Polyamory

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More than One

One woman’s path to polyamory

By M. Volkova

Say you have a friend, a fine, upstanding lesbian friend who’s in a long-term relationship that you’ve always envied. She and her girlfriend have been together for over a decade. They’re a fucking institution. The only reason they don’t have an actual picket fence is because they rent and their landlord keeps saying something about building permits.

So one day, after you and your friend have drunk to the murky bottom of several cups of coffee, she turns to you and says, “I’ve taken a male lover. But, um, I’m still with my girlfriend.” You pick up your jaw from the table, but then what do you do? Condole? Congratulate?

Both. Neither. Just listen.

It was a clear and sultry night, like any other summer night in Phoenix. The pool was warm, the triple margarita was well and truly tripled, and the fresh-faced young salesman was pleasantly persistent. The conference had come to an end, and we had nothing better to do than each other.

Back in my hotel room, I sprawled in an easy chair and watched him take off his swim trunks. Somewhere underneath my drunken haze and growing excitement, something prompted me to ask: “Did you know that I’m a lesbian?”

“Um. No.” He had the decency to pause.

“Yeah,” I said, my head lolling back. “I’ve been with my girlfriend for eight years.”

“Oh. Well. Do you want to stop?”

Something else uncurled in me. “No,” I said.

One of these days I should write that young man a thank-you note. That one drunken fuck set me on the path to polyamory.

Sitting on my shoulders as I write this is a crowd of poly people, folks in the polyamory community whom I haven’t met yet but want to. I imagine it howling in protest, this subculture that is tired, perhaps, of being sensationalized in the media but always will be because certain aspects of our (sex) lives are more titillating (sex sex sex) to the general public.

Your whiplash entry into the world of multiple loves, say these shoulder-sitters, is not what polyamory is about. It’s about conscious living, loving more, like snugglebunnies in a big puppy pile, dismantling the dominant paradigm of mono-hetero domesticity, remaining open to the magical realm of possibility.

Well, yeah. These days no one could ever accuse me of not being, you know, open to possibilities. And I don’t want to be labeled a traitor to the cause, whatever that is.

But I’m beginning to understand that there are many paths to polyamory. Some people always knew about themselves; they could never settle down. Some people are drawn ever upward to Love, a higher state of being that transcends a marriage license. And some people get shitfaced and wake up with a bra on the lampshade and their world turned upside down.

So shut up and let me tell my tawdry truth.

I can speak of that time now with some calmness and even humor, but on June 3, 2000, I was not dealing well. I was hurtling down the dark desert highway at 100 miles per hour, feeling sick and hyperventilating and listening to the poignant harmonies of the Indigo Girls on endless repeat. (With my hetero indiscretion, had I resigned the right to listen to them?) I wept so hard I could barely see the road.

At home I stumbled into the bedroom and flung myself on the mercy of my partner, L., who was still half asleep and therefore quick to offer at least surface forgiveness.

Unconvinced of my worth and her sincerity, I called a counselor the next day.

Existential angst is not in the DSM-IV–every mental-health professional’s guide to psychological disorders–but it ought to be. Because for months and months I had nothing to pin my problems on.

This whole thing confused the hell out of me. The uncomfortable urgency of my sexuality disgusted me, angered me, shook me to the core of my lesbian-feminist being. I had slept with men in college, but that was a long time ago, in a galaxy far, far away, as they say.

Yes, yes, I was getting in touch with my deepest desires, which is a radical act for women. But some of my deepest desires revolved around dick, around getting hard evidence, so to speak, of male appreciation for me and my physical attributes. I wanted to be adored, objectified, flirted with, sought after–and how fucked up is that?

Not so very, it seems, not for me. Of course, it took me six months of counseling to get to that point. (Don’t ask me to show you the bills.) That’s about the time I began to realize I wasn’t going to get any of the aforementioned action from L.

L. is a calm, serene woman, less verbally expressive than I am by far, and psychologically incapable of spilling torrents of trash-talk in my ear. She would never eye me up and down before grabbing my shoulders and ravishing my mouth–ugh, it’s right off the cover of some paperback romance novel. And she will certainly never grow a penis.

But I didn’t want to leave L. We had years of shared history, a comfortable, sweet home life. She thinks I’m crazy for all the impossible projects I pursue, but she supports me nonetheless. I like to cook for her, watch movies with her, take road trips, snuggle.

The sex? I knew you’d ask. Her heavy-lidded gaze makes my chest ache. Her lips are so soft and giving when I lean down to kiss her. We can make out for hours. After all this time I still love to do her, to make her gasp. She makes love to me tenderly, tentatively–she does not have the stamina to fuck me hard for long–and she always holds me while I pound myself and cry out and come in violent waves, asking no questions and wiping away my sweat.

Was it worth jeopardizing this seemingly sure thing for the uncertain lusts of the flesh? What kind of sex-crazed nympho was I for even asking?

I couldn’t answer any of these questions. I was trapped in this state for months, until one day my counselor asked me what I really wanted, if I could have it free from fear or shame or judgment or scheduling complications. And I started crying, again–oh, for fuck’s sake, where’s that tissue box?–and said, “I want to stay with L., and I want to sleep with men.”

In psychobabble, this is known as “a breakthrough moment.” Other people might call it “wanting to have your cake and eat it too.” That’s how irrational and crazy and greedy I felt.

In a movement theater piece I choreographed at the time, I had myself walking around and around in a circle, saying, “I ask too much.”

I ask too much. I ask too much. I ask too much.

You get the drift.

Eventually, on Independence Day, 2001, I did ask. That conversation was the most frightening thing that L. and I ever did.

After several such talks, we agreed not to discuss it anymore at night in our bed. The uncertainties were strongest then, their monstrous shadows stretching out long from the closet and leaving a chill around our shoulders, even in the midsummer heat.

Instead, we took to driving out to a nearby lake, where we sat on some gnarled tree roots by the water and carefully negotiated the protocol of this new relationship. The swimming ducks and paddleboats lent a surreal calm to the waterscape as we stared up at the improbably blue sky and tried to patch together some rickety framework on which to hang our tattered hearts.

I still have the original notes from those first tortured talks. “Not in the house.” “Not in L.’s car.” “Call if spending the night.” “No messages on our shared voice mail.” “Nobody who L. knows socially.” Can you read between the lines? Can you imagine the cracks in our coupleness that had to happen for us to even speak those ideas aloud?

L. agreed to give an open relationship a try, but I knew, I knew she was deeply unhappy about it. And I wrestled with the guilt of going through with it anyway.

My one source of relief in the middle of the tumult was the thought that I actually wasn’t the only one. I found the alt.poly newsgroup, a fractious bunch that, like many newsgroups, had little cohesion but great FAQs.

And it turned out that a few female friends who I thought were dyed-in-the-wool dykes were actually managing multiple long-term relationships with both men and women. I came out to one of those acquaintances at a retreat, while we were skinny-dipping in a country pond. (Hey, we were naked. It felt like a self-disclosure kind of moment.) Her response was gratifyingly calm, something along the lines of “Wow, that’s great. Are you and L. doing okay?”

Were we? Yes, about as well as could be expected. But so far, the whole thing was hypothetical. Any real-world application felt beyond me. I was, however, intensely curious about what would happen if I did put myself back on the market.

As a birthday present, a friend wrote my personal ad, which I posted to a local online bulletin board. The ad read: “Fierce, articulate bi-dyke with big tits seeks caring, confident man who won’t bore me. We both make conscious choices about our atypical sex lives.”

Most of the men who responded sounded like Neanderthal fuckwits. (Ah-ha, grumbled my inner feminist, still chafing at the embarrassing implications of my true sexual preferences. That’s what you get when you mention tits.)

Not always. Occasionally you get men like S.

Obviously articulate, ironic without being completely detached, S. introduced himself as a mischievous South Asian lad, a doctoral student in an advanced field of science who liked to cook, read voraciously, and wanted a no-strings-attached sexual adventure with someone who could hold up her end of the conversation. Works for me, I thought, and wrote back.

Things happen fast on the Internet. Fortunes are made and lost, news travels at lightning speed, and lust blooms like a flower in one of those fast-forward nature documentaries. Within a week we were exchanging porn fantasies, and a month later S. and I met for a coffee chat.

I wore my schoolgirl-gone-bad outfit: short plaid skirt, very unbuttoned shirt, and thigh-high fishnet stockings. The getup made me look much more assertive than I felt.

Sitting across from S. in the dimly lit cafe, I toyed with some coffee that I didn’t really need. I was jittery enough, terrified of what we were doing. He saw my fear before I said anything and talked to me softly about everything except what we were doing, about his work, about movies, about childhood books, about I don’t remember what–and it didn’t much matter. He was just making calming noises to coax me down from the ledge, all the while gently stroking my shaking hands with his delicate fingers.

Eventually I stopped trembling and blushing, and we agreed to head out for dinner. On the way there, my chutzpah came roaring back, and I pulled S. into an empty doorway. When he pressed me up against the wall, gazing at me darkly and running those soft fingers up my thigh, I knew.

The next day S. e-mailed me to explain that our encounter, which went on to include nine noisy hours in a hotel room, had “surpassed [his] expectations by orders of magnitude.”

Ah, that S. Ever the scientist.

That was five months ago, five months of more or less weekly trysts that leave me wrung out for a day or two afterward. I did not know back then how much I craved this kind of connection.

S. meets me blow for blow and gets off on the intensity of my appetite. He is confident to the point of arrogance, explicit in every sense of the word, snuggly or sadistic at just the right moment, a truly twisted pervert with impeccable manners. He has a disconcerting postcoital habit of bringing up science news of the day, but it’s cute when he’s naked and nuzzling my wrist.

Complications have arisen, of course. This is no poly paradise (which I’m not sure even exists, except maybe at the end of some Robert Heinlein novels). The more L. and I are honest with each other about how we are growing and changing, as individuals and as a couple, the less certain we are about our long-term future.

In our lakeside summit meetings, we had said we were committed to the relationship; that was the truth but not the whole truth. Now we know that we are committed to the relationship as long as it works for both of us, which does look possible, even likely, but is not the sure bet we once thought we had.

And S. and I have actually fallen in love, despite our original intention of keeping things on a fuck-buddy basis. This goes against everything I had intended at the beginning, when I was feeling all jaded and gritty and I-can-keep-my-distance. But I must be forgiven. Turns out I can’t resist a man who calls me his little girl and feeds me mango ice cream, and then beats me with his belt and screws me senseless. (Yes, my emergent BDSM tendencies are a complicating factor, yet another thing that L. can’t, won’t help me with. But that’s a different story.)

What about this story? How will it end? Soon, for one thing, at least as a tale featuring S. as a central character. He told me from the beginning that he would probably be leaving the area for his postdoc work. It seems also that he might have an arranged marriage in the near future, something that happens with some frequency among the upper class in his culture.

Whatever happens, I am an interested party with no right to speak. All I can do is laugh at the notion of this Muslim-turned-atheist top arrayed in the chaste white of a bridegroom and marrying a virgin and cleaving unto her forever.

A few months ago I was having a hard time swallowing the bitter irony of this conclusion. Though I had thrown over the monogamy paradigm, I got stuck in the true-love-is-forever conundrum. But this true love, it turns out, is perfect in its short-term, limited-warranty way.

Besides, if I got lucky once with that ad, who knows who might answer it next time?

These days I’m feeling philosophical like that. I mean, I will cry my eyes out at our last rendezvous, and I won’t move on right away to someone new, as a couple of my friends have suggested with only the slightest touch of cattiness. And yes, it is a messy, messy business, leaving tearstains on pillowcases and scribbled-out pages in my day planner.

But I would not rewrite this story for anything. From my ecstatic date last weekend with S. to yet another heart-wrenching talk with L. this morning, this is the way it has to be, as I remind myself with a string of poetry magnets on S.’s fridge:

you have saved me from an eternity of what if with one moment of yes

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

© Metro Publishing Inc.

Kissing

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First Kisses

Wanna know how kissing got started? Are you sure?

The truth isn’t always pretty. Consider the act of kissing. Smooching. Locking lips. Grabbing some sugar. Whatever you call it, kissing is a worldwide pastime so popular, so pleasurable, so commonplace that the average human being will spend two full weeks of their lives doing it. That’s 336 hours–or 20,160 minutes, or 120,960 seconds–spent engaged in the act of ardent osculation.

There are, of course, all kinds of kisses. Diane Ackerman lists a few in her book A Natural History of the Senses: “wild hungry kisses,” “rollicking kisses,” and “kisses as fluttery and soft as the feathers of cockatoos.”

In short, kissing is a wonderful thing. We do a lot of it. Most of us enjoy it. And almost all of us remember our very first kiss with some degree of wistful nostalgia.

So leave it to anthropologists to spoil everything, to yank the pulse-pounding romance from one of our favorite human activities. In particular, blame goes to those unsentimental science sleuths who’ve gone and figured out why we started kissing in the first place.

To repeat: It isn’t pretty.

Just as children are frequently freaked after learning the truth about where they really came from–“Wait! Wait! Daddy did what?”–it’s quite certain that many modern lovers will be appalled and revolted to learn that the act of kissing began with prehistoric mothers chewing up food–then pushing it into their children’s mouths with their tongues. “Hungry, honey? Then come give Mama a kiss!”

There are other theories, of course. According to one, kissing evolved from the smelling of a companion’s face as an act of greeting, as if to determine the mood, disposition, and recent adventures of the newcomer (much like your cat or dog does on welcoming another pet into the house after a frolic in the yard). While performing this animalistic smelling ritual, the theory goes, certain groups began touching foreheads or noses or lips, a comforting custom that remained long after its original motivation had faded into the mists of time.

Another possibility is that our primitive lip-locking ancestors, imagining that human breath carried the power of one’s soul, were attempting to inhale the hot breath of their loved ones and, by exchanging breaths, fusing their souls together. At least that suggestion is kind of sexy.

If these conjectures are true–and they certainly are bizarre enough to be true–then the evolution of the kiss, from its rough, regurgitative beginnings to the elevated state of romantic respect it now enjoys, is surely one of human culture’s most remarkable, and unpredictable, transformations.

Just take the jump from those first caveman kisses to 16th-century England, where the game of passing a clove-studded apple proved a popular staple at Elizabethan country fairs. Players first prepared an apple by piercing it with as many cloves as the fruit could hold. A maid then carried the apple through the fair till she spied a lad she thought worth kissing. She would offer him the apple, and once he’d selected and chewed one of the cloves, they would share a kiss. After that, the apple passed into the man’s possession, and he would venture off in search of another lass to continue the game with.

By the time the apple had lost its cloves, at least a hundred people had been kissed twice. The cloves, by the way, were for freshening the breath–proving that those Elizabethans were as clever as they were horny.

Jump again to the sort of kiss described by 18th-century Scottish poet Robert Burns with these gentle words:

“Honeyed Seal of soft affections, Tenderest pledge of future bliss, Dearest tie of young connections, love’s first snowdrop, virgin kiss.”

Yes. Yes. These lines might inspire some modern people to barf, thus proving that the kiss hasn’t changed all that much in the last several thousand years. Or that may also just reveal how much our taste in poetry has changed since the days of Bobby Burns.

“Kissing must now be seen as an art form,” explains Santa Rosa sex therapist Dr. Victoria Lee, author of the newly published book Ecstatic Lovemaking (Conari Press; $16.95). “To me, kissing truly is an art form. It’s the most intimate of physical acts, more intimate than sex–think of the prostitutes who will do anything but kiss. Like other kinds of sexual and sensual acts, it’s an opportunity to express the deepest essence of our being, and when we see it that way, everything changes, from the way we kiss to the way we make love.”

On the other hand, history shows that kissing, art form or no, hasn’t always been approved of. While the Elizabethans were passing the apple, the government of Naples, Italy, was banning the practice of kissing entirely, making it an offense punishable by death. Certain ancient Finnish tribes might bathe together in the buff in coed groups with everyone’s naked genitalia on conspicuous display, yet oddly they believed kissing to be indecent and distasteful.

Even today, right here in America, kissing can get you into trouble. In Indiana, there is a law on the books making it illegal for a mustached man to “habitually kiss human beings,” and in Hartford, Conn., a husband is prohibited from kissing his wife on Sunday.

While anthropologists continue to nail down the specific origins of kissing, other scientists are working to discover its medical and social effects on us. Did you know that the average kisser burns 26 calories a minute while smooching? There have even been studies suggesting that people who kiss their spouses goodbye before leaving for work average higher incomes than do those heartless people who don’t.

So when all is said and done, it seems that the reason we kiss is that, on a hundred different levels, it’s good for us.

“Humans need enjoyable physical contact,” Dr. Lee says. “However it was that kissing evolved, however it continues to evolve, we cannot overestimate the spiritual and physical importance of one human being kissing the lips of another.”

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

© Metro Publishing Inc.

David Byrne

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Making Sense

The thinking man’s rock star gets accessible

By Alan Sculley

In the course of recording Look into the Eyeball, David Byrne realized that he had written some of the most melodic and accessible music of his career for this 2001 release. It was a thought that unnerved the multitalented songwriter, performer, filmmaker, and artist.

“I have a little bit of that prejudice that I think a lot of us have,” Byrne says. “That if something sounds too easy on the ears, if it sounds kind of pretty or beautiful, your first assumption is that it doesn’t have much depth to it, or it doesn’t have anything radical or important to say.”

“I think it’s an erroneous assumption,” he continues. “But it’s one that’s there. And I tie that over into when I hear my own stuff. If something sounds real pretty, I think, ‘Oh, that’s not very good.’ But I think it’s a false assumption to [dismiss things] that way.”

The need to challenge himself musically has been an ongoing thread throughout Byrne’s career, be it with the Talking Heads, the innovative, multifaceted group he cofounded in 1975, or since leaving that band in the late ’80s to concentrate on his solo career.

Over the course of eight studio albums, the Talking Heads’ music evolved from spare, angular pop into a full-bodied, groove-oriented sound that drew strongly on African and other worldbeat rhythms without losing the pop sense that had always been a major facet of the band.

In fact, Byrne’s decision to leave the Talking Heads came partly from realizing that he couldn’t pursue some of his musical ambitions within the context of the group.

At the time, the Talking Heads had released their final studio CD, Naked, and Byrne had turned his attention toward his ever-growing interest in worldbeat music. He wanted to release a Latin-flavored album, an idea that didn’t fly with the three other members of the Talking Heads, guitarist Jerry Harrison, bassist Tina Weymouth, and drummer Chris Frantz.

“I wanted to do a Latin record, and, well, I took some of the songs to Talking Heads, but they didn’t want to do them,” Byrne said. “That didn’t leave me too many choices.”

Of course there were other issues, one of which was the tension resulting from Byrne’s growing prominence as the Heads’ focal point during the latter stages of the band’s tenure.

By the mid ’80s, Byrne had branched out into a variety of outside projects. Working with producer Brian Eno, he had explored African music on 1981’s My Life in the Bush of Ghosts. He had directed the 1986 movie True Stories. He had also collaborated with Robert Wilson on the theatrical production The Knee Plays and with noted choreographer Twyla Tharp on the Broadway production of The Catherine Wheel.

Amid such projects, the New York Times Magazine did a cover story on Byrne, proclaiming him the “thinking man’s rock star.” He was also featured on the cover of Time magazine, which called Byrne “rock’s renaissance man.”

It was clear that the other members of the Talking Heads resented the assumption that Byrne was the creative engine behind the group. In some circles, it was suggested that Byrne had essentially taken over the Talking Heads.

“They’re right about part of that,” Byrne says when asked about the situation. “I don’t know about taking over [the band]. I don’t think that part happened. But the press was definitely focusing on me, which I think was not a good thing. Yeah, it was very divisive, and of course a lot of the press liked that, too.”

Though the Talking Heads never officially announced a breakup, by 1989 the group had essentially split. “It wasn’t fun when I left, and it hadn’t been fun for awhile,” Byrne says. “I think we were still making good music, so I think that part worked out OK. But I thought, ‘This is not what this is about. I’m not into being a martyr here.’ ”

So Byrne stepped into the next phase of his career with both feet. He founded a record label, Luaka Bop, that focused largely on showcasing the music of South America and Africa.

As a solo artist, he continued to delve further into various combinations of worldbeat and pop. First out was his 1989 album of Latin music, Rei Momo. The set drew mixed reviews, however, and Byrne received a healthy amount of criticism from musicians and writers who felt his music lacked authenticity.

Byrne’s restless spirit was not deterred, and he continued to draw from an eclectic range of musical influences on the solo albums that followed.

Uh-Oh highlighted more of Byrne’s pop tendencies and is the solo album most similar to Look into the Eyeball. David Byrne, released in 1994, found him shifting his music into a leaner, more intimate setting, while 1997’s Feelings went more eclectic as Byrne collaborated with artists ranging from the Colombian music producer Joe Galdo to the new wave art-rock band Devo.

For Look into the Eyeball, Byrne entered the project with a general concept he wanted to pursue.

“The self-titled album pretty much had a simple concept that I would put together a band, a real band, take it on the road and then record after we played a bunch of live dates, which we did,” Byrne said. “The Feelings record, though, was a bit all over the place. . . . The only concept I can think of there was the fact that it was a collaboration with a lot of people. This one was, yeah, more musically defined–bass and drums, some percussion and strings. And pretty much that was the musical palette on most of the songs.”

Working within that format, which Byrne reproduces on tour by featuring a six-piece string section in his current band, pushed Byrne’s music into a more melodic direction.

On the new album, Byrne is especially successful at merging percolating rhythms with soaring string and vocal melodies in the song “The Great Intoxication.” “Desconocido Soy,” a song sung entirely in Spanish, shifts the focus more to a grooving beat without losing the song’s sharp melodic edge. “The Revolution” pushes in the opposite direction, downplaying rhythm in favor of a swooning melody.

He also found himself tapping into sounds and styles that recall some of the Talking Heads’ poppier moments (“Like Humans Do” and “Broken Things” being prime examples).

In various interviews, Byrne has admitted that early in his solo career, he tried to avoid anything that would evoke his former band. These days, he’s more willing to embrace some of the musical trademarks of the Talking Heads, although he approaches such familiar styles with considerable care.

“There was one [song] that I did that didn’t make it to this record that sounded very much to me like an old Talking Heads song,” Byrne said. “It was a good song, but it didn’t fit on this record. So that’s still part of my makeup. But also I’m aware that it’s a danger, that I could slip into a well-worn path there. It’s something that comes a little bit too easily.”

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

© Metro Publishing Inc.

Beausoleil

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Born on the Bayou

Beausoleil conjures a tasty Cajun stew

By Greg Cahill

Their name is derived from a spiritual term describing the Acadian promised land. Yet the soft-spoken Michael Doucet–fiddler, songwriter, and leader of the influential band Beausoleil, Louisiana’s leading ambassadors of Cajun music–recalls a time not so long ago when it wasn’t cool to be Cajun. “The moment you even mentioned Cajun, you were put down for the way you spoke or criticized because the music was out of tune or the food wasn’t sophisticated enough,” he says.

Tired of being put down, Doucet in 1969 started delving seriously into the music and folklore of Louisiana’s French-speaking Cajun culture. “Certainly my family–which is French Acadian on both sides–are a very proud, fair, and honest people,” he adds. “I felt it was time to right the wrong.”

In the twenty-five years since the release of the band’s first U.S. album, The Spirit of Cajun Music (Swallow), Beausoleil has spread the infectious joy of the Cajun sound, spearheaded a Cajun cultural revival (most notably through the best-selling soundtracks for Belizaire the Cajun and The Big Easy), garnered three Grammy nominations, and remained in the forefront of a commercial renaissance that has made it very cool to be Cajun.

The band’s most recent album, Looking Back Tomorrow: Beausoleil Live! (Rhino), captures the remarkable verve of this Southern regional phenomenon on its first concert recording. Beausoleil perform Feb. 9 at the Mystic Theatre in Petaluma.

The band’s music flows easily from traditional Cajun waltzes and reels to blistering “gombo” music (a cross between gumbo, the spicy, Southern mishmash stew of seafood or chicken, and gonzo, the term coined by journalist Hunter S. Thompson meaning bizarre, crazy, or eccentric). It’s a schizophrenic style that sometimes has brought scorn from purists who complain that the band has drifted too far from its French Acadian roots.

“I sure hope we’re schizophrenic,” Doucet, 50, quips with a laugh when asked about the band’s delicate balancing act between the traditional and progressive musical camps.

Beausoleil’s infectious hybrid of Cajun, Creole, blues, jazz, and French Caribbean island rhythms reflects “the living tradition” of the Southern Louisiana culture, Doucet explains.

“The French Acadian society [in Louisiana] was basically a very isolated, agrarian society that kept its values for more than 300 years and was thrown abruptly into the 20th century via construction of roads and bridges and the introduction of TV and radio,” he says. “So if our music is schizophrenic, it’s time-traveling schizophrenia, because we can play a song from the 14th century and follow it with a new composition that incorporates those influences that have affected the region.

“I think it’s very important to get across that it’s a very diverse culture.”

Beausoleil perform Saturday, Feb. 9, at 9pm at the Mystic Theatre, 21 Petaluma Blvd. N., Petaluma. Tickets are $18. 707.765.2121.

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

© Metro Publishing Inc.

‘Wisconsin Death Trip’

Hell’s Hamlet

‘Wisconsin Death Trip’ revives some troubling memories

By

In roughly a million movies, amnesiac characters try desperately to remember some urgent, forgotten matter. Most recently, Kurt Russell in Vanilla Sky and Joe Pantoliano in Memento played figures trying to tease reluctant memories awake in their films’ leading characters. The popularity of this kind of mystery echoes a national problem: We in the United States have a chronic case of historical amnesia.

One attempt to wake us up from it is found in Michael Lesy’s fascinating 1973 book Wisconsin Death Trip, which chronicles the wave of late 19th-century crimes and mortality in the vicinity of Black River Falls, a small town in Wisconsin. Reading this book could give you the impression that the hamlet was built on an 1890s version of a Hellmouth, a la Buffy the Vampire Slayer.

The residents of Black River Falls were recent immigrants who came to mine and farm in the newly opened territory. But the land was too scrubby to live off. The banks, railroads, and mines were subject to sudden failure, inflamed by the depression of the 1890s. Even by the standards of the Norwegian immigrants, the winters were cruel. The pressure crushed the settlers through hard work and bankruptcy. Thus the local history, recorded in a small weekly newspaper, is a record of depression, suicide, disease, and murder.

James Marsh’s film version of Wisconsin Death Trip is a 76-minute-long condensation of the book–and the movie is a total success.

Marsh deftly captures the mood of the threatening wilderness. His bare-bones budget complements the rawness of frontier life, which he studies with the velvety cinematic obsession of a David Lynch. Here, a nonprofessional cast silently reenact the old crimes. Marsh divides the film into seasons and connects his almanac of doom with recurring characters.

Wisconsin Death Trip finds a charismatic antiheroine in Mary Sweeney (played fiercely by Jo Vukelich), a traveling madwoman who loved to snort coke and smash windows. In the account of Mrs. Larson (Molly Anderson), who drowned her three children, the film presents a parallel to Susan Smith, sentenced in 1994 to life in prison for driving the car that contained her sleeping children into a lake. And there’s even a decadent celebrity: Pauline L’Allemand (Marilyn White), a noted opera star who retreated to the wilds of Wisconsin–and then into madness.

Actor Ian Holm, most recently seen as the ring-jonesing hobbit Bilbo Baggins in The Lord of the Rings, narrates the casebook. Aside from his narration, Wisconsin Death Trip is mute, accompanied by a beautifully eclectic soundtrack that ranges from Debussy to Finnish folk songs to Blind Lemon Jefferson’s “See That My Grave Is Kept Clean.”

Marsh goes a step farther than the book by visiting Black River Falls today. He seems to wonder: How could a past so infamous be interred beneath this peaceful small town? He observes children playing, the high-school homecoming game and parade, the old people half-dead in the retirement home.

Naturally, some critics have accused Marsh of patronizing the town, especially by filming nursing home residents drowsing through a visiting glee club’s rendition of “The Star-Spangled Banner.” But isn’t this a perfect metaphor for how Black Rock Falls’ memory sleeps? And though the film doesn’t mention this, Black River Falls isn’t a backwater today; it’s heavily touristed, visited in the summer by Chicago area hikers and mountain bikers. What we see today may look a little stodgy, but it’s a triumph over a lurid, agonizing past.

In its way, Wisconsin Death Trip is an optimistic film. Today’s young people are supposed to be lost, addicted to drugs and television, a generation of nihilist lawbreakers whose misdeeds testify to the lapse of family values. Marsh’s film, set in a time of thoroughly religious, strong families, is alive with murders, drug abuse, and teen crime. By forgetting the trouble we once had, we exaggerate the trouble we have today.

‘Wisconsin Death Trip’ opens Friday, Feb. 8, at the Rafael Film Center, 1118 Fourth St., San Rafael. For details, see or call 415.454.1222.

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

© Metro Publishing Inc.

Zen Food-Sex

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Hunger Artist

Zen and the art of food-sex

By Gretchen Giles

The gorgeous furred silk of a man’s belly and the dark, lovely hollow a neckline reveals when a woman bends down all make me hungry. Not starving for smooches, but longing for foodstuffs that ooze and goop, that add a touch of sweet to the savory, that are made to be eaten with just fingers or licked from a thigh.

The distinctive physical pleasures of food and sex go together in human history as naturally as do roasted mastodon and cave-born babies. Now that we’re presumably somewhat evolved, we can choose the hunt and control the babies. This is when the real pleasures of food-sex arise.

Food-sex is a Zen concept, if you will, a koan instructing that good food shared well is just as important to intimacy as good lovemaking well shared. In today’s lesson, food-sex is not that meal designed to sweep a potential love-mate off his or her feet and into your consensual clutches for the very first time. Today’s lesson, in fact, is about heightening the gustatory pleasure of that someone who is already well-swept.

Applying the rules of the perpetual picnic, your adventure consists of anything you and your lover both enjoy, delicacies not usually indulged, dishes made ahead, and fresh green things straight from the ground.

Garlic, at least in my small, rosy world, is essential. So, too, are several uninterrupted hours, a reliable source of heat, and the joyous musical religion of Al Green. Texture, shape, and consistency are important, but dress is strictly casual–just one large linen napkin will do.

As with any feast, preparations must be made. Even that impressive soul who rises from the rumple to whip together a postcoital treat has probably thought about such a graceful arising well in advance–or should have. As necessary as the prelove rituals of bathing and brushing are the mundanities of shopping and cooking.

But not everything must be cooked by you. After all, this is about sensual swoon, not Betty Crocker. Simply buying little truffley treats is often just enough; a good loaf of bread and a ripe cheese marry well; a grocer’s roast chicken and deli pasta salad will suffice; and yes, there should always be enough wine.

Allowing time to be thoughtful and unhurried only adds to the anticipation. Your Zen-influenced boink-repast should ideally consist of things that can wait and mellow until you’re ready for them. Risotto, that stir-stir-stir pretty pet of the rice family, is, for example, a poor choice.

However, cheese tortellini that have been cooked to plumpness, well-drained, and then coddled in a bowl with the rough chop of three Roma tomatoes–seeds and all–a handful of fresh slivered basil, a few pressed garlic cloves, the grate of fresh Parmesan cheese, and a three-to-one bath of extra-virgin olive oil and balsamic vinegar, is an excellent choice. Salted and peppered to taste and left to infuse while covered on the table, this dish is always ready when you are.

Similarly, asparagus that have been washed and then dried in a clean dish towel can wait for your attentions. Break the ends just where they wish to bend–never force your edible koan to do anything it doesn’t want to. Arrange on a cookie sheet or pizza pan, drizzle with olive oil and a sprinkle of kosher salt (table salt is fine). Roll these wonderfully green, phallic stems about on the pan until they’re somewhat evenly covered in oil. Broil for about seven minutes, taking the pan out half way through to shake the asparagus around for even cooking. Remove from the broiler, squeeze half a fresh lemon over the stalks, and arrange on a plate. They’ll still be there when your fancy finally produces a taste for produce.

It has somehow held our collective romantic imagination that chocolate-dipped strawberries connote almost unscalable heights of the la-ti-dah, but how many of us actually know how simple these are to make?

Lean closer, and I shall reveal that the large, seeded nipple of a strawberry need merely be dipped in the melt of a bag of ordinary semi-sweet chocolate chips that have been heated in a double-boiler. (In my humble abode, double-boiler refers to a pan of hot water with an old glass bowl set atop it because it happens to fit). Dip your strawberries in the chocolate, swirl, and place on a piece of wax paper. Instant elegance! Crunch and juice and sweet on a plate.

This also works for dried apricots, almonds, banana chunks, raw tuna, nasturtium heads, or any other thing you could possibly ever wish to dip in chocolate.

I often think that the best part of being divorced, other than the glory of simply being no longer married, is Dad’s Weekend, that infrequent event when the children’s father takes them away to troll the malls, watch marathon bouts of TV, and munch fried pies, just five for a dollar. Then, the tyranny of a regular dinner no longer looms, and my lover and I can be fueled solely by exactly that which pleases us best.

This bed-heavy freedom is usually sustained by store-bought goodies that I greedily purchase in lieu of saving for a new car or a down payment on a house.

The local fancy store barbecues meat on weekend nights, so I get a hot, rare slab. Next in the basket go a stout loaf of fresh Campagna bread, a wedge of stinky-ripe Cambonzola cheese, and a container of cured green olives.

Fresh scallions are later washed and shaved into thin, curly sticks. A simple salad is quickly tossed from lettuce cannily washed on Thursday and a vinaigrette mixed up while boiling farewell oatmeal that morning for the children.

Berries or cold grapes? Ripe fragrant cantaloupe to wrap with prosciutto? Such dilemmas. Chocolate, the dark, thick kind that must sometimes be chopped with a cleaver, not that waxy type put out by the good folks in Pennsylvania, is essential.

When considering this lesson, it’s only natural that your food be as naked as you are. This is your life, your spring, your lips and teeth and tongue and fingers and mouth.

Your hunger.

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

© Metro Publishing Inc.

SAMM

They are SAMM

Sonoma Alliance for Medical Marijuana flexes political muscle

By Mari Kane

Marijuana smoke mingled with anticipation in the air of the Forestville home of teacher Marsha Cameron. It was one week before the 1996 presidential election, and a group of signature gatherers, educators, and patients were meeting to plan for the possibility of victory–the passage of Proposition 215, California’s Compassionate Use Act.

Cameron brought the meeting into focus by announcing, “If Proposition 215 wins, our work is just beginning!” That night, the Sonoma Alliance for Medical Marijuana was born.

Now, after five years of dogged advocacy, the organization stands in the vanguard of the movement. Its work has helped make Sonoma County one of the most medical marijuana-friendly counties in the nation.

Next week, SAMM will flex its political muscle by holding a public meeting in which candidates for a range of local offices will debate their positions on marijuana in advance of the March 5 primary. Controversy over the issue has grown again in recent months as the Bush administration cracks down on California marijuana dispensaries.

Among the heavy hitters scheduled to attend the SAMM meeting are Sonoma County District Attorney Mike Mullins and his opponent in the DA’s race, Stephan Passalaqua, a deputy district attorney who opposes prosecuting medical marijuana cases. Santa Rosa Mayor Mike Martini and a representative of Congresswoman Lynn Woolsey will also attend.

What’s the secret of SAMM’s success? “Being a consensus-based educational and advocacy group is SAMM’s biggest distinction,” Cameron explains. “We made a commitment from the very beginning to only do what the law allowed. We didn’t create a cannabis club because that wasn’t part of the law.”

Talking Softly

While the passage of Proposition 215 was igniting a national controversy, SAMM members were quietly arranging meetings with Sonoma County’s Health Department, sheriff, and district attorney to hammer out protocols for enforcement of the vaguely-worded law.

“What impressed me was their willingness to engage in dialogue, not diatribe,” Mike Mullins recalls. “I was struck by how diverse [SAMM members] were. They had a lot of representation and different viewpoints, and they were willing to listen to our concerns.”

SAMM’s first milestone was the peer review process, a verification system by which the Sonoma County Medical Association’s Professional Standards and Conduct Committee determines if patients meet established criteria for medical marijuana use.

“Basically, peer review was set up to protect the doctors and to make them comfortable in writing approvals and recommendations,” says SAMM member Mary Pat Jacobs, a teacher turned caregiver. “Before peer review was established, doctors were afraid to write recommendations.”

Still, arrests of patients and caregivers continued in Sonoma County, and in the Spring of 2001 two test cases went to court. Jurors acquitted the defendants in both high-profile trials, sending a strong message to the district attorney’s office to back off on medical marijuana.

One week after the second court defeat, Mullins and the county’s police chiefs adopted SAMM’s Medical Marijuana Cultivation Guidelines, which allow patients or caregivers to grow up to 99 plants with 100 square feet of canopy, producing an average of three pounds per year.

“The Sonoma guidelines were a real breakthrough,” says Dale Gieringer, California director of the National Organization for the Reform of Marijuana Laws. “They are the most realistic guidelines adopted to date because they are based on growing area, which is much more closely related to yield than plant numbers. Already, the SAMM guidelines have replaced the old Oakland 144-plant guidelines as the favored model, and Del Norte County is seriously considering adopting them.”

Now that SAMM’s garden guide is official policy, Mullins says law enforcement’s focus should be on garden robberies and associated violence. In fact, Mullins envisions going the way of Canada, where that government is under court order to grow medical marijuana for its citizens. “If we’re going to adopt statewide standards, we should also enact state growing,” he asserts. “We need to have a state ID system and a system for growing centrally with distribution by the state.”

The Heart of SAMM

SAMM spokesman Doc Knapp and secretary-treasurer Kumari Sivadas are gathered around the kitchen table in their Sebastopol home stuffing envelopes. Knapp and Sivadas are both patients and retirees, and they operate SAMM’s nerve center. They field approximately 25 calls from patients and would-be patients per week and send “Dear Folks” communiqués to SAMM’s 600-700 supporters.

Because SAMM is not a cannabis club, Knapp says the organization is not afraid of threats from the federal government, even in light of the Drug Enforcement Administration’s recent crackdown on the Los Angeles Cannabis Resource Center and other growers.

“Look, we met with the DEA’s commander of the Sonoma County Narcotics Task Force and he said they weren’t interested in prosecuting cases of less than 250-300 plants,” Knapp explains with a shrug. “One hundred plants is the first line the feds draw, so we advise people to follow our guidelines and stay under the radar with 99 plants. At that level, the feds are simply not interested in Sonoma County growers.”

But Sonoma County’s five marijuana dispensaries are concerned about federal intervention, even though they argue that the DEA lacks jurisdiction in what some call a state’s rights issue. Alan Silverman of Guerneville’s Farmacy thinks the Los Angeles raids were the feds’ attempt “to scare the pants off clubs.”

“I don’t believe the DEA will go any further once the they realize they don’t have any authority here,” Silverman says.

SAMM’s upcoming meeting–which takes place Feb. 11 at the Rincon Valley branch of the Sonoma County Library–will vet local candidates with the aim of facilitating the election of marijuana-friendly candidates.

“The DA’s office is critical for obvious reasons, but the county Board of Supervisor seats are also important,” Knapp says. “We’d like them to sign off on the guidelines, but we haven’t approached the current sups because we don’t think they’re receptive enough. We’re just waiting to get new blood.”

Among the candidates confirmed for the meeting are Fred Euphrat, an environmental consultant running against Fourth District Supervisor Paul Kelley. Last week, District Attorney Mike Mullins also agreed to attend and face off against Passalaqua.

“Knowing Mike is willing to show the public he cares about this issue just proves how far we’ve come,” Sivadas says. “This meeting is going to be very interesting!”

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

© Metro Publishing Inc.

Open Mic

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Vietnam syndrome is alive and thriving

By Mark Weisbrot

Politicians and journalists have interpreted widespread support for the military actions in Afghanistan as a significant shift in Americans’ attitudes toward war. In the weeks following the massacre of Sept. 11, Vice President Dick Cheney described the crowd’s reaction to a speech he made in New York: “There wasn’t a dove in the room,” he said with a smile.

This isn’t the first time in the post-Vietnam era that our leaders have made such pronouncements. “By God, we’ve kicked the Vietnam syndrome once and for all,” President George Bush (senior) declared in 1991 in the wake of the Gulf War.

But their words are starkly contradicted by their own actions. In every military action since Vietnam, our politicians and generals have been extremely reluctant to risk American military casualties. In the Gulf War, there were more soldiers killed in training and accidents (including friendly fire) than at the hands of enemy troops. In the war over Kosovo, we did not lose even a single pilot.

The murder of thousands of civilians in the worst terrorist action ever on American soil seems not to have changed this part of the Vietnam syndrome at all. The U.S. military has fought this war, like the others, from the air. Our planes now bomb from altitudes so high that they cannot even be seen by the fighters and civilians below.

When it came time to search the caves of Tora Bora for Osama and his friends, U.S. officials started talking about “the right mix of incentives” (money, weapons) to get Afghans to do the job.

From the snug safety of their armchairs and op-ed pages, pundits have argued vehemently that American troops should take on these dangerous tasks. But this isn’t likely to happen any time soon.

What our politicians fear, but what nobody wants to talk about, are the political consequences of American casualties.

This is not because Americans are lacking in courage; as the heroic actions of the firefighters and others at the site of the World Trade Center showed, there is no shortage of people willing to risk their lives for fellow citizens.

But since Vietnam, there has been widespread mistrust of American foreign policy. During that war, we were told we were helping the Vietnamese–saving them and the world from communism.

This turned out to be a huge lie, with terrible consequences. Millions discovered that the United States was really fighting a dirty colonial war that the French had abandoned.

Recent revelations have only reinforced this mistrust, as well as provide the worst picture imaginable of that war: the atrocities committed by former senator Bob Kerrey, for example, or historian Michael Beschloss’ analysis of Lyndon Johnson’s tapes, showing that the president knew as early as 1965 that the war in Vietnam could not be won while he continued to send tens of thousands of Americans to die there.

In the post-Vietnam era, Washington has mainly contracted out the dirty work–mass murder in Guatemala and El Salvador and the attempt to overthrow the Nicaraguan government in the 1980s, for example. But whether the U.S. military was directly involved (as it was in the invasions of Grenada and Panama, the Gulf War, and Kosovo) or not, it is still a sordid record. In general, U.S. officials have lied about the purpose of their interventions, none of which had much to do with U.S. national security.

For these reasons, public support for the War on Terrorism is miles wide but only inches deep. Our political leaders want to use this crusade the way they used the War against Communism, and more recently the War on Drugs in Colombia: as an excuse for the violence and brutality necessary to police a worldwide empire.

It remains to be seen how much of this they can get away with, or whether they will expand the current war to other countries, such as Iraq, Somalia, Iran, or elsewhere. But our leaders know one thing very well: They cannot allow the U.S. casualty count to rise too high, or people begin to question their motives.

This Vietnam syndrome will not be reversed. It is a permanent change in American consciousness, like those that followed the abolition of slavery and the victories (however partial and incomplete) of the civil rights movement. What will fade, eventually, is our leaders’ addiction to empire. But when that goes, America will not have much need for foreign military adventures.

Mark Weisbrot is co-director of the Center for Economic and Policy Research in Washington, D.C., (www.cepr.net).

From the January 31-February 6, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Yao-Kiku

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Japanese Blossom

Sushi and beyond at Santa Rosa’s Yao-Kiku

By Paula Harris

Yao-Kiku is lively tonight. Settled into my favorite little table, the one under the crazy, colorful painting of the sword-wielding Samurai pool player, I curl my cold hands around a flask of boiling sake and watch the action.

The small sushi bar, which is presided over by owner Sam and his adept fish-slicing, rice-molding team, curves around one side of the dining room and is decorated with Japanese dolls and other knick-knacks. It’s always a prime location for entertaining diners.

Tonight, a group of four Japanese men are perched on the high bar chairs. They intersperse mouthfuls of gleaming raw fish sashimi with raucous laughter and slugs of premium chilled sake.

A fawning couple at a nearby table order the una-ju, eel with special sauce served on rice. According to Japanese lore, unagi (eel) builds stamina. It’s eaten during the hottest months to avoid exhaustion, and anytime as an aphrodisiac. Hmm, maybe this pair is on to something.

At another table, a family introduces their young-uns to shrimp tempura. The kids munch and crunch happily, wielding the batter-dipped tidbits like french fries.

Yao-Kiku is a comfortable neighborhood joint tucked away in the heart of a strip mall on Santa Rosa’s Yulupa Avenue. The restaurant’s reputation for using the freshest ingredients, sometimes flown in from Japan, keeps customers coming back for more.

The partly screened dining room is small, orderly, and minimalist. It’s decorated in shades of gray and burgundy. Plain tables are set with wooden chopsticks in paper packets and burgundy linen napkins.

The service is gracious and attentive. If you drop a chopstick or run out of sake, someone usually notices right away.

A meal here usually commences with a bowl of steamy, fortifying miso soup and a green salad (both included with the dinner entrées, along with steamed rice). Yao-Kiku’s miso is a great version of the Japanese staple and is enlivened with cubes of tofu and strips of seaweed lurking at the bottom.

The salad is a pile of chilled, crisp Sonoma greens and carrot pieces with tangy dressing that tastes of mirin, a rice wine vinegar.

Appetizers are a bit hit-and-miss. The gyoza ($6)–Japanese-style pot stickers–are tasty and generously filled with minced pork and veggies. But the chicken tatsuta ($7), boneless chicken bits marinated in ginger sauce, is covered in too much batter and is a disappointment.

Gammo ($5.50), a steamed vegetable tofu cake with ginger sauce, is another letdown: In a small black cauldron, flavorless, spongelike tofu ovals float in a bland watery liquid.

But things get back on track with the hamachi kama ($8), broiled collar of yellowtail. Use your chopsticks to poke around the nook and crannies for sweet morsels of this dense white fish that’s reminiscent of swordfish.

Yao-Kiku offers a limited, reasonably priced wine list, but many diners opt for the hot or chilled sake or a Japanese beer.

Noteworthy entrées include the yose-nabe ($16-$18), an enormous, ceramic serving bowl filled with tasty treasures of seafood, chicken, or vegetable. The veggie version boasts a rainbow mix of carrots, red pepper, broccoli, onion, celery, scallions, shitake mushrooms, green beans, two kinds tofu, opaque udon noodles, and transparent glass noodles in miso broth. The bowl of steamed sticky rice on the side seems like overkill.

Another great choice is the salmon teriyaki ($16). A generous portion of tender, pink salmon glazed with a slightly gingery teriyaki sauce comes with starch galore–noodles, rice, and roast potatoes. I’ve sampled the salmon teriyaki in at least four other local Japanese restaurants, and Yao-Kiku’s version wins hands down.

Of course, many raw fish addicts come here for the superior sushi. And if you know your aji from your ebi and uni (Spanish mackerel, prawn, and sea urchin) this place is for you. Yao-Kiku serves a broad selection of both maki (rolled) sushi and nigiri (wrapped or layered) sushi.

More unusual sushi choices include herring eggs, giant clams, pickled plum and leafstick, and pickled Japanese radish. At one time the restaurant served a refreshing aloe vera sushi, but I haven’t seen it here in a while.

If you have room for dessert (I never do), there’s green tea or mochi (short-grained glutinous rice) ice cream. With the check come sections of fresh orange, and also some intensely flavored coffee candy, a very weird choice after sushi.

Still, Yao-Kiku is a consistently great place for a relaxed, informal neighborhood meal. Give it a try (but note that they don’t accept personal checks).

Yao-Kiku Address: 12700 Yulupa Ave., Santa Rosa. 707.578.8180. Hours: Mon-Fri 11:30am to 2:30pm; Sat 4:30 to 9 :30pm; Sun 4:30 to 9pm. Food: Japanese Service: Attentive and gracious Ambiance: Happy, neighborhood haunt Price: Moderate Wine list: Limited wine selection, premium sakes available Overall: Three stars (out of four stars)

From the January 31-February 6, 2002 issue of Metro, Silicon Valley’s Weekly Newspaper.

© Metro Publishing Inc. Metroactive is affiliated with the Boulevards Network.

For more information about the San Jose/Silicon Valley area, visit sanjose.com.

Art in Napa

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Big Bucks: COPIA director Peggy Loar rides herd on the new $55 million arts and food facility.

Napa Rising

Arts blossom in once neglected riverfront town

By Paula Harris

Not too long ago, as Cabernet-hunting tourists and their loot flooded into the trendy, upscale, and picturesque Napa County wine country meccas of St. Helena, Yountville, and Calistoga, the death knell was sounding for the city of Napa. Potential visitors snubbed the lackluster city, avoiding its decaying downtown lined with empty storefronts and its hazardous river that routinely flooded the area.

And as the muddy waters inundated the city, the community’s character and heritage were also quietly but surely washing away.

“The downtown suffered,” says Napa developer George Altamura. “The powers that be tore down the beautiful buildings and put up modern buildings that are crap. They completely neglected downtown.”

Altamura, who in recent years has snapped up several downtown properties as investments in the hopes of a Napa comeback, sees a major change ahead for the city. He plans to be part of it.

Most notably, Altamura is currently restoring the city’s Uptown Theater in partnership with a big-name co-investor–acclaimed Hollywood director Francis Ford Coppola. Altamura says the renovated theater will revitalize the city by offering special movie premieres and world-class live performances.

But the Uptown Theater is only one piece of a holy trinity of major new facilities that are making dramatic entrances onto the Napa arts scene.

About to join the well established Jarvis Conservatory are the renovated Napa Valley Opera House and COPIA, vintner Robert Mondavi’s new multimillion dollar monument to food, wine, and the arts.

The arts and entertainment vision for Napa is brashly ambitious, with an impressive amount of new investment, despite the economic slowdown. These lofty plans seem calculated to outdo all the county’s trendy wine country sister towns combined.

It’s a far cry from the Napa of just a few years ago. In fact, the downtown was almost defunct when groups of environmentalists, business people, and politicians finally collaborated to rescue it.

A challenging and costly project is underway to restore the city’s neglected crucial lifeblood, the Napa River. Four years ago, citizens voted to raise their taxes in order to develop the riverfront, preserve the waterway, and protect the city from inundation.

“It’s a $230 million flood control project to bring back the focus of the river in downtown Napa,” explains Cassandra Walker, economic development director for the city of Napa.

The plan, currently in progress, calls for a seven-mile river trail system, including a downtown portion that will feature large, two-tiered promenade areas overlooking the river and new outdoor community gathering places.

The river walk will also link the key arts and entertainment venues.

“The arts component is naturally evolving because of COPIA,” Walker says. “And people are coming back to the downtown now that cultural activities are opening and having a broader presence.”

According to city boosters, the emergence of a new Napa arts scene will not only finally put the city on the tourist map and cater to a growing office population that keeps people in town after work, it will also serve local folks starved for nightlife.

“We’re trying to give people more reason to be here,” Walker says.

CornuCOPIA

The numerous directional signs are in place, the city’s repaving and revamping of First Street is complete, and high-profile vintner Robert Mondavi’s much-anticipated castle celebrating food, wine, and art has been open 12 weeks.

COPIA is now an integral part of Napa.

Named for the Greek goddess of abundance (depicted naked and tending a vine in the center’s logos), COPIA aspires to be “the world’s leading cultural center dedicated to the discovery, understanding, and celebration of wine, food, and the arts,” according to ads.

The $55 million ($27 million of which was poured in by Mondavi) facility offers a slew of exhibits, lectures, tastings, gardens, movies, and live musical performances.

But it has received mixed reviews.

Organizers say the private nonprofit institution is doing well. They point to a membership of 7,000 and a stream of daily visitors, half of whom come from Napa County. “We’re very pleased with attendance thus far and have been on target with our predictions, averaging about 500 visitors daily,” says COPIA spokesperson Holly Krassner. Organizers are predicting 300,000 visitors this year.

Before COPIA opened, some critics worried about potential traffic snarls. In addition, various local business owners complained about the lack of parking at the facility, although COPIA organizers say that’s now been addressed with a 370-space parking lot.

Other folks fretted over the center’s perceived elitist image. Heavy hitters like Martha Stewart, Alice Waters, Hugh Johnson, Robert Parker, and Julia Child jumped on the COPIA bandwagon to serve as honorary trustees. Child even loaned her name to the center’s gourmet restaurant, Julia’s Kitchen.

But some visitors are reluctant to plunk down the $12.50 daily admission fee. Others, perhaps expecting a winery, are confused over what the center actually is. “Probably, a portion heard about [COPIA] and it may not have been what they thought, but that doesn’t mean they were disappointed,” says Krassner.

The interior of the sprawling facility, which sits on 12 acres purchased by Mondavi at the edge of the Napa River, is surprisingly sparse, angular, and industrial looking, with concrete floors and harsh stainless steel.

Visitors experience a range of activities that can fill an entire day (note: you must pay extra for some activities), ranging from tours, winetasting, and cooking demonstrations to art exhibits, live music, and movies.

The art on display at COPIA has caused some furor. Just plain weird is what some visitors are calling the exhibits, which include a pyrotechnic piece of wall art created by torching thousands of kitchen matches, and a “field” of large blocks of melting caramel undulating on spring legs.

“For nonregulars to art museums, this is something very new for them,” Krassner says. “It challenges what they think art is. Before we opened and talked about what COPIA is going to be, people didn’t get it.”

Krassner adds that while visitors are quick to understand why COPIA is showing a collection of precious ancient glassware, other exhibits are harder to appreciate. “The glass collection has to do with fine wine, so they see the connection there, but contemporary art is not so easily understandable,” Krassner says.

And then, of course, there’s the Miralda exhibit, which is causing quite a stink.

Spanish artist Antoni Miralda filled soda machines with “food-related objects,” including bedpans and defecating statuettes. These figurines, known as caganers in Miralda’s native Catalonia, are traditional additions to Christmas nativity scenes. They date back to the 18th century and symbolize fertilization and the hope for prosperity in the coming year.

Miralda’s exhibit features ceramic figurines of the pope, nuns, angels, and others with their pants down, squatting over their bowel movements. The display sparked angry denunciations from the New York-based Catholic League of Religious and Civil Rights, which blasted the pieces, calling them “insulting” and “gratuitous.”

COPIA organizers say the Miralda exhibit comes down April 22 as scheduled. “This is not the first time, nor will it be the last, that museums have had to withstand a flood of criticism regarding the nature and content of their exhibitions,” says COPIA director Peggy Loar. “Often, as in our case, this is the result of misinformation and a lack of knowledge.”

Krassner says the center received a handful of complaints in the first six weeks, but no religious complaints. “Other parts of the exhibit concerning gluttony and scarcity are much more difficult to look at,” she muses. “Art’s not all about pretty things.”

It remains to be seen how successfully COPIA can cover its $15 million-a-year operating budget, which pays for a 60-person staff. (The center also has more then 300 volunteers and docents.) Organizers say the money will be generated by entry tickets, gift shop sales, special events, and fundraising.

Krassner says plans are in place to expand the exhibition space and offer classical and acoustic performances on the Concert Terrace in the summer.

“We hope to collaborate with the Napa arts scene rather than compete,” says Krassner. “We’ve known what COPIA was going to be for several years, and it’s turned out how we planned.”

Vintage Gem

Don’t assume that the multimillion-dollar restoration of the 121-year-old performing arts space known as the Napa Valley Opera House on Main Street will create a snobbish venue for high arts, high class, and oodles of opera.

The facility will feature opera, operetta, musical theater, dance, plays, symphony music, chamber music, recitals, and poetry readings. And the theater may also become a venue for the Napa Valley Repertory Company and chamber music outfits in Napa Valley.

But in a shift from earlier plans, the opera house will also offer more popular entertainment, including folk and blues music.

Because the facility is a national historical landmark building, organizers say they will retain the name “opera house.” But they point out that in the late 1800s, any venues where you could bring ladies were called opera houses to distinguish them from those other kinds of houses.

“The name may mislead some,” admits executive director Michael Savage. “But we will be rapidly known for what we do.”

After an Internet audience survey of 40,000 homes, organizers discovered that folks wanted a “mixed bag” of programming. And that’s just what they’ll get according to Savage, who hopes the Opera House will appeal to locals, day-trippers, and out-of-state tourists alike.

One major addition to the historic space is the 200-seat Cafe Theater, an intimate and informal cabaret space downstairs. It will feature comedy shows and a wide range of music, including Latin, world, jazz, and folk. Sundays will be designated for family programming, including storytelling and other kid-friendly entertainment.

The Cafe Theater will open June 13, and the first few shows will include performances by Grammy Award-winning singer Dianne Reeves and jazz guitarist John Pizzarelli.

The 500-seat main theater, a historical space that will retain the original curved, wood facade of the balcony and the original proscenium arch over the stage, could open as soon as October. But it’s more likely to come online in January 2003, according to organizers.

The cost of the decade-long project is $13 million, and almost $10 million has been raised so far. “Things slowed down since September last year, but we have accelerated the opening of Cafe Theater to June and delayed opening the upstairs theater a bit,” says Savage. “But we’re considering negotiating a loan to open both this year.”

Most of the money raised so far has winery ties. The major donor is the Mondavi family, which has gifted $2.2 million. The main theater will be named for Margrit Biever Mondavi.

The Opera House first opened in 1880 as a second-story music center with street level shops. The last time artists performed there was in 1914. The venue was damaged by the 1906 San Francisco earthquake and further challenged by the advent of motion pictures.

The building crumbled for years. Then, in the 1970s, some farsighted locals, including former city planner John Whitridge and artist Veronica di Rosa, managed to get it listed as a historical building, saving the dilapidated but still stately facility from the wrecker’s ball. When di Rosa died in an accident in 1991, others picked up her cause.

Savage, who worked as managing director of the San Francisco Opera for six years, plans to use his extensive connections to bring in nationally known entertainers and international stars. He even envisions a small-scale summer opera festival. “But it will take time to develop,” Savage says.

Other plans call for an outdoor gathering area called the Opera House Plaza and a coffee shop called the River Room behind the building that backs Napa Creek, one of the main tributaries to the river.

“There are things going on in Napa that are quite revolutionary,” Savage says. “People used to bypass it to go to Yountville or St. Helena or Calistoga, but now it will be a main stop in the valley.”

Silver Screen

Forget Hollywood. Picture downtown Napa as the location for glitzy film premieres, complete with roped-off streets, dramatic search lights, and more movie stars than tipsy tourists lounging in the back of those shiny wine country limousines.

Sound like a fairy tale?

Not according to acclaimed movie director Francis Ford Coppola, Napa developer George Altamura, and a handful of other investors. This team of investors is currently restoring the Uptown Theater, Napa’s once neglected 1937 art deco movie house.

In six to eight months, the vintage theater will reopen in all to its former glory. Investors hope to re-create the golden days of the big screen cinema in the building, featuring some 900 new plush seats, a state-of-the-art sound system, and restored original art deco motifs.

“We discovered the original ceiling underneath, but it had been discolored by cigarette smoke so we’re in the process of restoring it exactly,” Altamura says. “It has ladies in chariots, gazelles, and people playing the lute. It’s great!”

The Uptown’s artistic director will be no less a figure than Coppola, a resident of Rutherford who owns Niebaum-Coppola Estate Winery.

“There aren’t many art deco theaters around, and Francis Ford Coppola saw the magnificent beauty of this one,” Altamura says. The famed director of The Godfather and Apocalypse Now has brought in movie designers and tech people to work on restoring the theater.

According to the investors, Coppola will also use his considerable industry connections to bring film premieres to the Uptown.

And that’s not all. Bucking a national trend that has single-screen cinemas going dark across the country, investors are converting the building back into a single-screen movie theater. The way to survive, they reason, is to supplement the films with top-notch live entertainment.

“We can’t compete with the 10- and 12-plex theaters,” Altamura avers. “We don’t care about them. We can’t compete with them, and they can’t compete with us. We’re going to have a lot of stage performances with high-profile people. We’re going to bring some of the best performers in the country to Napa.”

Then, to whet audience appetites, Altamura tosses out such names as singer Natalie Cole and the Russian Philharmonic Orchestra.

The Uptown Theater will host concerts, movies, comedy performances, lectures, and benefits. Altamura says that his personal wish is to open the Uptown with Carlos Santana performing a free outdoor concert for the local Latino population, followed by a parade and a second show in the theater.

“That’s my dream: to do something for the Hispanic community, the grape workers,” he says. “Without them, the wine country would be shot.”

Altamura, who has owned the theater for four years, is mum on the cost of the renovation project. But he has no problem discussing the positive impact he thinks it will have on the city.

In December, a public ceremony marked the replacement of the Uptown’s rusted marquee and the relighting of the new one. Altamura claims that one elderly couple, who remembered the theater in its glory days and then watched it decay, wept when they saw the lights once again.

Altamura sees a bright future for the city.

“In the next four to five years, Napa is going to be the place, because Yountville, St. Helena, and Calistoga are completely built out,” he says. “Now, with Mondavi’s COPIA and the widening of the river and the river walk, it’s not a ‘maybe.’ It’s a reality.

“They killed Napa. But now it will become a jewel.”

From the January 31-February 6, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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