New Year’s Eve Events

Brave New Year

Modest suggestions for extravagant celebrations

By Patrick Sullivan

You have a choice to make. First option: Fearing evils ranging from a terrorist attack to a pink slip at work, you could spend New Year’s Eve huddled by the hearth, mentally mired in 2001, the year that sucked. Second option: Shaking off the grim specters of misery and uncertainty, you could grab your buddies and go have some fun. Want a peek at what’s behind door number two? Thought you might. Then check out this selective guide to New Year’s Eve entertainment at venues around the North Bay.

Sonoma County

First Night Santa Rosa This alcohol-free celebration has become a family favorite in the past few years by offering everything from concerts by local punk bands to ice sculptures to dance performances. But a fundraising shortfall this year forced organizers to cut back on the range of events. Still, there’s bound to be big fun on offer. Expect plenty of music, visual art, and much more, including a hands-on art project, a labyrinth, and a sing-along concert. The fun starts at 4 p.m. in downtown Santa Rosa. Special wrist bands are $7 in advance or $10 at the gate. 707.577.6448.

Tommy Castro Band Ring in the New Year with one of the Bay Area’s favorite bluesman. JoJo Diamond and Roughcut open. The show starts at 9 p.m. at the Mystic Theater, 21 Petaluma Blvd. N., Petaluma. Tickets are $50. 707.765.6665.

Club Fab Sonoma County’s premiere gay dance club welcomes the New Year in style with a drag fashion show, DJ dancing, a performance by the Whoa Nellies, desserts and champagne, and more. The show starts at 9 p.m. at 16135 Main St., Guerneville. Tickets are $20. 707.869.5708.

Flamingo Hotel Relax at a candlelit dinner, ring in 2002 dancing in the lounge, and pull out all the stops at an elegant ballroom gala featuring dance music by Rob Watson. Dinner starts at 6 p.m., the party at 9 p.m. at 2777 Fourth St., Santa Rosa. Call for prices. 707.545.8530 or 707.523.4745

Gilbert and Sullivan à la Carte Cinnabar Opera Theater and Lamplighters Music Theatre of San Francisco present high-energy hijinks in a cabaret performance featuring actual journal entries, letters, and newspaper clippings about the famous theater personalities, interspersed with highlights from each of their 13 operettas. This event includes dinner, dessert, party favors, and champagne at midnight. The show starts at 8:30 p.m. at the Cinnabar Theater, 3333 Petaluma Blvd. N., Petaluma. Tickets are $50 for adults and $40 for kids under 18. 707.763.8920.

Midnight Sun Sonoma County’s most active reggae band breaks out new vibes for the New Year. The music starts at 9:30 p.m. at the Bear Republic Brewing Co., 345 Healdsburg Ave., Healdsburg. Tickets are $8 in advance or $10 at the door. 707.433.2337.

New Year’s Eve Fiesta Dance to the Afro-Cuban sounds of Batachá and enjoy a buffet dinner and champagne toast. The party runs from 9 p.m. to 1 a.m. at Mexico Lindo Restaurant, 9030 Graton Road, Graton. Tickets are $15 in advance or $20 at the door. 707.823.4154.

New Year’s Eve Gayla The Other Side dance club hosts an event for all members of the queer community. The party runs from 9 p.m. to 2 a.m. at the Doubletree Hotel, 1 Red Lion Drive, Rohnert Park. Tickets are $22 in advance or $25 at the door. 707.528.6011.

Pulsators Rock out at a New Year’s Eve party with great food, party favors, and a champagne toast. The party runs from 5 p.m. to 1 a.m. at the Healdsburg Bar & Grill, 245 Healdsburg Ave., Healdsburg. Tickets are $45. 707.433.3333.

Vince Welnick The keyboard player for the Tubes and the Grateful Dead joins forces with funk ‘n’ roll band Steel Bridge for a year-end rock party at the Forestville Club. Also on the bill: McIntosh and the Tool Shed Trio. The party runs from 9 p.m. to 2 a.m. at the corner of Covey Road and Highway 116 in downtown Forestville. Admission is $10 (includes champagne at midnight). 707.887.2594.

Roy Rogers and the Delta Rhythm Kings The acclaimed North Bay blues guitarist headlines this celebration, which also features door prizes and a sparkling wine toast at midnight. Dinner seating starts at 4:30 p.m. and the music begins at 10:30 p.m. at the Powerhouse Brewing Co., 268 Petaluma Ave. (Highway 116), Sebastopol. Tickets are $25 in advance. 707.829.9171.

Solid Air These local faves offer an evening of folk, ballads, and blues. The show starts at 9 p.m. at Murphy’s Irish Pub, 64 First St. E., Sonoma. Call for prices. 707.935.0660.

Wonderbread 5 Ring in the future with a blast from the past as this Jackson 5-and-beyond retro band serves up the oldies but goodies. The party starts at 9 p.m. at the Last Day Saloon, Fifth and Davis streets, Santa Rosa. $50 (includes champagne at midnight). 707.545.2343.

Marin County

Starduster Orchestra This traditional big band kicks off the New Year with swing and dance music from the ’40s and ’50s. The fun runs from 9:30 p.m. to 1:30 a.m. at Joe Lococo’s Ristorante, 300 Drakes Landing, Greenbrae. Tickets are $35-$75 (includes dinner and champagne). 415.925.0808.

Chrome Johnson Celebrate New Year’s junkabilly style when this band takes the stage at 9:30 p.m. at 19 Broadway, 19 Broadway, Fairfax. Tickets are $15. 415.459.1091.

Bud E. Luv Enjoy New Year’s with the North Bay’s favorite lounge lizard. The evening includes a five-course dinner, champagne toast, and–of course–the music. The show starts at 8:30 p.m. at Rancho Nicasio, Town Square, Nicasio. Tickets are $125. 415.662.2219.

Forever Plaid This musical theater production features a ’50s boy band reprising their greatest hits live–from the great beyond. Two shows at two prices are offered Dec. 31. The 5 p.m. show ($60) includes buffet supper, party favors, and a champagne toast. The 9 p.m. show ($75) includes hors d’oeuvres and cheese buffet, party favors, reserved tables, dessert, a champagne toast, and dancing. Larkspur Cafe Theatre, 500 Magnolia Ave., Larkspur. 415.924.6107.

Best of the SF Comedy Competition Some of the biggest names in contemporary comedy got their start in the San Francisco Comedy Competition, so it’s always a bit exciting when the contest organizers offer a “best of” event featuring talented alumni. This year’s show does not offer Robin Williams or Dana Carvey, but it does feature some funny folks, including Dan St. Paul, Jim Connolly, and Leland Cotton Brown. The show starts at 9 p.m. at the Marin Center’s Showcase Theatre, Avenue of the Flags, San Rafael. Tickets are $25. 415.472.3500.

Vinyl This Marin band blends Latin funk, acid jazz, and R&B at their traditional New Year’s Eve show. The music starts at 9:30 p.m. at Sweetwater, 153 Throckmorton Ave., Mill Valley. Call for prices. 415.388.2820.

Napa County

Masquerade Ball Costumes or masks are definitely encouraged, but they’re not mandatory at this event–tux and gown are also welcome. Enjoy hors d’oeuvres, scrumptious cuisine, and dance to live music by Jelly Roll. The fun runs from 8 p.m. to 1 a.m. at Clos Pegase Winery, 1060 Dunaweal Lane, Calistoga. Tickets are $175. 707.942.4981.

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

© Metro Publishing Inc.

Judy Holliday

Close Encounter: Peter Lawford and Judy Holliday star in ‘It Should Happen to You.’

Legally Blonde

Actress Judy Holliday had the hair–and the brains

By

There were many authentic dumb blondes in the movies, but Judy Holliday wasn’t one of them. The comedian, who can be seen in a four-film retrospective screening Dec. 21-30 at the Rafael Film Center, is possibly the brainiest of all actresses to put on the curls and negligee of the blonde clown.

The yellow hair was supposedly her own, as was the fluffy name–a translation of her birth name, Judith Tuvic (tuvic means “holiday” in Hebrew). When she died early of cancer at age 43, the New York Times pointed out that Holliday had an IQ of 172.

Holliday has a comic scene in 1950’s Born Yesterday in which her character, Billie Dawn, tries to soak up some culture by listening to symphonies. In real life, Holliday was married to the head of the classical records division at Columbia.

She began as a cabaret performer. Her partners were Betty Comden and Adolph Green, the writers who later penned the script for Singin’ in the Rain. Holliday stayed a New Yorker until the end, and she also stayed a sketch comedian.

The high, abrasive voice–the kind of squawk Lenny Bruce described as “Jewish seagull”–is much like an act that would start off on Saturday Night Live today. Holliday’s vocal control is surprising. How did she project that bicycle-horn honk every night on Broadway?

Holliday wasn’t famous just because of her pipes, though. In collaboration with writers Garson Kanin and Ruth Gordon and director George Cukor, she had opportunities for prime, almost free-associative comedy.

In a tipsy scene in It Should Happen to You (the 1954 film screens Dec. 22 and 27), Holliday’s Gladys Glover is fending off a pass from Peter Lawford. To get him talking (and to stop him nibbling her ear), she asks him if he’s lonely, living there in that bachelor apartment all by himself. Yes, he admits, lowering his eyes.

“You could get a parrot,” she suggests. “You could be talking to it, and it could be talking to you. I mean, you wouldn’t be talking to each other, but it would be talk.”

The Rafael festival also includes 1956’s The Solid Gold Cadillac (screening Dec. 23 and 28), in which Holliday plays a small-time stockholder who goes after a crooked corporation, and Adam’s Rib (a 1949 film screening Dec. 25 and 30), which casts her as a batty housewife in the midst of a battle-of-the-sexes legal comedy featuring the Hepburn/Tracy team.

But the highlight of the festival is Born Yesterday (playing Dec. 21 and 26), the story of the wising-up of a kept woman. Billie Dawn has been towed to Washington, D.C., by Harry Brock (Broderick Crawford), a vulgarian who has made a mint in the scrap business.

Billie’s lack of refinement is enough to embarrass even Brock, so he hires Paul (William Holden), a reporter, to tutor the woman.

Since they’re in D.C., Paul gives her a crash course in the history of the American Revolution. The Jefferson Memorial and the Capitol dome inspire Billie to rebel against her own tyrant.

At the end, Kanin drags in the soapbox to have Holden make some speeches about democracy triumphant–as if we hadn’t already got the picture perfectly.

Born Yesterday is A Doll’s House played for screwball comedy. No wonder Holliday skunked Bette Davis (for All About Eve) and Gloria Swanson (for Sunset Boulevard) at the Oscars that year.

The briskness and hopefulness of this classic should cheer seasoned divorcées and young riot grrrls alike–especially the moment Holliday pieces together the meaning of an Alexander Pope quote: ” ‘The proper study of mankind is man.’ That means women, too.”

“Happy Judy Hollidays” screens four Holliday films Dec. 21-30 at the Rafael Film Center, 1118 Fourth St., San Rafael. For details, call 415.454.1222.

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

© Metro Publishing Inc.

Christmas in the Dormitory of the Gods

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Hobbinobben Hall is one of a dozen small dormitories at the northeast corner of Captain Candle College. Established in 1961 in the Lower San Mortimer Mountains of Upper Southern Cupperwood, Captain Candle College (CapCandle for short) has long held an odd reputation among institutes of higher learning, in part for its curious curriculum combining the study of theology with a thorough mastery of arts and crafts.

The other cause for CapCandle’s notoriety is Hobbinobben Hall itself.

Named for the late theologian-glassblower Agnes E. Hobbinobben, the charming three-story house boasts elliptical stained-glass windows, a garden on the roof, a remarkable freestanding mahogany bookshelf built in the shape of a double helix–and a peculiar tendency to attract students who believe, or claim to believe, they are God.

Every semester since Hobbinobben first opened its big, blue doors, there has been at least one scholar living there who professes to be God or Buddha or Jesus or Mother Earth–which is why little Hobbinobben Hall has come to be known as the Dormitory of the Gods.

Which brings us to the Christmas of 1977.

Our story takes place during winter break, when the campus is closed but the dormitories remain open in case any student wishes to remain at CapCandle.

That winter six students, most of them “gods,” stayed behind at Hobbinobben Hall and, after narrowly averting a Holy War, committed an act so remarkable it has since become an annual Hobbinobben tradition.

The first of the remaining students was God, a studious, middle-aged woman majoring in comparative religions and jewelry making. Pan was a short, stocky fellow who got along as well with Buddha–a quiet, keeps-to-himself type–as he did with a certain earthy young woman known as the Venus of Villendorf. The fifth resident was a nice blue-haired boy named Krishna, who was fond of telling the tale of that other Krishna whose unfortunate death came as a result of a bad wound to the foot.

The sixth student was Tim, a talented glassblower with an easygoing disposition and a clever nature. The odd man out at Hobbinobben that Christmas, Tim was the only resident who had never once suggested that he was in any way divine.

Nor, as an avowed agnostic, would he have believed in himself if he had.

As Dec. 25 approached, the affable Hobbinobbens began discussing how to mark the upcoming holiday. “It’s a special time of year,” said God on the snowy morning of Christmas Eve, as they all shared breakfast in the study. “And we really should have a celebration.”

Pan agreed and promptly suggested a ritual bonfire in the rooftop garden. Or at least a big tree in the study. And a large turkey dinner.

“No turkeys, please,” insisted the very vegetarian Krishna, stepping around the remarkable freestanding mahogany bookshelf built in the shape of a double helix. “But I think a tree would be nice.”

It was the Venus of Villendorf who objected to chopping down trees, though she did warm to the idea of a bonfire on the roof provided that only found wood was used. She also suggested a traditional exchange of gifts.

“No gifts,” insisted Buddha. “I’m trying to rise above the seductive siren song of material possessions. But I have no problem with a bonfire on the roof.”

“A bonfire? On the roof?” exclaimed God. “What are you all trying to do, burn the place down?”

Tim, who’d been listening attentively, muttered only, “I don’t really care what we do–as long as we do it together.”

And so it began. Though still unanimously committed to some kind of ritual or celebration, the group of gods found that a thick and unsavory discord had somehow invaded the debate. Each new suggestion met with a chorus of disapproval, voiced in tones ranging from simple obstinacy to outright disdain.

“Well, this is just typical,” growled the usually composed God as a solid hour of peevish debate came to a fruitless finish. “You people never had much discipline. And no respect for authority.” God, it should be pointed out, was a senior that year. None of the other Hobbinobben students ranked higher than a junior.

“Oh, don’t start with that authority stuff,” exclaimed the Venus of Villendorf, rolling her eyes. “You just can’t admit you’re not the only one with enlightened ideas.”

“You call these enlightened ideas?” laughed an uncharacteristically rude Krishna. “None of you would know an enlightened idea if it bit you on the foot!”

Pan, thoroughly insulted, began making gross goat noises whenever anyone else tried to talk, while Buddha turned his back on the others, conspicuously posing in stiff, unyielding silence.

Things got bad before they got worse. By the end of the day, the usually broad-minded and cheerful Hobbinobbens had descended to outrageously improper forms of communication. Unable to reach any agreement about how to spend the winter holiday, they grew exponentially surlier.

And as the group’s increasingly thin facade of religious goodwill began to slough off, the beady-eyed intolerance that normally dared not step within the walls of Hobbinobben sashayed through the front door. It looked like it was preparing for a nice long stay.

Ultimately, the gods even resorted to calling each other insensitive and childish names–Venus of Villen-Doof, Buddha-ball, Tender Foot, Goat-boy. And so on.

Had Tim never spoken up, God and Buddha and Krishna and Pan and the Venus of Villendorf might have started throwing things–a dangerous development indeed when you consider the objects commonly lying around a college half devoted to arts and crafts.

But Tim did speak up. Drawing on years of religious and historical study–and countless hours of accident-packed glassblowing practice–he uttered the six most practical, most understanding, most truly god-like words the others had ever heard.

Said Tim, “Let’s just start over from scratch.”

It was midnight when the ruffled residents of Hobbinobben gathered again.

“OK. Since a Christmas tree is not unanimously acceptable,” Tim began quietly, “does anyone have any objection to decorating…this?”

He looked up at the remarkable freestanding mahogany bookshelf built in the shape of a double helix. All the gods gazed up at the remarkable freestanding mahogany bookshelf built in the shape of a double helix. There were no objections.

“Now,” Tim went on, with a certain gleam in his eye. “Are there any objections to ornaments?”

At the word “ornaments” a kind of shock shot through God, Buddha, Krishna, Pan, and the Venus of Villendorf. Faster than any one of them could say “Let there be light,” each deity conjured a vision of the remarkable freestanding mahogany bookshelf built in the shape of a double helix newly adorned with the one-of-a-kind ornaments each would craft that very night.

Agreement came quickly: The ornaments would represent all currently present residents of Hobbinobben Hall, and there would be one handcrafted wonder for each of them. Though no one had yet left the room, every god in the house was already at work, mentally designing the work of art that would represent him or her when it was hung the next morning for all to see.

Tim had anticipated this. As the gleam in his eye grew even brighter, he explained the rest of his plan. The name of every student would be written on a separate scrap of paper and dropped in a bowl. Each resident would then draw one name from the bowl, indicating the god whose ornament he or she would make.

The protests came instantly. None of the gods of Hobbinobben liked this plan.

“Fine,” said Tim. “Then what shall we do? As I said before, I don’t care what we do. As long as we do it together.”

A certain silence settled over the room, and by the time it was over, they all had looked inside themselves and observed a slightly embarrassed, thoroughly chastened deity, looking up sheepishly and begging for another chance.

Sixty seconds later saw every name being written on a scrap of paper, every scrap of paper being placed in the bowl, every student reaching into that bowl, and everyone exiting the room with a scrap of paper in his or her hand.

When Christmas morning dawned on Hobbinobben Hall, an assemblage of weary gods met once more at the remarkable freestanding mahogany bookshelf built in the shape of a double helix. Each carried a fresh creation, built with all the craft, all the wisdom, and all the renewed understanding and appreciation they could muster.

One by one, each held up an ornament.

Young Krishna, his blue hair sagging slightly, shyly displayed a stunning stained-glass Buddha, shimmering with color, about the size of whiffle ball. It was in the traditional form of the Buddha, except that Krishna, having recognized during a long night of self-reflection a bit of the Buddha in himself and a bit of himself in the Buddha, had made the Buddha ornament blue.

“I couldn’t have done better myself,” said Buddha as the work of art was hung from the remarkable freestanding mahogany bookshelf built in the shape of a double helix. Taking his turn, Buddha revealed his handcrafted representation of Pan. A gorgeous origami goat, it was made of hand-pressed green paper, and Pan nearly cried to see himself through his friend Buddha’s eyes.

Each ornament was presented in turn. Pan produced a multicolored, sand-sculpted effigy of the Venus of Villendorf with a matching anatomically correct male version, similarly proportioned. To symbolize the studious God, the Venus made a ceramic lightning bolt, decorated with pieces of God’s sophomore year essay, “The Downside of Omnipotence.”

And finally, to represent Krishna (and to make up for the insensitive Tender Foot remarks), God had fashioned an ornament resembling a pair of pure silver boots adorned with bright blue gemstones.

With all five ornaments finally revealed, those assembled suddenly realized that not only had Tim not shown any ornament, none of them had made an ornament to represent Tim.

“It seems,” he said, “that I drew my own name.”

With that, he presented his own creation, a glass-blown tube swirled into the shape of a question mark. It was done in a soft, opalescent glass that, once it too was hung from the remarkable freestanding mahogany bookshelf built in the shape of a double helix, seemed to perfectly reflect the intermingling colors of all the others.

The holidays ended, and the ornaments were all carefully stored away. But a tradition had begun at Hobbinobben Hall. From that day on, whenever students stay on campus during winter break, the original six ornaments are brought out on Christmas morning and hung up on the remarkable freestanding mahogany bookshelf built in the shape of a double helix.

Over the years, many new ornaments have been added, with more made each winter. If you visit Hobbinobben Hall on Christmas morning, you will now see an ornament to represent every god, goddess, demigod, or prophet who ever lived at Hobbinobben Hall.

You will notice, too, that every single year, someone adds another question mark.

For that’s how it’s done in the Dormitory of the Gods.

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

© Metro Publishing Inc.

Will Durst

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Comic Relief: Will Durst tries to slap that grin back on your face.

Will Power

Comic Will Durst kisses off this crappy year

W ill Durst is a man on the edge. Literally. The renowned political comedian is precariously perched on the barricaded periphery of a huge hole in the ground. Durst is in the midst of an afternoon photo shoot–using San Francisco, the city he calls home, as a background–and he’s currently posing before the gargantuan American flag that hangs from a building at the opposite end of the hole that he’s attempting not to fall into.

As a pair of hard-hatted construction workers stand warily by, a secondary stream of photographers–folks who either recognize Durst or merely want to snap a shot of a highly animated man falling into a pit–take turns coming forward to shoot their own picture.

Finally, one of the construction workers steps up to find out what’s going on.

“Who’s that?” she asks.

Hearing the name Will Durst, she says, “Yeah? Who’s Will Durst?”

He is a comedian with a considerable degree of fame, she is told, after which she eyes him with renewed admiration. “A comedian? Well good, let him come over here and tell me some jokes. Because, these days, I could use a good laugh!”

When Durst is finished, however, it’s she who makes him laugh.

“Why did they kick an old lady with knitting needles off of the airplane?” she asks. “They were afraid she’d knit an Afghan.”

Durst’s laughter is appreciative and seems genuine.

“Wow,” he tells her. “That’s a pretty good joke.”

“I do think people want to laugh,” Durst says a half-hour later over a tuna melt at the Mel’s Diner on Mission Street.

“The good thing about comedy is that, when something seems heavy or overwhelming or insurmountable–when you just don’t know if you’re going to be able to carry it–comedy puts a handle on it. It doesn’t lessen the weight or the pain of it. But it does make it easier to carry it around.”

Durst is talking about Sept. 11. That horrendous day caused an initial downturn in the comedy business, during which club owners across the country waited to see if people were still willing, or able, to laugh.

But now, comedians are returning to work–frequently to much bigger audiences.

Durst’s own style, a unique blend of potent punchlines and whimsical political fact-checking, is in high demand. He’s just returned from a week-long stint in Milwaukee and will be hitting the road again in a few days, working two more towns before returning to the Bay Area for his ninth annual Big Fat Year End Kiss Off Comedy Show.

That six-venue event, in which Durst teams up with such comedians as Johnny Steele, Steven Kravitz, and Debbi Durst, has become something of a New Year’s tradition for many, a comfortingly irreverent way to say so long to the crappiest parts of the previous year.

And 2001 has been an especially crappy year.

“Telling jokes about 2001,” Durst says, “feels a little like chewing on the carrion of the victims. But hey, my act requires that.”

Ticking them off on his fingers, Durst runs down the major plot points of 2001.

“In January,” he says, “we were dealing with the whole election fiasco, which still isn’t resolved according to some people, and then nothing happens until the Gary Condit shit hits the fan, which was really so bogus. I mean, the guy’s only serious crime is having the personality of a rusty propane tank, which only egged the media on. So we had Gary Condit, and then in September, of course, all hell breaks loose with the terrorist attacks–and that’s pretty much 2001.

“The election. Gary Condit. And 9-11. 2001 in a nutshell,” he proclaims. “Of course, what we lost in quantity and diversity we’ve made up in sheer impact, haven’t we?”

Durst, by the way, was scheduled to perform at a New Orleans comedy festival the week of the attacks, but the event was canceled after 9-11.

“That’s why I hate Osama bin Laden,” he shares. “It was a paid vacation in New Orleans–and the son of a bitch ruined it. If we don’t kill the guy, I’m planning to sue him in small claims court.”

Man of Steele: Johnny Steele joins Will Durst for a Dec. 29 comedy show at the Mystic Theatre.

It’s beginning to rain. The street is a gallery of wet American flags as Durst makes his way across the street toward the Metreon (where he plans to check out Airtight Garage, the futuristic arcade he’s heard of but never witnessed first hand). Nearly every window he passes boasts some patriotic enticement to buy something.

“I can’t believe all the people jumping on the antiterrorism bandwagon,” he says, adopting a midway barker’s tone of voice to shout, “The challenge is terrorism. The answer is a 40 percent off Patriot Sale on everything in the store!

“It’s weird,” he adds, “how patriotism and shopping now go hand in hand. ‘If you don’t go down to Nordstrom’s and buy me those shoes, the terrorists will have won!'”

Not 60 seconds after stepping inside the arcade, Durst is recognized by an employee. It’s Dale, a young guy who introduces himself as a fledgling stand-up comic.

After a few minutes of comedian insider chitchat–agents, venues, and the like–Dale offers Durst a free game of virtual bowling.

Durst accepts, saying, “Hey, I bowl. I was in a league once and everything.”

Twenty minutes later, Durst admits that virtual bowling is a lot harder than the real thing.

“I can’t move my arm,” he says, rubbing the tendons so recently committed to rolling a nonexistent bowling ball up nonexistent hills. “That was even harder than comedy!”

These days, that’s saying something.

Back outside, before taking his leave, Durst has a final thought regarding the future role of comedians in an unpredictable and fast changing world.

“This is going to be very difficult, telling jokes about this stuff that’s going on,” he says. “As we get deeper and deeper and deeper it’s going to be harder and harder and harder, because the more we learn, the less black and white it’s going to be. It was all black and white right after 9-11. Now there’re going to be shades of gray.

“And shades of gray are not as easy to laugh at.”

The Big Fat Year End Kiss Off Comedy Show, starring Will Durst, takes place on Saturday, Dec. 29, at 7:30 and again at 10 p.m. at the Mystic Theater, 23 Petaluma Blvd. N., Petaluma. Tickets are $17. For details, call 707.765.2121.

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

© Metro Publishing Inc.

Ramadan in Afghanistan

One intrepid journalist endures Ramadan fasts, strange rashes, and lots of bugs

By Ted Rall

Resplendent in his spiffy, new Northern Alliance hat and shiny Pancho Villa ammo belt and matching AK-47, the soldier tiptoed through what some guys from Badakhshan said was a minefield. Well, he had to take a leak, and what could they know of Takhar or its mines?

Safely relieved, he wanted to know my age.

“Thirty-eight. How about you?”

“How old do you think I am?”

Salt-and-pepper hair, definitively receding. Not just eye bags, but wrinkles. Subtly hard facial angles; not a gram of baby fat. I thought 42. I said 36 to be polite.

He enjoyed a hearty laugh. “I’m 18!”

Middle-aged teenagers shouldn’t come as much of a surprise in a country with an average life expectancy of 43 (considerably less for frontline troops). But when you spend just a few weeks living the same toxic lifestyle as these poor and unlucky souls, it’s amazing that they live as long as they do.

All things considered, I lived considerably better than the average resident of Taloqan, Afghanistan, where I lived for a couple of weeks. For one thing, I was willing and able to pay the extortionist rate of five bucks for the sticks you burn to boil bath water in an ancient tin stove. A hot-water hamam goes a long way toward improving your outlook after a night spent watching bombs fall far too close to your home address.

And call me a spendthrift if you want, but I always sprung for the 60-cent horse-drawn cart ride across town. Most Afghans didn’t.

Otherwise, there were few indignities or inconveniences that my Amex, Visa, or carefully concealed wad of crisp hundreds could ease, much less eradicate.

Like most Afghans, I slept on a filthy mat along one wall of a freezing cold room containing stinky said mat on top of one astonishingly dirty red carpet.

The foul stench made sleep nearly impossible; strange rashes spread among the press corps. Afghans, when asked about this, shrugged and pointed to their own scary blotches.

Though as an infidel I was technically exempt from the 5 a.m. to 6 p.m. Ramadan fast, the only way to sneak a snack without causing the highly armed locals to take offense was to stay home and pay a kid to run to the bazaar. Since I was always out and about, like other journalists I observed a de facto Ramadan fast.

Think it’s easy? Try it yourself: Move to Arizona and go all day without a sip of water; the principal difference is that Afghanistan is drier and dustier.

Don’t get the idea, though, that breaking out that dinnertime flatware after an all-day fast is a big treat. Most people here survive on a vegan-unfriendly diet of fatty kebabs and water drawn from the natural goodness of the gutter on the side of the road.

When I hungrily inquired about a few plump ducks splashing around in Taloqan’s communal bath/drinking fountain/toilet/garbage can, you would have thought I’d said only wimps like AK-47s. “Eat them? Why?” my translator spat in disgust.

“In France,” I offered, “ducks are a delicacy.”

“Not here,” he shuddered. “We need them alive.”

“If you don’t eat ducks, what good are they?”

“They keep the gutter water clean.”

What an atrociously unbalanced and unhygienic diet and American bombs don’t finish off, the triple Bs–bugs, benzene, and breathing–surely will.

For one thing, the nation’s bedding supports a thriving ecosystem of fleas, ticks, bedbugs, lice, and other assorted nasties–including everyone’s favorite bedtime companion, Mr. Scorpion. Neither warrior nor babe, not Osama himself, is safe from the contagion or the painful welts issued by the local critters.

After just one week, I counted 106 bites from Afghan bed fauna, many of them on body parts best left unblemished.

Furthermore, nights are almost always shockingly cold, and so are the days from November through May. Afghans heat their uninsulated adobe homes with Chinese-made camping lanterns fueled by eye-burning, lung-searing benzene. Every teeth-chattering minute offers you a terrible dilemma: freeze to death or poison yourself on low-grade Central Asian benzene.

Finally, there’s the dust. With a consistency like flour, it’s kicked up by anything and anyone moving across a 99 percent unpaved landscape. Consequently, everyone in Afghanistan suffers from smoker’s cough. I left Afghanistan days ago, yet I’m still ejecting prodigious balls of sandy phlegm.

Perhaps, against all odds, the world will witness the coming of a peaceful, prosperous society in Afghanistan. Maybe Afghans will routinely live well into their 50s. American civilization may bring running water, nay, even clean, fresh Evian, into every home.

But who’s going to take on the ferocious fleas I’m bringing home in my luggage?

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

© Metro Publishing Inc.

Tom Yarish

Estuary Ally

Tenacious environmentalist prepares for battle

By Tara Treasurefield

II like to work on issues that are damn tough, but winnable,” says Richard Charter, who works for Environmental Defense (formerly the Environmental Defense Fund). “Anyone can try and give up. If I’m going to take something on, we’re going to win, and Tom Yarish is the same. That’s what I like about him.”

Charter gives Yarish much of the credit for saving one of the most pristine areas in the world, which may soon be threatened again.

In 1991, the Santa Rosa City Council developed a plan to dump wastewater into Estero Americano, an estuary on the Sonoma County coast. “It’s inside the boundaries of the Gulf of the Farrallones Sanctuary, and of such global significance that it’s included in the United Nations International Biosphere Reserve,” explains Charter. “The estuary project was key to growth. It had become Santa Rosa’s magic bullet, as it would have provided alternative disposal of wastewater.”

“I spent a bunch of time in the estuaries, photographing things I’d never seen before,” says Yarish. “I had the feeling I’d discovered an incredibly special place. I realized then what an absolute abomination it would be to use these to discharge wastewater, and that it posed a real threat to the sanctity of the environment that was left there.”

To block the Estuary Project, Yarish and Charter organized an alliance of dairy farmers, landowners, and environmentalists that became known as Friends of the Esteros.

“This was a big deal,” Charter says. “We were standing in the way of the urbanization of the 101 corridor in Sonoma County, and billions of dollars worth of developers’ profits were at stake.”

At a public hearing, Yarish pointed out that the California Environmental Quality Act prohibits elected bodies from selecting projects they haven’t studied, and that the City of Santa Rosa had not adequately studied the Estuary Project. When the City Council decided to proceed, Friends of the Esteros filed a lawsuit, and in 1992, won 10 out of their 12 claims.

They also worked out an agreement with the City of Santa Rosa that protects Estero Americano, and also Estero de Antonio, until 2002.

After the agreement was reached, Yarish turned his attention to other things.

Currently, he sits on the Tomales Bay Watershed Council, the Tamales Bay Association, and the Tamales Bay Advisory Committee. He recently served as Water Quality Investigator for a project of Marin Breast Cancer Watch and the County of Marin, and is also helping to breathe new life into the College of Marin’s dying Indian Valley Campus. The Center for Ethics and Toxics, based in Gualala, has opened a branch office at Indian Valley, and Yarish is the director.

“Indian Valley tends to be more vocational than academic. CETOS is here to embellish the science program,” Yarish says. “Our vision is to enhance the public’s awareness of how the environmental toxics we confront every day impact cancer epidemics and other prevalent diseases.”

To that end, CETOS/Marin offers a monthly seminar series on topics of great interest to a community that has the highest incidence of breast cancer in the nation. In the winter session, Dr. Marc Lappé, Executive Director of CETOS, will present his “Ethics and Science” course at the Indian Valley campus on Fridays from 12 p.m. to 3 p.m.

If Yarish could have his way, he’d continue to devote the bulk of his time to CETOS/Marin. But he’s preparing for battle.

“The mindset in Sonoma County is to build and build and build, and pressure for more wastewater disposal projects seems to be on the horizon,” he says. “Friends of the Esteros doesn’t want to sue the City of Santa Rosa again. But if that’s what it takes to protect the estuaries after the agreement expires in 2002, that’s what we’ll do.”

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

© Metro Publishing Inc.

J. S. Bach

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Talking Bach

Baroque elegy is a surprise hit

By Greg Cahill

It’s understandable that Americans have sought out an elegy for solace in the post-Sept. 11 emotional turbulence. What’s intriguing is that, at a time when crossover hits are dominating the classical charts, it’s an 18th century composer who’s delivering that soothing sound to troubled 21st century audiences. What’s more, it comes in the form of a recording that is not only stunningly beautiful but also purported to be rife with hidden numerological messages about mortality.

Just call it J. S. Bach meets Dick Tracy–no decoder ring required.

The sublime Morimur (ECM New series), featuring baroque violinist Christoph Poppen and the Hilliard Ensemble, is what the New York Times has called Bach “at his most austere, at his most obsessed with death.”

The hour-long recording pairs Bach’s powerful Partita No. 2 for solo violin in D Minor (which ends with the famous Ciaconne) with chorales sung exquisitely by the minimalist Hilliard Ensemble: first the Partita, next the chorales, and then the Ciaconne with four voices singing corresponding chorale fragments superimposed over Poppen’s virtuoso solo violin playing.

In recent weeks, the CD has climbed to the top of the classical charts in much the same way as the earlier surprise hits Gorecki’s Symphony No. 3 and Chant, but without any crossover pandering or trendy packaging.

The central principle of the recording–explained in great detail in an accompanying booklet–is a controversial thesis developed by retired German violin teacher Helga Thoene, who contends that the Ciaconne was composed as a memorial to Bach’s late first wife Maria Barbara and that it is packed with hidden references to death and sorrow.

The basis for that thesis is the fact that Bach nurtured a serious numbers fetish, often encoding his own name and other information within his works through a system of gematric figures. The symbolism of the numerical patterns and the quotations in the chorale feeds Thoene’s passion.

Of course, the beauty of this seemingly far-fetched theory is that Bach’s music is a seamless fabric of undulating sensuality and rich spirituality, never calculated or contrived.

Bay Area audiences will have the opportunity to hear this intriguing treatment in concert on April 22 when Poppen and the Hilliard Ensemble perform at Grace Cathedral in San Francisco during a limited six-city tour.

Random notes: The New Century Chamber Orchestra, the Grammy-nominated San Francisco-based conductorless string ensemble, celebrates its 10th anniversary with a season packed with special programs and an unusual finale.

The 2001-2002 season kicked off last week with a program of English hymns featuring renowned tenor John Aler that included a concert at the Osher Jewish Community Center in San Rafael. On Feb. 2, the orchestra offers a special Jasha Heifitz Birthday Celebration Concert at the Palace of the Legion of Honor in San Francisco.

The NCCO concert series continues Feb. 21-24 with minimalist pianist and synthesist Terry Riley creating electronic vocalizations of several Bach works. Riley also will contribute arrangements to the NCCO’s ambitious March 21-24 program spotlighting the Beatles’ Abbey Road album. Other arrangers include Brazilian arranger Deodato (who scored the major 1972 hit with a jazz-pop version of “Theme from 2001”), violinist Andy Stein of Prairie Home Companion, viola player and educator Toby Appel of the Julliard School of Music, and possibly Terry Riley.

On May 16-19, music director emeritus Stuart Canin returns for a night of Byrd, Mendelssohn, and Schoenberg. The season concludes June 7 with a major Herbst Theatre bash at which the celebrated conductorless orchestra will be guided by the baton of celebrated conductor Sir Simon Rattle of the Berlin Philharmonic. For schedule details, check www.NCCO.org or call 415.357.1111.

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

© Metro Publishing Inc.

‘The Fellowship of the Ring’

Good ‘Lord’!

Surprise! First installment of Tolkien’s ‘Rings’ trilogy doesn’t suck

By

Filmmakers and musicians had been raiding The Lord of the Rings novels for almost 50 years. Just about everybody’s gotten into the act, from George Lucas to Led Zeppelin to J. K. Rowling. So it was hard to expect anything fresh in the long-awaited film version.

All the more reason that the high quality of The Fellowship of the Ring turns out to be the season’s greatest surprise.

The antihero of British author J. R. R. Tolkien’s famous fantasy trilogy, published in the 1950s, is a ring. Director Peter Jackson even gives the cursed piece of jewelry a point-of-view shot. In the time before recorded history, this ring was the doomsday weapon of Sauron, the Dark Lord of Mordor.

After eons, the lost ring is discovered in the least ambitious hamlet in Middle Earth, part of the property of hobbit Bilbo Baggins (Ian Holm). Gandalf the wizard (Ian McKellen) sends the powerful item away in the custody of another hobbit, a young dreamer named Frodo (Elijah Wood).

A band of men and not-men (elves, dwarves, hobbits, etc.), united by a past of mutual mistrust, meet to escort the item back to the fires of Mount Doom, where it was forged eons ago.

Jackson and writers Frances Walsh and Philippa Boyens have made the story pitch-dark, emphasizing the conflict between Gandalf and the traitorous wizard Saruman (Christopher Lee). The director’s visuals stress the book’s quality as an ecology fable. He makes Lord of the Rings pagan. This tactic may be the smartest decision Jackson has ever made as a filmmaker.

Middle Earth is being ripped apart and polluted for literal war machines; these open pits and open hearths are straight out of Bosch. The scenes here of the oaks uprooted by orcs is all the more painful for the thought of the dying oaks hereabouts.

The yet unravished New Zealand landscapes are both harsh and virginal, contrasting with the peasant backwater, the Shire, where the Hobbits live their little Renaissance Faire lives.

We also head through the muddy town of Bree, alive with ruffians and rats. Yet the elf encampment at Lothlorien is ethereal; it’s as if some architect had built a palace in a grove of sequoias without injuring or upstaging the trees. Jackson captures the unearthliness of these architects, these elves.

The Fellowship of the Ring is graced with subtle acting by Liv Tyler, Hugo Weaving, and Cate Blanchett as the nobles Arwen, Elrond, and Galadriel. In Jackson’s film, the power of good is remote and slightly disdainful; in this war between darkness and light, elves are the officers. They have their own agenda, and they’re not to be trifled with. As Nietzsche wrote, there’s a thin line between the superhuman and the inhuman.

I agreed with the dwarves: I didn’t trust those elves either.

Dull patches abound in the book The Fellowship of the Ring: the tedious travelogue, the endless verse, the unbearable hippy-dippery of the Tom Bombadil episode (all three deleted from Jackson’s movie).

Still, Tolkien was probably at his worst in depicting the elf queen Galadriel, a Virgin Mary figure in the book. There’s no Catholic as fulsome as an English Catholic. In her small but pungent role, Cate Blanchett snaps that stuff shut. In some instances, her Galadriel is a bit of a bitch–cold and powerful–and her elfin superiority leaves her open for a nasty shock from the power of the ring.

The rest of the acting is just as canny. Elijah Woods’ sweet-faced Frodo and Sean Astin’s Sam are like rambunctious, cuddly children, but they are never on camera long enough to become pests. Viggo Mortensen’s Strider, a grubby ranger with a secret identity, is charismatic in the best 1960s manner; with his beard and attractive sullenness, he’s a ringer for Jim Morrison of the Doors.

At times during Jackson’s first installment, I’d wondered if it had touched me because I’d thought Tolkien’s writing was beautiful back when I was a child. Certainly Ian McKellen’s reading of the words that begin “One ring to rule them all” was as tenderizing as hearing a favorite bedtime story for the first time in years.

But what kept me watching wasn’t nostalgia. McKellen has brought shadings to Gandalf’s righteousness with his weaknesses, his grubbiness, his bluff. And thanks to Ian Holm’s performance, you find yourself wrung out by the plight of Bilbo Baggins, snared first in ring neurosis, then in the grip of age.

As he did in his earlier film, Heavenly Creatures, director Jackson suggests that there’s always more to a battle of good and evil than meets the eye.

Damn it! A whole year until the next episode.

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

© Metro Publishing Inc.

Sonoma County Living Wage Coalition

Dead Wage

Is the living wage movement dead on arrival?

By Patrick Sullivan

They mobilized the troops. They packed the Santa Rosa City Council chamber with more than 100 sign-carrying supporters. And they negotiated frantically behind the scenes.

But despite the Sonoma County Living Wage Coalition’s impressive show of force, a living wage proposal was dead on arrival at last week’s Santa Rosa City Council meeting.

Led by Mayor Mike Martini, the council voted 4-3 against a motion by council member Noreen Evans to create a task force to study the proposal, which was brought to the council by the 40-member coalition.

Council member Sharon Wright cast the deciding vote against the task force proposal. “I think saying, ‘Go and study this and come back’ would be disingenuous on my part, because I just don’t think this is the role of local government,” Wright said.

The vote throws a big roadblock in the path of the living wage campaign, an ambitious effort that’s been two years in the making. But it also leaves coalition members pledging to continue the fight.

“I think it’s likely that we’ll be back sooner rather than later,” says Living Wage Coalition member Marty Bennett, a history instructor at Santa Rosa Junior College. “It’s just a question of when. This issue is not going to go away for the city of Santa Rosa.”

But Bennett and his allies, who also hope to bring a similar proposal before the Petaluma City Council, may have a tough fight ahead.

Council members who voted against forming a task force expressed some pragmatic reasons for their vote: Wright said she feared that the ordinance, which would mandate a wage of at least $15 an hour for most city workers and employees of firms that contract with the city, could result in fewer competitive bids on city projects and have an adverse impact on small businesses.

But many also express more fundamental criticisms of the concept. “I just don’t agree with the process, that we set the wages,” said council member Jane Bender.

To explain their vote, Bender and her colleagues also cited a list of 67 legal and practical questions posed by city staff about the ordinance. “I think it falls back on the shoulders of the coalition to answer these questions,” said Mayor Martini.

But Bennett doesn’t agree, noting that the wording of the coalition’s proposal is taken from living wage ordinance already in place in cities like San Jose. Some 70 municipalities across the country have adopted some form of living wage.

“Questions can be raised about any piece of legislation,” Bennett says. “But when the language you’re using has already been implemented elsewhere, one would think there was at least a solid foundation for going ahead with a task force.”

Bennett also argues that empirical evidence from other cities shows that council members’ fears are ill-founded: “There isn’t evidence elsewhere that small businesses suffer,” Bennett says.

The coalition meets next week to consider its plan of action, which may include a living wage ballot initiative. And Bennett says he’ll certainly be talking to Mayor Martini, who recently announced plans to run against U.S. Representative Lynn Woolsey in the upcoming Democratic primary.

“We had extensive discussions with him before [last week’s] meeting, and I really thought he was going to allow us to go forward,” Bennett says. “It could appear to many that he opposes a living wage by not even being supportive of a task force.”

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

© Metro Publishing Inc.

‘Ocean’s Eleven’

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Splitting Hairs: Is George Clooney wigging out in ‘Ocean’s Eleven’?

Rug Burn

Bud E. Luv takes on the secret world of hair in ‘Ocean’s Eleven’

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation.

“So what was with George Clooney’s rug?” The closing credits for Ocean’s Eleven are migrating tenuously up the screen, and throughout the room, small pockets of critical murmuring are breaking out. Like ugly rumors. Or hives.

While the invitation-only crowd, made up mainly of movie critics and other pop-culture opinion makers, are hotly debating the merits of the movie (a pumped-up remake of the 1960 Rat Pack vehicle, this time with Brad Pitt, Matt Damon, Julia Roberts, and George Clooney) a well-groomed guy in the middle of the room clears his throat and states again, “I’m serious. What was with that rug?”

The hubbub recedes. All eyes are now on Bud E. Luv.

“Trust me, I know a rug when I see one, and the guy was ruggin’ it,” Luv gleefully insists. “He wore at least three, maybe four different toupees in this movie. Expensive toupees, I’ll give you that. Real quality rugs. I’d guess at least a million dollars of this movie’s budget was up on Clooney’s head.

And that’s when we leave.

“Hey, I’m not saying the guy’s bald or anything,” Luv tells me as we exit the building in search of some supper. “I’m just saying he was wearing a rug.”

Bud E. Luv is an enigma, a lounge-singing spoof artist whose own overachieving, all-natural hairstyle is a follicular legend stretching from Las Vegas to his unofficial second home in San Francisco. The Budster’s big-band-backed stage shows–and his numerous CDs–are tongue-in-cheek homages to the great Vegas lounge singers, such as the original Ocean’s Eleven stars, Frank Sinatra, Dean Martin, and Sammy Davis, Jr. In 1993, Luv wrote You Oughta Be Me: How to Be a Lounge Singer and Live Like One (St. Martin’s Press).

In other words, Bud E. Luv is the walking, talking embodiment of everything that the original Ocean’s Eleven stood for, which more than entitles him to say this about the remake: “It didn’t swing. It hip-hopped a little. But it just didn’t swing. You gotta understand. In 1960, the Rat Pack was it. They ruled the Hollywood scene. Frank, Dean, and Sammy were the Beatles of their day. And Ocean’s Eleven was the Rat Pack’s equivalent to A Hard Day’s Night.

“Yet another movie,” I point out, “that spawned a lot of talk about hair.”

“True,” Luv agrees, hopping a tangent to discuss the secret lounge-singer code names for the hairstyles seen in the movie.

“The Caesar is the poor guy who doesn’t have much hair in the front, but has enough in the back to pull forward into wispy little bangs,” Luv explains. “Hail Caesar! Elliott Gould had that going in the movie. Even Brad Pitt was going for a kind of a Caesar–sort of a crewcut Caesar–though he has a great head of hair, that guy. I don’t think we saw a scramble. A scramble, of course, is the Zero Mostel look, growing the hair 10 or 12 inches on the side of the head and then combing it straight across.”

“Isn’t that a comb over?” I interject.

“You can call it a comb over,” allows Luv. “But we Vegas guys call it a scramble, though the classic scramble is when you grow it about 16 inches, and then you whip it around in a swirl on the top of your head and then lock it down with hair spray.”

“Is there a name for my hairstyle?” I suddenly want to know.

He levels his gaze at my gleaming scalp, conspicuously crowned with close-cropped hair specifically designed not to look like I’m hiding something.

“Oh, yeah, there’s a name for that hairstyle,” he replies. “It’s called Proud to Be. You’re just proud to be. And, I can respect that, ’cause hey, unlike certain movie stars we could mention, at least you’re not wearing a rug.”

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

© Metro Publishing Inc.

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