Isadora Duncan Dance Awards

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Local motion: Sebastopol resident Virginia Matthews rides herd on the controversial selection process for the Isadora Duncan Dance Awards.

Tizzy over Izzies

Awards honor dizzying array of dance talent–but judging dance is controversial

By Marina Wolf

SAD BUT TRUE: no one will ever wage a lengthy court battle over illegal distribution of choreography on the Internet. But many dancers long for some kind of public recognition. For them, and for Bay Area dance fans, the Isadora Duncan Dance Awards were born.

The Izzies, as they are affectionately abbreviated, were founded in 1985 by Dance Bay Area, the earliest of the region’s service organizations for dancers. The awards quickly became an essential part of the Bay Area’s celebration of National Dance Week; this year they take place April 23.

Schedule Info: The North Bay celebrates National Dance Week.

Then, as now, one of the primary functions of the Izzies was to address what local dancers saw as a serious lack of attention on the part of the critics.

“I have to contrast it to the theater community in San Francisco, where the critics themselves give awards and constantly talk about the local scene,” says Virginia Matthews, a Sebastopol resident who is chair of this year’s awards committee. “There would be years when our dance critics, maybe one or two of the articles out of the whole year, would be local. Instead they did interviews with Merce Cunningham or talked about Alvin Ailey, really concentrating on dance from out of town.”

Wayne Hazzard, director of the Cowell Theater in San Francisco, remembers the charged atmosphere surrounding those first awards. “There was a lot of excitement about the idea of acknowledging the breadth and depth of talent that’s really always been here, in an art that doesn’t get a lot of recognition,” says Hazzard, a modern dancer who headed up the service organization Dancers’ Group until last year.

“Probably all artists feel that way,” he continues. “But dancers in particular feel ignored. People wanted a sense of validation and a way to acknowledge local dancers doing truly amazing work.”

Finding that amazing work is no easy task. Over 200 dance companies call the Bay Area home, and the Izzy award committee must see as many as possible in action. Over the course of a year, the 15 to 20 committee members, themselves active dance professionals, see at least 20 live performances. Works under consideration range from classic Balanchine ballets to the most unscripted improv event. Virtually anything goes, as long as it’s performed by Bay Area dancers.

In September the committee begins reviewing videos and discussing the field of contenders, eventually arriving at a list of four to six nominees in each of seven categories. But how the awards should be decided is controversial–even within the awards committee itself.

“We’re still looking at how divisive it might feel to have nominations,” says Matthews, adding that she sees many dancers listing their Izzy nominations in program notes and grant applications.

“Do people feel bad that they don’t win?” she wonders. “We don’t want anybody to feel bad. This is supposed to feel good.”

Some committee members have suggested adding categories and spreading the awards around. Others, including East Bay dance writer Paul Parish, have argued for weakening the importance of categories, or eliminating them all together. “If people are hanging from bridges, and it’s great, then they should be awarded, rather than chopping things up into categories, and if it doesn’t fit, they don’t get considered,” Parish says.

SO HOW should one assess the artistic merit of people hanging from bridges? “In their own terms,” Parish says firmly. “What is this a metaphor for? How effectively is that metaphor conveyed? Because different people can hang from a bridge in very different ways.”

Hanging from a bridge is an extreme example of a dance performance, and one that only Volkswagen Beetles are doing these days. But it’s a good metaphor to underscore how wide a spectrum of dance genres lies before the judges.

The list of this year’s nominees is–to say the least–eclectic. The individual category pits Uli Schmitz, a member of the small but rising East Bay Axis Dance Company, against Julie Diana and her performance in San Francisco Ballet’s Romeo and Juliet. In the company performance category, Axis Dance again appears, next to the Diablo Ballet and a Sudanese dance program of Harsanari.

Parish doesn’t find the apples-and-oranges nature of the nominations to be a problem. “If a thing is delicious, the fact that it’s an apple or orange is secondary,” he says. “You have a bad apple at the market? Go home with oranges this week.”

But others remain skeptical. “It’s sending mixed messages,” Hazzard says. “‘We want to honor you, but we’re judging you. You’ve done good work, but really not as good as the work of the person we’re giving the award to.

“I’ll still go this year,” Hazzard hurries to add. “I still think it’s a great thing. But I really believe that without challenging itself to change, the Izzies will continue to be controversial. That’s the nature of doing awards.”

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Open Mic

Open Mic

Free Verse

By J. David Hester Amador

IT HAPPENS to me every month. At a gathering of poets and writers the same experience takes hold of me: There is something sublime suffused throughout this county, a divine force that takes hold of certain people, overwhelms them, breaks open something deep within them that must come out.

The Muse is alive and well in this county.

Ancient texts report a somatic effect that poetry had: the very bodies of ancient audiences were affected, leaving them literally dazed, awestruck, amazed by the brute force of poetry. She was a force so powerful that philosophers beginning with Plato sought to forbid Her presence in their utopias.

In fact, at the very heart of the Western metaphysical divide between sense and reason, body and mind, is a reaction by ancient philosophers to forbid the Muse any legitimacy at all: Her words were “manipulative,” her poems were “manufactured,” (poieisis, which gave us our word for “poem,” is the Greek word for “product,” “something crafted”).

Poetry was termed a “contrivance,” a pejorative term that still resonates in our modern use of the word fiction.

Interesting how long we have suffered from this belief and how little attitudes have changed over time. Here and there we see resistance: Sophists taught us to value probabilities over certainties, mystics gave voice to Her divinity, Romantics helped us to appreciate Her sublime power, the Beatniks howled Her name.

But still, this deep suspicion haunts our culture. Materiality, the philosophical and scientific search for universals, empiricism, and positivism: all feed our belief that if only our rational mind could control and eliminate all the messiness of our words, everything would be all right. And as long as metaphor, irony, ambiguity, and possibility exist, as long as poetry and fiction and art are allowed to thrive, our world will never be set right.

I think the philosophers were right. There is something to be terrified of when you read a poem. But they were completely wrong about the object of that terror.

When we come together, I listen to an old women spin her limericks, a young man slam out his rhythmic chants, a child share her fears, an adult woman weave her tales of love and loss.

And I think, Yes, you logicians, scientists, positivists: Beware. Because it is not “fiction” that poetry creates, but a Truth far beyond your meager ability to comprehend.

Like people.


David Amador is the founder of the (not just) Poetry Slam, which goes down the second Monday of every month at Actors Theatre in Santa Rosa.



From the April 12-18, 2001 issue of the Northern California Bohemian.

© Maintained by .


National Dance Week

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Movement pioneer Anna Halprin.

Schedule Info

National Dance Week

By Marina Wolf

The North Bay is ready for more dance. We’ve certainly got the room for it, which is one of the reasons why there aren’t more North Bay names in the Izzy nominations: we don’t yet have the cultural density to bring critics north of the Golden Gate Bridge. But there are still lots of ways to celebrate National Dance Week, which kicks off at noon on April 20 with an open-air extravaganza at the Yerba Buena Gardens in San Francisco. There you can pick up a complete schedule of open studios, rehearsals, discussions, and performances around the bay–(almost) all free and open to the public. Here are some highlights and local events:

Chitresh Das Dance Company

Master artist Chitresh Das teaches the basic sound and movement vocabulary of North India’s Kathak dance. April 20 at 6:30. Dance with Sherry Studio, 4140 Redwood Hwy., San Rafael. 415/499-1601. . . . Das performs traditional solo works, accompanied by renowned tabla player Pandit Swapan Chaudhuri. April 21 at 8. Marin Center, Showcase Theater, Avenue of the Flags, San Rafael. $25/general, $22/seniors and students. 415/472-3500.

The Izzies

No red carpet or Joan Rivers here, just a big ol’ party with Isadora Duncan Dance Awards, honoring excellence in Bay Area dance. April 23 at 6. Performing Arts Library and Museum, Green Room, War Memorial Building, 401 Van Ness Ave., fourth Floor (at Grove and McAllister streets), San Francisco. Free. 415/399-1809, ext. 303.

Roco Dance & Fitness

This popular Marin County dance studio opens its doors for a day of different dance styles. April 23: at 10:10 a.m., Afro-Brazilian dance with Anna Gottreich; at 4:30 p.m., modern dance with owner Annie Rosenthal; at 6 p.m., ballet with Gabrielle Thompson; and also at 6 (in an adjacent studio), hip-hop with Eric Fenn. 237 Shoreline Hwy., Mill Valley. 415/388-6786.

Deborah Slater Dance Theater

They’re based out of San Francisco, but Slater is from Marin. Show your North Bay support at the preview of the company’s May season, “The Sleepwatchers.” April 28 at 1. Studio 210, 3435 Cesar Chavez (at Valencia), San Francisco. 415/267-7687.

Planetary Dance

Movement pioneer Anna Halprin (pictured above) leads this annual circle dance and ritual for healing, community, and celebration of life. April 29. Come at sunrise (that’s around 6 a.m.) for a peak experience (literally!) at the top of Mt. Tam, or sleep in and join the Earth Run at Santos Meadow at 11 a.m. (dress in white or black). Potluck follows, so bring some to share. Take Stinson Beach exit off of Highway 101, turn left at Tam Junction and follow Highway 1 north towards Muir Beach. Turn right onto Muir Woods Road north of Pelican Inn. Santos Meadow is 1/2 mile east, on the left. 415/461-5362.

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Robert Hass

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Intimate Art

Robert Hass celebrates the quiet joys of poetry

“POETRY . . . is . . . an . . . intimate art.” Robert Hass speaks softly and slowly this afternoon, choosing each word as carefully as if he were selecting an expensive bottle of wine. Or a diamond. Or a new puppy. He’s answering a question about the intense passion poetry fans often reveal when talking about the art form.

“Poetry’s basic material,” Hass says, “is the voice in which we talk to ourselves in our heads. Against all the noise and fury and pressures and deadening routines of external reality, poetry functions as that still, small voice of what it would feel like, were it not buried under the circumstances of our lives, to be our true and authentic selves.”

Stop. Read that quote again. If you can do so without being thrown out of the coffee-house, try reading it out loud.

There now. You have to agree that poets–even when engaged in routine conversation, even when giving yet another interview–do have a way of making their words sing.

Hass especially.

One of America’s best living poets, Hass is also one of poetry’s most eloquent and energetic spokespersons, a prolific, award-winning poet who has found time to be a syndicated columnist, a college professor, and the U.S. poet laureate, serving in that post from 1995 to 1997.

On April 20, Hass will be joined by Irish poet Seamus Heaney and acclaimed Mill Valley poet Jane Hirshfield onstage in San Rafael to breathe music into the work of yet another master, Polish-born Nobel laureate Czeslaw Milosz.

Concluding the Marin Center’s 2001 Literary Arts Series, the event was originally to have featured Milosz himself in conversation with Heaney, who won the Nobel Prize for Literature in 1995 and scored a place on the bestseller list with his recent translation of Beowulf.

But the 90-year-old Milosz announced that ill health would prevent him from traveling from his home in Kraków.

So Hass–Milosz’s longtime friend, translator, and sometime collaborator–agreed to step in.

Hass, who lives in Berkeley but has a house in Inverness where he often comes to write, is looking forward to the event.

He and Heaney are also old friends, having bonded back in 1971 when the two young poets met while teaching at UC Berkeley. Since then, they’ve each achieved a remarkable degree of fame for their work, with translations of other poets’ writings ranking high among their achievements.

“I think the event will be wonderful,” Hass says, “because Seamus always has such witty things to say. I remember him saying once that the basic relation of a poet to his translation is like the relation of the Vikings to Ireland. Some of the time it’s a colony, and some of the time it’s a raid.

“I think he was saying that, as poets who also translate other people’s work, we’ll occasionally do a translation that turns out to be, well, a lot like a raiding party. But other times–as with his Beowulf or my work with Milosz–you kind of settle in and colonize the subject for a while.”

Since poetry is so intimate an art form to begin with, the act of translation must only intensify that intimacy.

“It’s true,” Hass agrees. “Having been given the chance to work with Milosz, studying this huge body of poetry, in detail, over many years time, I’m sure the experience has changed me. It’s soaked into me and colored my way of seeing things. It’s a very intimate thing.”

THE SPECIAL intimacy of poetry and the written word is a subject Hass has thought a great deal about. In his research, he’s traced the emotional soul of the art form all the way to its roots.

“Poetry . . . was first an oral art form . . . that at one point began to be written down,” Hass elaborates. “In its written form, it participates in a particular kind of intimacy that wasn’t brought into the world until the arrival of silent reading.”

Silent reading, Hass says, changed everything.

“I was reading St. Augustine’s confessions not long ago,” he says, “and there’s a part where he comes across Ambrose–who was, I think, the Bishop of Milan–and when Augustine goes in to visit him, Ambrose is sitting there bent over a book, reading silently.

“And Augustine is just astonished, because he’s never seen anyone do silent reading before,” Hass continues. “It sort of gives him the creeps. But it’s also a revelation to Augustine: you can read without speaking the words out loud.”

To Hass’ delight, poetry over the last two decades has made a sharp U-turn. A growing audience shows up for poetry slams and poetry readings, yanking the art form back off the page and pushing it onto the stage.

But who, exactly, turns out for these readings?

“There is, in this country, a small class of technocrats, like George W. Bush, who never read anything except one-page summaries of things, mainly for business purposes,” Hass says.

“Then there are the 30 percent of Americans who never read anything,” he says, “because they’re too busy trying to get their car started or dealing with whatever is coming down the pike.

“In between,” he continues, “is that middle group that sometimes reads books and has ideas and thinks about their life, and some of them come to poetry readings.”

While the intimacy of the work is significantly lessened by the egoism and onstage theatrics of performance poetry, Hass still sees it as a positive shift.

“In oral presentations, you can convey anger, comedy, impatience, a whole range of rhythms that you can’t really intone in a written work,” he explains. “Written-down poetry can do accents but it can’t do pitch. It can’t tell you which words are meant to be spit out, which ones to be hissed.”

What is emerging, Hass says, is a new hybrid, a fusing of written poetry’s intimacy and oral poetry’s energy.

“Whenever genres start to collapse and get blurred,” he says, softly and slowly, “it becomes . . . really interesting.

“I suspect that something quite wonderful is going to come out of this.”

Robert Hass, Seamus Heaney, and Jane Hirshfield take the stage on Friday, April 20, at 8 p.m. at the Marin Center, Avenue of the Flags, San Rafael. Tickets are $18 and $26. For details, call 415/472-3500.

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

‘Someone Like You’

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Someone Like You.

Full of Bull

Livestock doc examines cow theory of ‘Someone Like You’

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

COW THEORY. Perhaps you’ve heard of it. First proposed by Laura Zigman in her comic novel Animal Husbandry, Cow Theory has just gone Hollywood–and is suddenly on the lips of moviegoers across the country. A lot of those lips are laughing. Some are bellowing in protest. But Dr. Jeff Pelton is laughing, because he knows a thing or two about cows.

In Someone Like You, the film version of Zigman’s book, Ashley Judd plays a jilted woman who authors a magazine column in which the no-good, cheatin’ nature of all men is compared to the sexual behavior of bulls.

All this is based on the shocking scientific discovery that a bull will never mate with the same cow twice. Which is bull. But I’ll get to that.

Once copulated with, goes the theory, a New Cow becomes an Old Cow, and a bull would rather end up on a bun at McDonald’s than touch her again. In the movie, scientists slather an old cow with the scent of a new cow, but the bull won’t buy it. He knows where he’s been, and he ain’t going back. That’s why men have trouble with commitment, why men cheat, why men are scumbags. Because sooner or later, a man wants a new cow.

Now, I’m not here to defend men. I mean, who could? Anyway, the ones getting the bad rap in this movie are the bulls.

“I’ve never heard of anything that would support Cow Theory,” says Pelton, an amiable Northern California veterinarian who specializes in large-animal medicine and has seen plenty of horny bovines in action. “A bull,” he insists, “will jump on the same cow multiple times.”

AFTER GOING over a few sexual terms–estrus refers to a female in heat–Pelton quotes from one of his textbooks: “Bulls may serve an estrus female a number of times (1 to 10 or more) depending on his sex-drive, the stimulus pressure, and the female–who often terminates sexual contact at some point with evasive tactics.”

Hmmm. Sounds right. Pelton adds that some bulls will service a single female up to three times in a half hour. “Same bull, same cow. Boom, boom, boom,” he remarks. Now wait a minute. Three times in 30 minutes? Hell, based on the lag time the average human male needs between procreative episodes, it sounds like most guys could take a few pointers from the bulls of the world.

It gets better. “If you throw a bull into a pen with a number of cows in heat–and we’ve never been able to come up with a better ‘heat detector’ than a bull: it’s like freaking radar–a bull will go to the cow that is in the best heat,” Pelton explains.

“If you want to get even more psychological,” he adds, “it’s been shown that if you put two bulls in one pen with a lot of cows in estrus, the breeding goes up. There’s a competition. It’s always a good idea to put two bulls in the pen, because they kind of get jacked up seeing each other breed.”

I’m sure there’s a human parallel to that phenomenon, but who wants to go there?

“I heard another theory once, from a woman who was studying psychology,” Pelton says. “She said that women actually gravitate toward different kinds of men at different times during the month.

“When they’re getting ready to ovulate, they have a tendency toward being drawn to guys who are just, you know, out cruising the bars. But during the off periods, when their hormones are quiet, they are generally drawn to men who are more stable.

“I don’t know if that’s true or not,” the doctor says, laughing. “That’s just something I picked up in a bar.”

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Spins

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Great Scott

Two new discs spotlight jazz singer

By Greg Cahill

IS THIS A CASE of hackers run wild? The All Music Guide, one of the Internet’s most authoritative musical sites, describes a close encounter between jazz balladeer Jimmy Scott and the Beatles. The Web page–replete with a photo of the diminutive Scott cradling a hefty old chrome microphone–claims that during the early ’60s, and before his supposed death in 1986, Scott met a young songwriter named Paul McCartney, inspiring a tune with a favorite expression of Scott’s, ob-la-di ob-la-da. According to the website, in an effort to avoid an alleged plagiarism suit, McCartney later paid off Scott’s alimony bills and bailed the diminutive musician out of jail. But not before Scott had gone on to record the conga intro to the Rolling Stones’ “Sympathy for the Devil.”

It’s a grand tale–none of which is true, at least not the part about meeting the grim Reaper. You see, the announcement of Scott’s death was premature.

The 75-year-old Scott–who launched his career 50 years ago as a singer with Lionel Hampton’s celebrated swing band–is alive and well, working on an autobiography (set for release next year) that should help set the record straight. He can be heard on a gorgeous newly recorded CD, Over the Rainbow (Milestone), and his classic 1969 Atlantic Records album, The Source (Label M), has just been released for the first time on CD.

Indeed, there is a flurry of activity around Scott: In the past couple of years, he has toured Japan and Europe extensively, been saluted by the likes of Ray Charles and Lou Reed in a Bravo Profiles cable TV showcase, and worked as a fashion model in an Italian advertising campaign.

There is no question that Scott possesses one of the most beautiful voices in the jazz world–that is reaffirmed over and again on the lush ballads featured on Over the Rainbow–or that he has enjoyed a most unusual career. One of 10 siblings, all of whom sang at their mother’s church, Scott (like one of his brothers) never experienced puberty, the result of Kallman’s syndrome, a hereditary hormonal disorder that stunted his growth and prevented his voice from developing beyond boyhood. That left Scott with an angelic, feminized voice. While the condition is now reversible (his brother underwent hormonal therapy), Scott chose not to risk losing his distinctive style. “I fought through it,” Scott has said of his condition. “It didn’t matter. I was accepted in show business back in the early ’40s. That helped a lot, and it never bothered me like it might some others.”

His big break came in 1949, when Lionel Hampton hired him, billing the then 24-year-old singer as “Little Jimmy Scott.” The labels of some Decca sides mistakenly credited Scott’s vocals to Irma Curry, Hampton’s female vocalist at the time.

Scott scored a No. 6 hit with “Everybody’s Somebody’s Fool.” But despite some success as a Savoy records artist, Scott spent time away from the microphone, working as a hotel shipping clerk and a caretaker.

In the late ’80s, Village Music record store owner John Goddard tracked Scott down and hired him to perform at a private party–a move that helped persuade Scott to return to performing. His career took off again in 1990 when record industry bigwig Seymour Stein heard Scott singing at songwriter Doc Pomus’ funeral. Stein signed Scott to a high-profile Warner Bros. record deal. Three albums followed–one on Sire, one on Warner Bros., and a third on the smaller Artists Only! label.

Over the Rainbow includes some of Scott’s finest work.

“In the fragility of his voice,” biographer David Ritz opines in his liner notes, “there is enormous strength. His songs say that we can live with our inconsistencies; we can be fools but still survive; we can still hope for those pennies from heaven.

“We look to him for lessons in how to live out lives with patience, dignity, and a sense of wondrous beauty.”

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

The Wide Eyed Gourmet

Finding ties in the taste of another culture

By Marina Wolf

WHEN I LEFT my family’s church, I wasn’t really leaving much in the way of holiday food traditions. It was a fairly standard Protestant-based religion, and festive days such as Easter were observed simply, with understated prayers and overcooked meats. A few years later I met my soon-to-be life partner, a Russian-American with a sternly Orthodox father. Amazingly, her family took me to church once or twice, and it was there that I found a whole new way of celebrating the season: chanting, incense, drinking, and paskha.

Paskha is the name for Orthodox Easter, which falls two weeks after the Christian holiday. Paskha is also the sweet, creamy, cheesy spread that Orthodox Russians whip up to help break Lent. Now, people generally understand Lent to be a ritual of great self-sacrifice–my girlfriend remembers giving up TV for Lent one year–but it doesn’t have to be. There is no Lenten prohibition against caviar, for example, or smoked salmon. Still, every ritual calls for release, and paskha is perfectly suited for the purpose.

The only way to get more release from eating paskha is to have other people eat it off you. My apologies for the sacrilege, but it’s that good.

THE ONLY THING keeping me from eating paskha every week is the fact that paskha-making is a monumental production. The amounts of butter, eggs, cream, sugar, and farmer cheese are staggering, both in cost and in quantity. Even for the smallest amount I have a recipe for, at least a dozen egg yolks must be separated–fie upon thee, salmonella, we defy thee!–or else the eggs must be cooked and the whites peeled away. The farmer cheese must be drained for a day, a process that takes up half the shelves in the refrigerator. The last time we made it, we could barely find a bowl big enough to hold everything. And of course, combining everything to that perfect degree of smoothness requires an industrial-sized mixer or Popeye’s right arm.

In short, it is a project not for the faint of heart or weak of arteries.

I haven’t even gotten to kulich, the bread that carries this spread. Kulich is a sort of panettone, made with still more eggs and butter, golden raisins, and a generous pinch of saffron, all of which gives the dough a warm golden color. As beautiful as the bread is, the baking of it is a beast. You have to find, clean, and grease tall cylindrical pans (we used coffee tins, which are conveniently dented at intervals for slicing guides, but are almost as hard to find these days as paskha molds).

ALL DRAFTS must be kept out of the kitchen, along with anything else–a game of basketball, a dropped baby–that might make the tender dough fall during baking. If the tall loaves don’t fall, they will inevitably emerge slightly burnt from the heat off the top element. No matter: the burnt parts are easily cut off, and the rest sliced away into rounds like Boston brown bread, and then slathered with paskha. Now this is an Easter tradition to get into. No clove-studded ham; no overboiled, green-yolked eggs; no simple cinnamon rolls on Sunday morning. This is hard, sweaty work, redeemed by a mouthful of tender, sweet goodness.

I never converted to Orthodoxy, in case you’re wondering, and actually my girlfriend stopped being Orthodox sometime during college. Her father died three years ago, and we haven’t made paskha since. So why should I even be thinking about paskha? It’s mine only tenuously, owing to a strange combination of interest and proximity.

Yet I still feel the strange tug as spring arrives. I wonder about where to get the cheese, and try to remember where we put the paskha mold. Is it time? Are we there yet? Yes.

Paskha

The following paskha recipe is slightly adapted from the parish cookbook of St. Mary’s Orthodox Church in Santa Rosa.

2 1/2 lbs. sweet butter (unsalted) 5 1/2 cups sugar 5 lbs. farmer cheese 12 hard-boiled egg yolks (run through a sieve) Pulp of 2 vanilla beans 1 quart whipping cream Nuts, candied cherries , or dried fruit

Set aside 1/2 cup sugar and cream remaining sugar with butter. Add cheese and egg yolks. Process vanilla pulp in blender with 1/2 cup of sugar, add to rest of ingredients, and mix well. Whip cream and fold into all other ingredients. Pack mixture into new flowerpot with drainage holes, lined with cheesecloth, and put in refrigerator for 2 days to drain. Unmold onto pretty plate and garnish with nuts, candied cherries, or dried fruit. (Warning: This recipe makes a lot of paskha.)

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Live Theater in Downtown Santa Rosa

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Downtown bound? Sonoma County Rep’s Jim dePriest hopes to bring live theater back to central Santa Rosa.

Downtown Drama

Theater groups vie to create new performing arts space in downtown Santa Rosa

By Paula Harris

ONE BY ONE, central Santa Rosa’s live theaters are going dark. By the end of April, the so-called cultural hub of Sonoma County could be devoid of any regular live theater performances downtown.

But like all good dramas, there’s more than a little intrigue at work. Amid a swirl of rumors, at least two groups of local arts organizations are formulating ambitious plans to create new downtown Santa Rosa performing arts venues. One plan could put live theater on stage in the building that now houses the United Artists 6 movie theater.

First the closings. This weekend, Santa Rosa Players will stage its final show at the Lincoln Arts Center, which was the theater company’s home for many years until the building was recently purchased and donated to a local nonprofit organization that works with at-risk children.

Trey McAlister, the Players’ board president, says the group is considering relocating to the Merlo Theater at the Luther Burbank Center for the Arts, or to an undisclosed Highway 12 location en route to Sonoma.

Also this week comes the announcement that the Studio Be theater company has lost its lease on the building it was renting near Railroad Square. Associate artistic director Robert Pickett says the company must be out by the end of the month and is in dire need of a new home.

The theater-closing trend began at the end of last year with the closure of 10-year-old Sonoma County Repertory Theatre’s Humboldt Street location after the building was converted to office space. The theater company has had to consolidate resources into its other venue, the smaller Main Street Theatre in Sebastopol.

But one group of collaborators is working quickly on plans to bring live theater back downtown. Santa Rosa-based movie house mogul Dan Tocchini, who owns the Roxy Theatre megaplex downtown and Airport Cinemas in north Santa Rosa, last week confirmed that he is attempting to buy the UA6 Cinemas building on Third Street, with plans to create a combination movie art house and live theater venue.

“The negotiations are finished,” Tocchini says. “There’s been a proposal on our part, and we have a verbal commitment from one person in the company, and now it has to go through the board of directors. They’re drawing up the paperwork.”

Further information on the deal is sketchy. “It’s difficult. We’re dealing with a big corporation in bankruptcy,” Tocchini says, referring to United Artists’ current economic struggle.

“The chances are we’ll use [the venue] for theatrical and nontheatrical purposes,” Tocchini confirms. He adds that he has talked with Actors Theatre creative director Argo Thompson about potential collaboration on the project.

Since Tocchini wouldn’t need all six screens–he’ll just use four to show art films–Thompson says Actors Theatre (currently housed at the Luther Burbank Center) could create two stages at the site. “We could have a 300-seat theater and a flexible black box,” Thompson explains.

Michelle Gervais, executive director of the CityVision downtown revitalization program, is enthusiastic about the plan. “If a venue could be half live performances and half movies that would be fantastic, because then you’d have a very healthy mix of diet,” Gervais says.

Meanwhile, Thompson says that Actors Theater must move soon on its expansion plans. “We have to take that step now,” he says. “We don’t have enough room for the audiences we’re getting.”

But downtown may not be the only option. Thompson says such a location has both pluses and minuses. “Being at the heart of a vital cultural life is ideal, and also being within walking distance to shops and restaurants is conducive to the marriage of art and commerce that needs to take place,” he says.

On the negative side, Thompson says, downtown Santa Rosa is still dead. “A lot of people pay lip service to the idea that it’s being revitalized, but it’s still dead,” he argues. “I was born and raised in Santa Rosa, so I can badmouth it.” Another potential problem is lack of parking, he says.

Thompson adds that possibilities for Actors Theater include converting an existing space in the LBC, building a new facility on the LBC grounds, or moving into the UA6 or UA5 building on Mendocino Avenue.

At press time, it was unclear whether Tocchini is also negotiating to purchase the UA5 building. Representatives of United Artists Theatre Circuit Inc., headquartered in Englewood, Colo., declined to comment on any current negotiations.

Another set of allies has its eyes set on the UA5 building on Mendocino Avenue, also with the idea of creating a multi-use arts venue. According to Sonoma County Repertory’s Jim dePriest, the Sonoma County Museum, Sonoma County Repertory Theatre, and Santa Rosa Symphony are planning to collaborate on a downtown space that will accommodate all their needs. The UA5 building would fit the bill.

The Sonoma County Museum made its ambitions clear in its December 2000 Envisioning Report. In that document, the museum’s board of trustees discusses establishing a facility called CenterSpace, a multi-use cultural arts campus for the museum.

“Contributions of other disciplines (such as music, performing arts, contemporary art, etc.) to CenterSpace Cycles will be supplied by local cultural arts groups already specializing in those disciplines and partnered with the museum,” notes the 95-page report.

“A collaboration seems to be the best way to work,” dePriest says. “Downtown Santa Rosa is a tough place to run a business.”

DePriest adds that Sonoma County Rep’s minimum space requirement for a downtown venue is 12,000 square feet–room for a 250-seat theater, a classroom for youth programs, shops, and storage.

“I’ve looked at the ground plan for the UA on Mendocino Avenue, and it has 20,000 square feet,” dePriest says. “It’s a very large facility. The CenterSpace idea could happen there because it could accommodate the needs of the museum, the theater, and the symphony. It could all work very well.”

Santa Rosa Symphony executive director Joan Lounsbery confirms that the symphony is interested in moving its offices to downtown Santa Rosa when the symphony’s lease at the Luther Burbank Center expires in 2003 and performances move to the Green Music Center on the Sonoma State University campus.

“We want to have a presence downtown and believe cultural life will thrive downtown,” Lounsbery says. “We’re looking for 5,000 square feet [for office space and box office], but we feel we have a couple of years to find something.”

While Sonoma County Museum board president Kevin Konicek declines to comment on plans to purchase the UA5 Cinemas, he does point out that various groups have agreed to work together on an experimental basis for an upcoming exhibit focusing on work by the artist Christo.

The September exhibit will involve music by the symphony and participation by various art galleries in the county, plus a stage production of Art by Sonoma County Rep. It will be curated by Gay Shelton of the Sonoma Museum of Visual Art.

“There’s a swirl involving the museum, the repertory theater, the symphony, and SMOVA that involves downtown activities,” Konicek notes.

Of course, several theater companies could collaborate and all operate from the same venue. AT’s Thompson says such a collaboration could be in the cards. But Sonoma County Rep’s dePriest hasn’t heard of any such plans. CityVision’s Gervais thinks cooperation would be a great idea.

“Collaboration is especially important when it comes to the arts because the project will have to be as financially solvent as possible,” Gervais says. “Because I don’t think there will be terrific support or funds available from the city.”

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Pairs Restaurant

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Craig’s wine list: Pairs owner Craig Schauffel savors a sample from the restaurant’s extensive selection of wines.

Feng Shui Kitchen

Pairs reopens in Napa with Zen-like style

By Paula Harris

THE SLENDER sticks of incense burning in the bathroom are an immediate tip-off. The spot Pairs’ restaurant owners, Keith and Craig Schauffel, have chosen for their newly expanded eatery may have once been a Denny’s greasy spoon, but the location now is all pure and peaceful feng shui grace.

The brothers recently revamped and relocated their former restaurant, Pairs Parkside Cafe, from St. Helena’s main street to this expanded home on Solano Avenue in downtown Napa. The entire look, like the food, is elegant Asian-fusion.

Apart from the chic bathroom–worth a trip in itself just to meditate amid the dark walls, stainless-steel sinks, oversize mirrors, and aforementioned sticks of incense burning in a sand-filled platter–there are other signs of Zen-like style. Note the tranquil Oriental water garden screened by bamboo as you enter the restaurant. And the dining-room dividers fashioned from rows of silver birch tree saplings. Or the curvaceous bar made from stacked dark polished river rocks, where loose-faced patrons are sipping sake-based cocktails like Killer Cosmo (sake, cranberry juice, and orange juice) or Kitty’s Milk (sake, coconut milk, and pink lemonade) in relaxed abandon.

Pairs boasts three dining rooms; one with a fireplace and circular paper lanterns dancing above a wooden-trellis false ceiling; another, a dusky and romantic eating area near the bar; and a private room tucked away behind a sliding wooden shoji screen. The walls are decorated with kimono-quilt artwork.

The tables are set with candles, white paper, and squared-off oval plates set with folded napkins with a pair of wooden chopsticks slipped inside. And the competent staff slink around in navy blue tunics with mandarin collars.

Dinner begins with complimentary and completely addictive housemade grilled garlic focaccia. These warm chewy triangles just three bites big have a tasty batter flavor like pancakes, and are wonderful dipped into the accompanying piquant sugar, white wine vinegar, and chili dipping sauce. Unable to stop ourselves, we allow the server to bring us two more basketfuls.

The vegetarian spring rolls ($5) come with another chili pepper-based dipping sauce and are crisp, hot, and crammed with shredded veggies like carrot, bok choy, and bamboo shoots. These babies are served on a bed of refreshing fresh cilantro.

If you’re a bivalve buff, don’t miss the wonderful roasted mussels in a tomato coconut broth ($12). The small sweet mussels are fanned around a pile of cilantro lime fettuccine, and the broth is both tart and creamy, flavored with delicate coconut and flecked with tomato and garlic. An excellent appetizer or light main course.

The entrées include exotic fare, such as grilled tilapia with tropical fruit salsa and sweet crab jasmine rice ($18), or more mainstream dishes like golden garlic grilled ribeye steak with fluffy mashed potatoes ($22).

One quibble is the total lack of vegetarian main dishes. Noncarnivores can either opt for a grilled vegetable and smoked mozzarella sandwich ($8.50), or else order a couple of vegetarian side dishes.

These are hit and miss. A side of Parmesan herb fries ($4) consists of passable shoestrings served with a container of tomato ketchup; but a side of gingered sweet-potato risotto with shiitaki mushrooms ($6.50) fights bitterly with the accompanying pickled ginger; whereas a side of garlicky broccolini with oyster sauce ($5) is super-fresh, completely garlic-infused, and delicious.

The restaurant’s signature tamarind tangerine rack of lamb with sweet potato risotto ($23) features three perfect lamb chops, but the risotto’s pickle-like flavor (from the tamarind) is odd, and the thick coins of sweet potato are too undercooked to enjoy.

The wine list is varied and international, with some excellent selections offered by the glass. If you can’t decide, let the well-informed staff come up with some inspired wine and food pairings–the place is after all called Pairs with this in mind.

As for desserts, we find the mandarin chocolate macadamia nut torte ($7), a cake sandwich wedged with mandarin flavor, to be a bit heavy-handed. But the banana tarte Tatin with candied walnut ice cream ($7) is a delightful orgy of warm banana, toffee, ice cream, and sweet cookie.

As we leave, the incense is still smoldering in the bathroom, but the dining room’s ambiance of peaceful elegance is rudely disrupted by a large raucous party that has invaded the private dining area and is beginning to make dinner hellish for the poor souls seated at nearby tables. A few diners ask to be moved away from the shrieking emanating from behind the wooden screen.

Hmm, a little Zen-like sound proofing may be in order, but even so, this new Pairs is an enlightening culinary experience.

Pairs Address: 4175 Solano Ave., Napa; 707/224-8464. Hours: 11:30 a.m. to 9:30 p.m. daily Food: California-Asian Service: Good, knowledgeable Ambiance: Zen-like elegance Price: Expensive Wine list: Expansive, including international selections Overall: 3 stars (out of 4)

From the April 12-18, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

North Bay Water Resources

A moment of reflection: Marin County environmentalist Huey Johnson says the Sonoma County Water Agency “has run roughshod over honesty and logic.”

Ripple Effect

Welcome to the byzantine world of North Bay water politics

By Janet Wells

‘Whiskey’s for drinking, water’s for fighting.’

–Attributed to Mark Twain

IN SONOMA COUNTY, the deeply entrenched political battles are not really about grapes or redwoods, clogged highways or even sprawl. It’s about water and how Sonoma County has, time and again, put up its dukes, battling litigation, environmentalists, and public scrutiny in order to maintain a stranglehold on the lifeblood resource that sustains the county’s burgeoning growth.

For 50 years, the Sonoma County Water Agency has, according to former Petaluma City Councilman-turned-water activist David Keller, relentlessly pursued its mission “to get access to, get control of, and use as much water as possible.”

Keller was part of a bare majority of the Petaluma City Council last year that, for a short time, rebuked the water agency’s Goliath-like push to expand its water system. That action was overturned earlier this year by the council’s newly elected, less-than-environmentally friendly majority.

What gets Keller–the affable hazel-eyed toolmaker and self-described “moderate from Bolinas”–talking a mile a minute for hours on end is that the $180 million pipeline project at the heart of last year’s confrontation between Petaluma and the SCWA was just one of four major and diverse expansion schemes simmering away on the agency’s burners.

If successful, the projects would be a windfall in the form of billions of gallons of water annually to meet–and critics say encourage–residential, industrial, and agricultural growth in Sonoma and Marin counties. The projects would also have a combined price tag in the hundreds of millions and could have dire consequences for already compromised watershed habitat in Northern California.

Keller–along with a bevy of high-profile environmentalists, legislators, and water resource experts–says the agency has been forging ahead with its plans in a bureaucratic vacuum, with little input from the folks who will end up footing the bills through increased water rates.

“[Water agency officials] seem to be pretty unavailable for public scrutiny in terms of some of their proposals and their plans and where they are going to be spending their money,” agrees Assemblywoman Virginia Strom-Martin, D-Duncans Mills, who has introduced legislation designed to strip the Sonoma County Board of Supervisors of its authority to regulate water issues, as well as force the water agency to drop its drawbridge and invite the public in for a look.

Keller bluntly characterizes water agency tactics as “dishonest,” “disrespectful,” “secretive,” and “childish.” “How we manage our water is really a touchstone for what happens to Sonoma County,” he fumes during lunch at a Petaluma cafe. “I really resent being treated like mushrooms.”

Does he mean being kept in the dark by the water agency? “Yes,” he replies. “And being fed shit.”

Coveting Your Neighbor’s Water

Unlike many regions of arid California–Los Angeles being the prime example–Sonoma County has a source of high-quality water in its backyard. With almost 1,500 square miles of watershed and more than 80 tributaries, the Russian River’s clear, naturally gravel-filtered water flows 84 miles from its headwaters in southern Mendocino County, feeding Sonoma County’s fertile agricultural lands and shady redwood-studded coastline on the way to its ocean outlet at Jenner.

It didn’t take a crystal ball for Sonoma County forefathers to see that the Russian River–with its summer flow down to a trickle in drier years–wouldn’t have ample capacity for the future. And a readily available source of water is key for population growth and agricultural and industrial expansion, which add up to increased revenues and healthy municipal coffers. So, in the hallowed tradition of California’s legendary water wars, the county started stealing its water from somewhere else, dipping its massive bureaucratic bucket into the Eel River in Mendocino County and pouring it into the Russian River in order to quench the thirst of 600,000 residential and commercial water users in Sonoma and Marin counties.

Of course, “stealing” is a relative term under California’s water laws. Known as “appropriative rights,” the law essentially grants water rights to the first person or agency to divert water and use it–which Sonoma County did, way back in 1908, when PG&E started diverting Eel River water into the Russian River to fuel the Potter Valley hydroelectric plant.

The headwaters of the Eel River spill out of a volcanic cauldron surrounded by 7,000-foot-high snow-capped mountains in the southern part of Mendocino National Forest. The river’s main stem and three forks rank as the state’s third largest watershed, covering almost 3,700 square miles as the river winds north for more than 200 miles before draining to the ocean south of Eureka.

To tap this treasure, the SCWA (then the Flood Control and Water Conservation District) was established in 1949 under the Sonoma County Water Act. One of the agency’s first actions was to apply for construction of the Coyote Valley Dam to form Lake Mendocino, mostly with water from the Eel River diversion.

In the byzantine world of water law, the Eel’s value lay not in its abundant water, but in its capacity to provide electricity. Once the diverted water rocketed through the Potter Valley Project’s turbines and out the two-mile-long diversion tunnel, PG&E considered it useless, technically “abandoned.”

Sonoma County was only too happy to adopt the water, scoring–for free–50 to 70 percent of the diverted water to sell to cities and water districts in Sonoma and Marin counties. By doing so, the water agency and the ratepayers have–perhaps unwittingly at first–supported the degradation of 80 miles of the Eel’s once-thriving salmon and trout habitat, since the Potter Valley Project siphons up to 97 percent of the Eel River’s main-stem flow for energy production, diverting some 58 billion gallons of water annually.

Sonoma County also helped deep-six a crucial revenue source for Humboldt County, according to an ongoing lawsuit filed by Friends of the Eel River. “While Sonoma County’s economic fortunes have risen steadily on a wave of urban growth subsidized by vast quantities of cheap water diverted from the Eel River without compensation to that watershed’s inhabitants, Humboldt County’s reliance upon a once-thriving commercial and sport fishery has collapsed,” causing a loss to that county of over $10 million annually, according to the 1999 suit, which was filed in Sonoma County Superior Court against the water agency and PG&E.

Pipeline Expansion: Petaluma City Council vs. Sonoma County Water Agency.

Eel River Diversions: The SCWA maneuvers to control the Potter Valley Project and protect the diversions that bolster Russian River supplies.

Wastewater Distribution: Is the SCWA seeking to control west county sanitation districts?

Water Treatment Plant: The water agency studies the option of building a $500 million surface water-filtration system on the Russian River.

Use It or Lose It

The SCWA doesn’t unilaterally steamroll the environment or the needs of other counties in seeking to expand its water clout. Several agency programs focus on restoration and conservation. Indeed, a block-lettered sign in front of the agency’s modern glass and concrete headquarters on West College Avenue in Santa Rosa notes that the lawn is made verdant by reclaimed water.

Agency researchers and biologists try to give fish a break from the relentless march of urban growth, through state and federally mandated habitat restoration programs. There are staff hydrogeologists who agree that conservation and recycling can be far more effective and cost-efficient than engineering new water sources.

Nevertheless, the agency’s direction over the years has remained fixated on water as an asset to consume and sell. It’s easy to see why: Another quirky facet of water law, which states, in essence, “Use it or lose it,” is a compelling policy motivator.

“There’s a danger to having unappropriated water,” says Sonoma County Supervisor Mike Reilly, who, like his colleagues, is with a quick change of hats also a member of the SCWA board of directors.

“I don’t pretend to be an expert in California water law, but if you have a reserve of water that you don’t have a reasonable projection that you will use within your region, then external regions will come in and take it.”

Translation? Danged if the county–primed for considerable growth–is going to let anyone else have the water. And no doubt, there are those salivating over the Eel River’s development potential. After all, in the 1930s, Los Angeles interloped hundreds of miles north into the Owens River Valley, pretty much sucking it dry. And, 30 years ago, when a dam was proposed–although never built–on the Eel River’s middle fork near Covelo, Los Angeles again galloped north and bought up land there in search of water.

In establishing a firm grip on its water rights, the SCWA has spearheaded several massive public works projects, resulting in two dams and two reservoirs–Lake Mendocino and Lake Sonoma–that hold more than 400,000 acre feet of water (about 130 billion gallons) and sport 79 miles of underground pipeline.

The Coyote Dam, along with transmission pipelines to cities in Sonoma and Marin counties, was financed by a 1955 bond issue for about $14 million. By 1995, payments on the debt totaled almost $25 million, according to a lengthy paper on the water agency written by local environmentalist Krista Rector for the Sonoma County Conservation Center.

Warm Springs Dam–which forms Lake Mendocino–was so controversial that construction was delayed for more than 20 years by litigation, protests, and failed ballot measures. The project was completed at a cost of $360 million. The agency’s debt service will reach more than $6 million a year by 2007, according to Rector’s research, and the debt is scheduled to be retired in 2035.

Interestingly, in 1961–the year before the Warm Springs Dam project was approved by Congress–the water agency’s board won the right to authorize revenue bonds in any amount without a vote of the people, giving the agency an avenue for financing projects without having to kowtow to public approval.

The water agency has continued over the years to march to the same drumbeat of build and expand–and is now in the midst of an ambitious burst of activity, striving to maintain Eel River diversions, as well as expand the agency’s supply and transmission capabilities.

“The water agency here is still gripped by old thinking–control the Russian River, continue to take water out of the rivers because the population is growing,” says Keller, who would like to see far more money and time put into conservation and recycling. “Institutionally, that’s where these guys are. They are a dinosaur as a public agency and as an engineering agency. Their mission needs to shift, and that’s where the crunching of gears is. These guys feel very threatened.”

Keller says his numerous attempts to obtain public documents and information on water agency plans, proposals, operations, and finances have been thwarted repeatedly.

To the fish advocates, the county residents, even the elected officials who have asked questions and raised concerns, the water agency’s attitude has been, says Keller, “Stop bugging us. Do you get your water? Do we take away your wastewater? Then what’s the problem?”

Mum’s the Word

The agency’s honchos do seem unenthusiastic about public scrutiny. There are glossy brochures, with nice maps, photos, and historical information. But there’s minimal information about the agency on the Web, and public information officer Ellen Dowling refers all policy questions to the agency’s director, Randy Poole.

Poole refuses to talk. After terse “no comments” in response to questions about Strom-Martin’s proposed legislation, he says bluntly, “That’s it. I’ve heard the questions”–he actually has heard only two–“I think most of them are for the Board of Supervisors. I’m not going to make any comment on any of it.”

He also declines to discuss the agency and its plans via fax or e-mail, forwarding a list of questions to the Board of Supervisors, who also do not respond.

The water agency–with a staff of 225 and expenditures estimated at $138 million this fiscal year–has fulfilled part of its mission statement, to provide “a safe, reliable supply for growing cities, towns, and agriculture.”

Critics charge, however, that rather than simply meeting the delivery demands of its contractors, the SCWA has actively expedited the consumption and sale of water–making money and stimulating development at the expense of the watershed’s health. Strom-Martin tried to initiate an audit of the water agency’s books last year after the Press Democrat revealed that the agency had spent more than $1 million on lobbying efforts to receive federal funds for fish restoration. Strom-Martin, whose sprawling first Assembly District extends along the North Coast through Mendocino and Humboldt counties, says the agency failed to provide her with a strict accounting of how the funds were used. The morning of the Joint Audit Committee vote none of the committee senators showed up, says Strom-Martin.

“I suspect somebody made a phone call. . . . I did have their votes previously. I personally lobbied,” she says. “This is the Sonoma County Board of Supervisors, who don’t want to give up their power.”

Backed by constituents who say, “Thank God someone is taking on the water agency,” Strom-Martin is trying a different tack this year with her legislation to strip the Board of Supervisors of double duty as water regulators.

The water agency’s board structure is a “huge conflict,” agrees Marin Municipal Water District board member Jared Huffman, whose five-member board is elected. “I have the luxury in Marin of focusing on resource management and water supply without the pressures of being a planning agency,” he says. “You cannot just take off one hat and put on the other and do justice to both.”

Sonoma County Supervisor Reilly defended the board’s water regulatory powers as having logistical benefits, with a “value to being able to coordinate water activities and county public works activities.”

Although Strom-Martin’s proposed legislation has not garnered support from other North Coast legislators–and the Santa Rosa City Council and the city’s Board of Public Utilities both lambasted it as costly and bureaucratic–about 95 percent of the public water districts in California have separately elected boards, Strom-Martin says.

“It’s clear in my mind that this is about good governance and accountability,” she says.

Meanwhile, support for that position is growing. In his recent San Francisco Chronicle opinion piece, Huey D. Johnson, former secretary of the state’s Resources Agency under the Brown administration and now president of the Resource Renewal Institute in San Francisco, went even further: “The Sonoma County Board of Supervisors and their general manager have run roughshod over honesty and logic, and now it is time for a change. It is time to form a separate regional water agency for Sonoma County and time to fire the general manager.”

From the April 5-11, 2001 issue of the Northern California Bohemian.

© Metro Publishing Inc.

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