s paper houses, the ParaSITE is meant as a conspicuous social protest.

And, yes, visitors are welcome to slip inside the ParaSITE for a test nap–if they dare. “It’s OK with us,” insists Marina McDougall, the exhibit’s curator. “We know that some people will be tempted to go inside. But they should be warned. It’s been, shall I say, used. It’s kind of funky in there.”

McDougall is an independent curator who has organized exhibitions at the MIT Media Lab, San Francisco’s Exploratorium, and Los Angeles’ bizarre Museum of Jurassic Technology, among other institutions across the country. An expert on the intersections of art, science, technology, and culture, McDougall is also a co-editor of the book Science Is Fiction: The Films of Jean Painlevé. The Utopia Now! portion of the exhibit is an import from Oakland’s California College of Arts and Crafts, where McDougall presented the show in September.

In Santa Rosa, “Utopia Now!” will be linked with utopias of yesterday. On display will be a collection of artifacts, paintings, and photos from five of Sonoma County’s famed–and failed–utopian communities: Altruria, Fountain Grove, Icaria-Speranza, the Morning Star Ranch, and Wheeler’s Ranch.

“What’s most exciting for me about the Sonoma County show,” McDougall says, “is that I’ve been able to research the history of these amazing attempts at practical utopias. It turns out that there are some really interesting ways in which the contemporary work–the Utopia Now! part–intersects with the historical work.”

As an example, McDougall cites Scottish artist Chad McCail’s painting Living Things Grow, Regenerate, and Die, which depicts a bucolic scene involving the sexual discovery of a young male and female. “Then there’s a painting from the days of Wheeler’s Ranch,” says McDougall, referring to the fabled Sonoma County commune established by the Diggers in the 1960s. “Coincidentally, it shows the same exact scene. Each painting is full of hope for the future, full of belief in the power of human beings to engineer a perfect society, and also full of a kind of bittersweet longing.”

If you think this exhibit sounds like nothing you’ve seen at the Sonoma County Museum before, you’re right. “Utopia Now! (and Then)” is the first new show since the arrival of the SCM’s new executive director, Natasha Boas, whose vision for the museum is decidedly grand, even a bit radical, given the august institution’s reputation–deserved or not–for caution, conservatism, and even blandness.

“We’re going to be a much jazzier museum than we’ve been in the past,” Boas says. “We’ll be employing an updated exhibition design for all our shows. We’re shaking things up a bit. More than a bit, really.

“Basically,” she adds with a laugh, “we want all the young, cool people to start coming to the museum, along with those who’ve always enjoyed coming here.”

Boas comes aboard in the midst of the museum’s ambitious ongoing expansion effort, which has been marked by setbacks, controversy, and revision. The first component of that plan calls for a major expansion of the existing building, which will add another 11,000 square feet of exhibition space at a cost of $25 million. If fundraising goes well, Boas says, groundbreaking will take place in three years.

Until then, the new director will be working to implement her bold new curatorial purpose, which Boas sums up in the phrase “where land meets art.” In fact, those four short words have already become a certified mantra around the place.

“The love of the land, the history of the land, the use of the land,” says Boas, “is so specific to Sonoma County, and the purposes and uses of art are also extremely important to the people of this county. Our purpose will be to communicate, preserve, and extend the history of Sonoma County, and the way we’ve come up with to do that is by focusing on the intersection between land and art.”

Says McDougall, who will continue to curate occasional exhibits at the museum in the future, “Beginning now, the Sonoma County Museum will become a major Northern California cultural experience. And if that’s not a utopian statement, I don’t know what is.”

Boas agrees.

“I see this museum itself as a kind of utopia,” she says. “Our vision for this place is very much a utopian one. I’ve always believed that museums should be utopias–places where people can have an aesthetic, social, and intellectual experience. A utopia is a nexus for new ideas. That describes Sonoma County, and with what we’ve got planned for the future, it will also describe us.”

‘Utopia Now! (and Then)’ opens with a reception on Thursday, Feb. 14, at 6pm. The show continues through May 13 at 425 Seventh St., Santa Rosa. For details, call 707.579.1500.

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

© Metro Publishing Inc.

Santa Rosa High School Poetry Slam

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High-school slam puts teen poets in the spotlight

This is the moment. The keyed-up teens packing the auditorium of Santa Rosa High School have patiently endured 30 minutes of welcomes and introductions and explanations. Now the lights dim and the crowd falls silent. Sophomore Maayan Simon takes a long, deep breath and then almost sprints into the spotlight’s glare.

She halts before the microphone and turns to face the crowd.

“If people will pay a dollar-ninety-nine for wheat grass, why won’t they pay for the dandelions in my back pocket?” Simon begins with a confrontational shout. “Or the mud on my left shoe? Sheep may say bah, but so do most other animals . . . when they are in . . . extreme . . . pain.

The first annual Santa Rosa High School Poetry Slam has begun.

After less than 60 seconds–and exactly 101 politically charged words–Simon is finished, and the audience rewards her with a boisterous round of applause. Smiling, she steps away, allowing 10th-grader Chelsea Busch to take her place in the spotlight.

By day’s end, that intimidating pool of illumination at the front of the stage will have played host to the feet and sweat and words of 34 nervous young poets, all competing for cash prizes and a serious shot of self-esteem.

The event is the brainchild of Laurie Lovekraft, a Sonoma County musician and writer who’s been a visiting poet at SRHS for more than five years. The poetry slam is sponsored in part by the school’s groundbreaking ArtQuest program, best described as a way for qualifying SRHS students to major in arts-based disciplines.

ArtQuest is working in tandem with the Santa Rosa Symphony to create visual art and poetry to accompany the symphony’s presentation in the spring of Sir Michael Tippett’s A Child of Our Time. (A similar collaboration in 1999 yielded a critically acclaimed production of Benjamin Britten’s War Requiem.)

Many of the poems heard during today’s event were written on that theme, attempting to illuminate what it means to be a modern “child of our times.” But others bubbled up from the collective triumphs and tragedies of the student body. Case in point: A handful of poems touched on the stunning suicide last December of a well-known SRHS sophomore.

As if tensions weren’t running high enough, the poetry slam is being filmed by Academy Award-winning documentarian Tommie Dell Smith (Broken Rainbow). Her finished film, targeted for broadcast on PBS, will capture the enormous challenge of bringing A Child of Our Time to the stage.

But for now, all eyes are on the girl in the spotlight.

“Sugar clouds frost the periwinkle sky–not bad for mid-October,” Busch recites, perched at the edge of the stage. Her untitled poem compares taking a solo swim in a pond to taking bigger chances in life. As Busch speaks, she begins to remove her shoes and socks. She ends her poem with a leap from the stage to the floor.

She, too, is bombarded with applause.

And so it goes. The poems run the gamut from sad and sorrowful to angry and confessional. Some are even silly. Some performers stand still, calmly reading their work from handwritten pages, while others dance, scream, toss glitter, wave beribboned spears and fishing poles, or fall down writhing on the floor.

Raychelle Bell, pacing forward and back like a caged animal, eyes blazing with fury, recites “Ride to Destiny,” a passionate reaction to homelessness. She ends the poem with a polite curtsy.

The audience eats it all up, rarely responding with anything less than a deafening roar of approval. Many poems–such as Michelle Bourret’s “An Average Day,” which includes the phrase “My face burned like forgotten toast and my eyes boiled in their tears,” or Pacal Ezaki’s emotion-packed “News Flash from the Emergency Broadcasting System”–are received in pin-drop silence and rewarded with standing ovations. In one way or another, every poet is a winner.

But this is a poetry contest, and once the last poem is performed–Brennan Brockbank’s outrageous “Clothing Limit”–the panel of judges award the prizes. Bourret and Ezaki take third and second place, respectively, and Bell–who has read her poems in public exactly twice, counting today–takes the $100 first prize.

“Till now, my biggest fear has been getting up in front of people,” she admits after the show. “But once I got up there, it all just flowed. I always believed I’d never share my poetry with anyone.

“But now,” she says with a grin, “now, I’m hooked!”

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

© Metro Publishing Inc.

The Coup

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New Coup Debut

Revolutionary rappers won’t back down

By Jeff Chang

These days, it may be dangerous to be a revolution-minded rap act called the Coup. But in recent months, the members of this brilliant, battle-hardened crew–performing Feb. 23 in Petaluma–have refused to make things any easier for themselves.

On Sept. 11 of last year, with the release of Party Music approaching, the album’s cover–depicting Bay Area rapper Boots Riley and DJ Pam the Funkstress detonating the World Trade Center with a guitar tuner–suddenly took on a new meaning. The record label hastily replaced the image with a flaming cocktail. (The explosion ended up on the inside cover, blocked by the band’s red-star logo.)

Since then, Boots has used his media platform to question U.S. foreign policy, inciting denunciations from both conservatives and liberals.

Hip-hop hasn’t been this controversial since the early ’90s, when acts like Public Enemy and Ice Cube garnered headlines and fans for their contrarian political stances. The Coup’s fourth record comes ready with answers for its critics and proudly proclaims itself anticorporate, and “anti-Republican and -Democrat” (“If they self-destruct, that’s anticlimactic,” says Boots).

At a time when millionaire rappers waste precious CD time airing their personal beefs with each other, the Coup take on big targets–capitalist greed, police brutality, government corruption–while trying to connect with the smaller-than-life.

On “Nowalaters,” Boots reveals a deep sympathy for a single mother, despite the fact that she once lied to him and claimed he was the baby’s father. “I know that you must have been scared,” he says. “Thank you for letting me go.”

These are not stereotypical tales from the ‘hood. On the Coup’s previous offering, Steal this Album, Boots’ epic “Me and Jesus the Pimp in a ’79 Granada Last Night” painted a portrait of an orphaned boy in search of a father figure: A tale so rich that it inspired author Monique Morris’ novel Too Beautiful for Words. Like a rap Randy Newman or a hip-hop Tom Waits, Boots has a gift for sketching lovable losers. They are fully human in their failings, poor people just trying to catch a break.

The rich and powerful, on the other hand, bring nothing but misery with their moral certitude and selfishness, and are therefore ripe for Boots’ lampooning. On “5 Million Ways to Kill a CEO,” Boots cracks, “Tell him that boogers be sellin’ like crack. He gon’ put the little baggies in his nose, and suffocate like that.”

The touching “Wear Clean Draws,” dedicated to Boots’ baby girl, could be the best cut on an outstanding album. The funny, loving paean advises common sense as the best path through a world in which the odds are consistently stacked: “If somebody hits you, hit ’em back. Then negotiate a peace contract.”

These lines are delivered with Boots’ distinctively flat Cali drawl over a rough-edged, turntable-hyped, ’80s-style funk that points back to the P-Funk All Stars and Prince.

In other words, while political music often proves stiff, pompous, and didactic, reduced to mere messages, Party Music truly has everything it takes to move the crowd–in the clubs or in the streets.

The Coup perform Saturday, Feb. 23, at 8pm at the Phoenix Theatre, 201 Washington St., Petaluma. Tickets are $15 (available at the Last Record Store in Santa Rosa, Red Devil Records in Petaluma, and Watts Music in Novato). For details, call 707.762.3565.

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

© Metro Publishing Inc.

Terry Healey

Second Sight

‘At Face Value’ author overcame cancer and prejudice

By M. V. Wood

“I remember how beautiful women would sometimes look at me,” Terry Healey says, his voice softening. “Our eyes would meet, and I’d know she was attracted to me. But then, after the operation, I’d see all these pretty women staring at me, and I’d know it was out of shock or disgust. Same action, completely different idea.

“It’s kind of funny.”

Healey, 37, has many memories of what it was like to be good-looking and popular. In high school, he was elected Homecoming Prince, and he was president of his fraternity at UC Berkeley. With plenty of friends, a loving family, good grades, and endless potential “life was pretty simple,” he recalls.

Then, at age 20, Healey discovered what appeared to be a pimple growing by his right nostril. After finally getting it checked, he was stunned to learn it was a tumor.

“But I was too young to take it that seriously. I was strong and healthy, and I had never been really sick before,” says Healey, who reads from his recently published memoir, At Face Value: My Struggle with a Disfiguring Cancer (Xlibris; $21.99), on Feb. 7 at Book Passage.

The operation to remove the tumor was minor, and Healey returned to college thinking his battle with cancer was over. But six months later, while horsing around with his frat brothers, Healey got a bloody nose. He checked himself in the mirror, and his stomach cramped in panic when he saw the lump inside his nostril.

This time the tumor was larger and the operation more extensive. When he awoke from surgery, Healey discovered that half his nose and upper lip had been removed. The bone and muscles had been extracted from his right cheek, allowing that part of his face to sink in. The shelf of his right eye had been removed, causing the eye to droop. Six teeth and part of his hard palate were gone.

As difficult as it was to see his new face, that experience wasn’t as devastating as what awaited him after his discharge from the hospital. “My mother and brother went to get the car, so I sat down in the waiting room by myself, ” Healey recalls. “I looked up, and it seemed like everyone was staring at me.”

Kids pointed, some laughed. People stopped dead in their tracks, mouths agape, staring. “I felt like the Elephant Man,” Healey says. “But I told myself things would get better soon.”

They didn’t. When Healey rode BART to work, teenage girls would stand in a circle giggling and peeking over at him. In bars, grown men would yell, “What the hell happened to you?” A fraternity brother told the other guys in the house that if he had been Healey, he would have either stayed hidden in a closet or just killed himself.

“People can be pretty cruel,” Healey says. “Their actions leave a mark on your psyche. Little by little you start thinking, ‘I’m a freak,’ and that just feeds on itself. You carry yourself differently. You cower. And then, people treat you differently because you act that way.”

At Face Value describes Healey’s transformation from a cowering, self-described “freak” to a confident, self-assured man. That transformation began when he started viewing his facial deformity as a blessing in disguise. “In a weird way, I’m proud of my battle scars,” he says. “They are what has brought me wisdom. I’ve become much more sensitive, and I try not to be judgmental. I’m a better person now than I was before the cancer.”

This transformation began around the time a beautiful girl fell for Healey–and then dumped him. ” She was smart and full of energy and absolutely gorgeous,” Healey says. “And she wanted to be with me. I figured if a girl like this could like me, it can’t be that bad.

“But then,” he continues, “after I asked for the millionth time how she felt about my looks, she told me that my problem wasn’t physical, it was mental. I was just too insecure, and she couldn’t deal with it. So she broke up with me. It was devastating, but also eye-opening and liberating. I thought, ‘This is great! It’s not my looks that are the problem–it’s me!’ I mean, there was nothing I could do about my looks. But me–that’s something I could work with.”

Terry Healey reads from ‘At Face Value’ on Thursday, Feb. 7, at 7:30pm at Book Passage, 51 Tamal Vista Blvd., Corte Madera. 415.927.0960.

From the February 7-13, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘The Mothman Prophecies’

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The Haunting: Gere gets spooked in ‘The Mothman Prophecies.’

Mystery Man

Real-life monster hunter takes on ‘The Mothman Prophecies’

Loren Coleman wasn’t all that frightened by The Mothman Prophecies, the freaky new creep show starring Richard Gere as a journalist on the trail of an eerie supernatural being.

To Coleman, the fact that his 16-year-old son is getting his driver’s license this week is a whole lot scarier. Were he any other moviegoer, however, The Mothman Prophecies might have had Coleman shaking in his well-worn boots. But Loren Coleman is a different breed of man.

A professional cryptozoologist (that’s a person who tracks and studies unknown critters), Coleman has authored numerous books (Cryptozoology A to Z, Mysterious America) exploring a plethora of hard-to-fathom phenomena, from Bigfoot and the Loch Ness monster to the goat-sucking chupacabra.

Then there’s Mothman, described in detail in Coleman’s popular book Mothman and Other Curious Encounters. Mothman is a big, shadowy shape with giant wings and glowing red eyes, supposedly sighted by dozens of folks near Point Pleasant, West Virginia, over a 13-month period beginning in 1966. The sightings stopped after the mysterious collapse of the Silver Bridge on the Ohio River, a tragedy that killed 46 people. These events were also chronicled in John Keel’s book The Mothman Prophecies, on which the film is based.

In the movie, Gere plays a tense investigative reporter trying to connect the Mothman sightings to his wife’s death. With the help of a local sheriff (Laura Linney), Gere talks to the locals, sees a bunch of supernatural things, and gets a lot of very strange phone calls.

Coleman, who has studied the phenomenon for years, has a much less mystical view of Mothman than does Keel. As a cryptozoologist, Coleman suspects that the so-called Mothman–named, he says, by a newspaper copywriter with a fondness for Batman–was a bird. Not the skinny sandhill crane that some theorists have pointed to, but a very large, very secretive creature that may be a descendant of what some South American Indians called the Thunderbird. Or maybe it was just a big owl.

“Either way,” he says, “I think there might be some overlap between the Mothman and these other big bird crypteds–‘crypted’ means unknown–that are talked about in Native American tradition.”

Coleman, who lives in Maine, liked the movie. “When I go to things like The Mothman Prophecies, where I know the book so well and know the phenomenon so well,” he says, “I realize that it’s a fictionalized version of the real story. So I can just sit back and enjoy myself.”

Sounds reasonable enough.

“What’s interesting about Mothman,” Coleman continues, “is that there are so many peripheral phenomena around this story–more than just the creature itself–that have impacted my own life.”

“Really? What, for example?” I ask.

“Well, I was in Point Pleasant a month ago,” he says. “While I was there, I sat in my hotel room and talked to John Keel about what I was doing and who I was interviewing, and while I was talking to him, I had telephone trouble.

“Then I go on these radio shows,” Coleman continues. “I was doing a phone interview on this one show in Toronto last Saturday night, and five times throughout the interview the phone would start blasting and echoing, and then I’d be thrown off the line. A couple seconds later the technician from the show would call back and apologize, and he said, ‘We’ve been having telephone problems ever since we started talking about Mothman.’ So that’s kind of spooky, I suppose.”

“It could be a coincidence,” I suggest.

“Definitely. Sure, it could be a coincidence,” Coleman replies. “The fact that I then went upstairs and a light bulb blew out over my head could have been a coincidence, too.”

Hard to argue with that.

“It’s just that when they’re all happening so close to each other,” he goes on, “right around the time we’re all talking about Mothman, people start putting these events together and saying, ‘Hmmmmm. This is pretty weird.’

“I mean, even the collapse of the Silver Bridge after 13 months of Mothman activity–for all of those sightings to end in that way–it spooks people out enough that they may start drawing conclusions where there are none.”

From the February 7-13, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Sudden Oak Death

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...

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‘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...

Zuzu

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...

The Roches

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‘Utopia Now! (and Then)’

Future Shock Utopian visions visit the Sonoma County Museum The devastating 1995 earthquake in Kobe, Japan, left thousands of victims homeless, forcing them to band together in loose communities on the scorched remains of what was once their city. When government aid proved slow to arrive, the renowned architect and...

Santa Rosa High School Poetry Slam

High-school slam puts teen poets in the spotlight This is the moment. The keyed-up teens packing the auditorium of Santa Rosa High School have patiently endured 30 minutes of welcomes and introductions and explanations. Now the lights dim and the crowd falls silent. Sophomore Maayan Simon takes a long, deep breath and then almost...

The Coup

New Coup Debut Revolutionary rappers won't back down By Jeff Chang These days, it may be dangerous to be a revolution-minded rap act called the Coup. But in recent months, the members of this brilliant, battle-hardened crew--performing Feb. 23 in Petaluma--have refused to make things any easier for themselves. ...

Terry Healey

Second Sight 'At Face Value' author overcame cancer and prejudice By M. V. Wood "I remember how beautiful women would sometimes look at me," Terry Healey says, his voice softening. "Our eyes would meet, and I'd know she was attracted to me. But then, after the operation, I'd see all these...

‘The Mothman Prophecies’

The Haunting: Gere gets spooked in 'The Mothman Prophecies.' Mystery Man Real-life monster hunter takes on 'The Mothman Prophecies' Loren Coleman wasn't all that frightened by The Mothman Prophecies, the freaky new creep show starring Richard Gere as a journalist on the trail of an eerie supernatural being....
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