Dean and DeLuca

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Lap of Luxury

Gourmet Groceries–Satisfying Our Urge to Splurge

By Marina Wolf

PEOPLE who hate grocery shopping should live in my head for a week. They’d soon realize that food can be window-shopped as much as cars or jewelry. Even in the most ordinary supermarket, I can find some obscure jar of goods on the top shelf to pick up and examine (the smaller and quirkier the jar, the better). Every few months I visit a local deli to stare through a yellowing fiberglass case at an ancient bottle of balsamic vinegar. On my first trip to New York, I visited the original Dean and DeLuca store in Manhattan–the ultimate upscale market/deli–like a pilgrim to a shrine. My camera lay forgotten against my breathless chest the whole time. My money lasted through six chocolate truffles and a bag of French sea salt, which could have been purchased through the web site or at a Dean and DeLuca store in St. Helena that’s about 3,000 miles closer to home. But, no. I wanted to stand physically in the presence of this food, this greatness.

One doesn’t analyze a religious experience, not in the heat of it. But as I left the store, I couldn’t help noticing the other tourists clutching Dean and DeLuca bags, relics of our devotion. In the days that followed, I wondered about the attraction that drew us through the myriad lures of the Big Apple, to pay $28 for six truffles and the privilege of wandering around this high-priced market for a couple of hours.

What is it, I wondered, that makes expensive food that interesting?

What are we paying for?

Well, status, for starters. Cultural or financial, take your pick. Even this humble writer gets an occasional thrill out of having some little spice or tidbit that my foodie friends haven’t heard of. People do this to show off money, too. There are those who simply like to put on a show. One luxury-food writer speaks of caviar thusly: “The most elegant and generous way [emphasis added] to serve caviar is on small, perfectly trimmed pieces of properly toasted bread. The dollop of caviar should never be skimpy.”

Don’t scrimp, in other words. Load it on.

Such generosity implies that cost is no object–this stuff does, after all, retail for $125 per two-ounce jar. But if you have to show that cost is no object, that reveals that cost is, in fact, the object.

In expensive foods, too, there is usually some suggestion of travel, of exploration of faraway corners of the earth. Once, high-priced luxury foods more accurately reflected the realities of long-distance shipping, whether by train, ship, or camel. With FedEx, the Internet, and phone ordering, distance doesn’t cost nearly as much as it used to. But a high price is still a precious reminder of how far this food traveled to land on our plates.

For others, the distance is not as important as the starting point. There is a price for homesickness, and people craving the foods of home are usually willing to pay through the nose. I once paid the equivalent of two weeks’ salary for a bag of marshmallows in Russia. I didn’t miss them until I saw the package, and then longing overwhelmed all common sense (we made s’mores over the stovetop).

WE PAY, TOO, for a more collective nostalgia, for a taste of making or harvesting or foraging, for a lifestyle that we as a society may have only the faintest, secondhand memory of. Sometimes we have endangered the food supply ourselves, as in the case of lobsters, which once were disdained along the East Coast for being so common. Sometimes the urban, modern way of life is the culprit. We are several generations removed from knowing how to make food items, like bread, jam, or sweet butter, that now command high prices for their creators.

Mushrooms are like this, too.

So many ethnic groups have mushroom-hunting traditions, and finding mushrooms doesn’t take any extreme skill, just some guidance and time. But wild mushrooms on the market are some of the most expensive items in the produce section ($35-$50 for fresh porcini). Don’t even think of asking the produce person for a sample.

Time, yes, that is also part of the high price of luxury food. Our time is so valuable, but look at what we pay for other people’s. We are paying for a taste of their time, because a lot of expensive food has simply been around for a while. A country ham in the Southern United States can hang around in a woodshed for 10 or 11 months (prices run from $50 on up, and you have to pick it up yourself).

The really good English cheddar and Italian Reggiano-Parmigiano cheeses might sit on a shelf for two years or more, and then they sell for at least $25 per pound.

The funny thing about luxury food is that somewhere, most likely at its point of origin, it is really cheap. In the South, that country ham, which has been lauded in gourmet magazines as America’s prosciutto, gets fried up for breakfast with red-eye gravy at home.

Saffron retails for $5 to $10 per gram, making it the most expensive food item in the world, ounce for ounce. Where it is grown in Morocco, the locals stuff their teapots with it to flavor their tea.

I try not to think about this truism too much. It only makes me envious of the people who live in caviar country. But that’s what luxury food is all about: wanting to be somewhere else, if only to eat.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Water Street Bistro

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Photograph by Michael Amsler

Culinary Chameleon

Former Babette’s chef shines at her own Water Street Bistro in Petaluma

By Paula Harris

STEPHANIE Rastetter stands on the restaurant’s outdoor patio squinting her eyes against the morning sunlight and sweeps her dark hair back with one hand as she surveys the murky Petaluma River flowing beyond. Water Street Bistro is her place.

At age 36, dressed in casual baggy denim overalls and chunky black lace-up shoes, Rastetter looks more like a carefree college student playing hooky from psych class than a celebrated master chef and new restaurant owner.

Who would guess that this warm, chatty young woman used to be one of two chefs at Babette’s restaurant, a Sonoma County icon that consistently turned out some of the most innovative, expensive, and lauded cuisine in the Bay Area?

For five years, the upscale French restaurant, concealed down an alley off Sonoma Plaza, was the county’s answer to Yountville’s French Laundry and San Francisco’s Fleur de Lys. Its five-course, prix-fixe haute cuisine dinners became legendary among bon vivants and celebrants alike.

And Rastetter, as sous-chef, co-created the dishes.

These days she prepares homey soups and quiches and serves up breakfast and lunch (and soon dinner will be included) in her unpretentious, cheery new space. The menu boasts homemade waffles, sandwiches, and salads–and almost everything costs less than $6.75.

“It’s so casual here–it’s like night and day from Babette’s,” she muses. “For me diversity is what’s really fun. I loved cooking at Babette’s, but I also like cooking other things, too, things more soul food­oriented or more rustic in their nature.

“This place gives me the opportunity to do that.”

The bistro, tucked behind Petaluma Boulevard North, has a comfortable blend of mottled ochre and cobalt-blue walls, faux-leopard banquettes, oversized plants, and mirrors. Soothing jazz vocals and French torch songs ooze from the sound system. An old heavy golden curtain from Babette’s is draped casually over a drinks cooler. Outdoor dining on the small patio by the river completes the laid-back picture.

Despite the difference between the two restaurants, the commitment to serious, well-thought-out food prepared with local ingredients remains the same.

“I like to offer people something a little more challenging in the food department than they’re used to, but in a really comfortable environment, so that people can get a little more adventurous,” explains Rastetter.

Check out her pickled black-eyed peas, warm turkey and ham muffaletto, crab chowder, or chicken hazelnut terrine and you’ll see that Rastetter’s downhome comfort food has a certain global sophistication. This is the place to go if you fancy a glass of rosé with your classic BLT.

A GRADUATE of the City College Hotel and Restaurant program in San Francisco, Rastetter has had an 18-year cooking career, including San Francisco stints at the prestigious Campton Place with Bradley Ogden and at Regina’s with Regina Charboneau. When Charboneau opened a second Regina’s in the Sonoma Hotel several years ago, Rastetter followed. That’s where she met future Babette’s owners Daniel Patterson and Elizabeth Ramsey.

Rastetter began cooking at Babette’s on the day the restaurant opened in 1994. She stayed there until the eatery closed last June. She veered from her kitchen duties only in the final eight months to manage Babette’s more casual wine bar cafe, in order to spend more time with her two small children.

During Babette’s rule, the food world heaped accolades on Chef Patterson while Rastetter toiled in obscurity. In 1996, Food and Wine Magazine named Patterson one of “the 12 best new chefs in America.”

Meanwhile, Rastetter worked quietly, creating half of all the courses served in the brocade-and-velvet dining room each week–a huge accomplishment with little recognition. But Rastetter insists she was content to stay in the background.

“Babette’s was always billed as this husband-and-wife team, with Elizabeth in the front and Daniel in the back, so maybe it just made more sense to keep it that way,” Rastetter explains.

“But just knowing that I did a lot of the cooking and that people were liking it was satisfaction enough.”

These days, as chef and restaurant owner, Rastetter is able to blend her culinary expertise and considerable people skills, urging her guests (read: patrons) to share food and conversation. “I love to encourage people to be a little more communal with their eating,” she says.

“You can try more, experience more, and you’re not committed to the same flavors for the entire meal.”

In June, Water Street Bistro will open for dinner with table service (right now orders are taken at the counter). Rastetter promises light fare that will allow people to “graze” their way through dinner.

“I envision items like a grilled fish with a vegetable ragoût in a little broth and green olive oil, or a warm entrée salad like duck confit with frisée, or roasted fingerlings and roasted onions,” she adds.

“I also see tapas here at night, some sangría–maybe we’ll bring in a flamenco guitarist.”

But what Rastetter visualizes most is the birth of a new community gathering place, with this small bistro’s slight echoes of a stripped-down Babette’s and its welcoming ambiance. “It’s not just dinner, it’s a chance to reach out and interact with other people besides just the people you go to dinner with,” Rastetter explains with a smile.

“It’s interesting, because by some gift of God or whoever, this space seems to make people do that.”

Water Street Bistro (which actually faces Water Street) is located at 100 Petaluma Blvd. N., Suite 106 (at Western Avenue), Petaluma. Open Monday to Friday, 7:30 a.m. to 5 p.m.; Saturday,7:30 a.m. to 4 p.m.; and Sunday, 8:30 a.m. to 2:30 p.m. In June, the restaurant will open for dinner Friday and Saturday, from 5 p.m. to 8:30 p.m. 763-9563.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

2000 Pacific Rim International Wine Competition

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Class Act

Local vintage named Best of Class at Pacific Rim competition

By Bob Johnson

SHOPPING for wine is confusing. Depending on where one shops, the choices can range in number from a few dozen to several hundred. Factor in wine specialty stores–of which there is no shortage in Sonoma County–and the number multiplies. Then consider bottlings made in such minute quantities that they’re allocated only to selected retailers, and the entire vino-seeking experience becomes mind-numbing.

And we haven’t even mentioned the strides made by wineries in marketing.

The labels that adorn wine bottles no longer are intended merely to inform; their purpose is to catch the eye of the consumer and project an image.

So how does one separate the wheat from the chaff? Or, in winespeak, how does one separate the delicious from the dregs?

One way is to put your trust in the gold-, silver- and bronze-medal ranking system employed by various wine competitions around the country. The annual competition that has risen head and shoulders above all others in recent years is staged in San Bernardino County, on the National Orange Show grounds. The 2000 Pacific Rim International Wine Competition took place during the week leading up to tax day and once again was administered by veteran wine educator Dr. James Crum.

In the Pacific Rim competition, a bronze medal is given to a wine “that has good varietal character, and has quality and style–a wine that is well made.” A silver medal is given to a wine “showing beautiful balance and varietal character–a wine that is extremely well crafted.” And a gold medal is reserved for a wine “exhibiting perfect varietal character, balance and structure, and containing exceptional qualities and complexities.”

As Crum notes, the wine-buying public should not be “put off” by a wine that has earned a Pacific Rim bronze medal. “By definition, if you buy a bronze medal­winning wine, you’re in for a very pleasant experience,” he says.

This year, Crum assembled 10 panels of three judges each–30 judges in all–to evaluate the bottlings entered by wineries from across the United States and several foreign countries. While the Sonoma County Harvest Fair competition shines the spotlight solely on local bottlings, the Pacific Rim event has gained greater stature owing in large part to its much wider boundaries.

Notes Crum: “Wineries don’t enter the Pacific Rim competition because they love Jim Crum. They enter it because they know their wines will get a fair shake. And they know that because the winemakers we’ve engaged as judges tell their fellow winemakers about how they’re treated and how we operate.”

A Long Road to Hoe

The road to Pacific Rim’s Grand Champion award for Y2K was a long one. As the 15th annual competition commenced, McIlroy Cellars’ 1998 Montavi Vineyard Zinfandel was just one bottle among 2,190. By day’s end, it had been awarded a gold medal and was named Best of Class among all zinfandels earning golds.

That Best of Class distinction qualified the wine for the Best Pacific Rim Red Wine taste-off the following day, competing against other Best of Class reds and evaluated by the competition’s entire 30-person judging staff.

When the wine was voted Best Red, it moved on to a final taste-off involving the best white, best sparkling, best dessert, and best fortified wines. And in that final evaluation round, it was the runaway winner.

When the identity of the wine was revealed, more than one judge’s eyebrow was seen tilting skyward. You see, most of California’s “superstar” zinfandels are made from grapes grown in Sonoma County’s Dry Creek Valley; the Montavi Vineyard is situated in the Russian River Valley, which is better known for producing topflight pinot noir.

Nonetheless, winemaker Will McIlroy was able to craft a real winner, no doubt attributable to his 20 years of winemaking experience.

McIlroy, along with another talented vintner, Gary Farrell, also makes wine for the Davis Bynum Winery. If you can’t find the McIlroy zinfandel–which is likely, since a mere 198 cases were produced–try any of Davis Bynum’s bottlings as an alternative. It will make your vino shopping a much less daunting experience.

The Best of the Rest

IN ADDITION to McIlroy Cellars’ Montavi Vineyard Zinfandel, four wines earned major awards at the 2000 Pacific Rim competition–including two additional North Coast bottlings . . .

Best White Wine: Bonterra Vineyards 1998 Viognier, North Coast. Bonterra is located in Hopland, and the specialty of winemaker Robert Blue is crafting wines from organically grown grapes. The judges loved this wine’s engaging honeysuckle and apricot nose, its creamy mouth feel, and its exotic peach and vanilla flavors.

Best Sparkling Wine: Gloria Ferrer nonvintage Blanc de Blanc, Sonoma County. Another superb bottling from a perennial Pacific Rim champion.

Best Dessert Wine: Jackson-Triggs 1997 Proprietor’s Reserve Riesling Icewine, Okanagan Valley. If you’ve never heard of the Okanagan Valley, that’s probably because it’s not in California. Heck, some of it’s not even in the United States. The valley runs from British Columbia into Washington state, and it’s particularly known for Riesling–from dry, Alsatian-style bottlings to super-sweet dessert wines, like this one.

Best Fortified Wine: St. Julian nonvintage “Michigan Light” Solera Cream Sherry. St. Julian established its solera aging system in 1973, and this rendition is a blend of all vintages from ’73 through ’96. Year after year, this wine wins more awards for the St. Julian Wine Co. than any other bottling.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Music Box

New jazz, rock, Asian fusion CDs

Bill Frisell Ghost Town (Nonesuch)

REGARDED as one of the top three contemporary jazz guitarists, Bill Frisell has been on an Americana kick of late. But unlike 1993’s widely acclaimed Have a Little Faith (Elektra), in which Frisell’s quintet dished up radically altered versions of compositions by American heavyweights Charles Ives, Aaron Copland, and Bob Dylan (to name a few), this solo outing is a subdued acoustic-oriented trip through a countrified landscape that finds Frisell on the artistic fringes of Nashville while applying guitars and a five-string banjo to originals and a handful of covers by Hank Williams, George Gershwin, and John McLaughlin. It doesn’t get any better than this. Greg Cahill

DJ Cheb i Sabbah Maha Maya (Six Degrees)

Various Artists Asian Travels (Six Degrees)

ONE OF LAST YEAR’S most exciting world music excursions was Shri Durga, a rich sampling of classical Indian ragas, bagra, mantras, and hip-hop beats fashioned by Algerian-born magic man DJ Cheb i Sabbah, a San Fran-cisco­based artist. He’s back with a remix CD that completely reinvents those tracks on a more pop-oriented vehicle that is well worth the ride. Saturated in the Asian fusion of the London underground, the CD features guest remixes by Transglobal Underground, the State of Bengal, and Bally Sagoo. If that whets your appetite, then the Asian Travels sampler is a feast in itself. Cheb contributes the contagious “Kese Kese,” but it is Transglobal’s remix of Fun Da Mental’s “Ja Sha Taan” that steals the show–an instant rave in a box. G.C.

Pantera Reinventing the Steel (East/West)

PANTERA’S second album, 1992’s Vulgar Display of Power, is widely regarded as a heavy-metal classic. During the ’90s, Pantera proved to be one of the more popular practitioners of thrash, a dominant form of metal that sprang from the late ’80s and has outlasted grunge. Pantera has stood out from the pack with a bluesier bent, but Reinventing the Steel restates the thrash virtues of fierce thunder, righteousness, guts, and tortured glory without reinventing anything. Heavy rock has mutated wonderfully of late, and thrash-metal champions like Metallica, Megadeth, and Anthrax have grown. Pantera knows the past–the cut “Goddamn Electric” name-drops Black Sabbath and Slayer–but holds ground only in the present. Karl Byrn

Miriam Makeba Homeland (Putumayo)

TEN YEARS AFTER her return to her home, former exile Miriam Makeba pays tribute to her native South Africa on Homeland. While Makeba’s artistry is often overshadowed by her political conviction–she delivered an impassioned anti-apartheid speech before the United Nations General Assembly in 1963–this dynamic singer/songwriter (whose 1967 hit “Pata Pata” became the first African song to reach America’s Top 10) still can blow you away. Her pipes may not be what they once were, but Makeba’s soulfulness and empowering lyrics ring true on every track. G.C.

Spin du Jour

Various Artists As Long as You’re Living Yours: The Music of Keith Jarrett (BMG/RCA Victor)

PIANIST and composer Keith Jarrett is the poster boy for solitary, introspective jazz, so this collection of bold reinter-pretations by an all-star cast–including John Scofield, Joe Lovano, Tom Harrel, Bob James, Cucho Valdes, and Don Byron–is as startling as it is striking. Pianist Bruce Hornsby kicks off with a sousaphone-driven New Orleans­flavored take on “Backhand” (featuring Mardi Gras Indian Theodore “Bo” Dollis on vocals), and producer Milan Simich never looks back. You’ll never think of Jarrett in that same Schroeder-hunched-over-the-piano way again. Highly recommended. G.C.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Healdsburg Growth Limit

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Hammering out a deal: Healdsburg activist Jim Winston has gathered enough signatures to place a growth-management ordinance on the November ballot. Now the City Council has authorized a dueling initiative.

GMOx2

Healdsburg struggles to preserve the integrity of its growth limit

By Jeremy A. Hay

FOR CLOSE to a year, the Healdsburg City Council has argued that too strictly limiting the city’s growth would drive up housing prices and make it harder to provide the parks and public services partially funded by developer fees. On Monday, the council voted unanimously to place on November’s ballot a growth-management ordinance that would be among the strictest in the county.

Its action comes barely a month after Jim Winston, a tenacious land-use activist whose tactics alienated even some of his allies, surprised the council by making doubly good on a threat to take the issue of managing Healdsburg’s growth to the voters.

“I think he has single-handedly gotten the council to say, ‘OK, we’re willing to do growth management,’ ” says Healdsburg Planning Director Richard Spitler.

Over eight days in March, Winston led a petition drive that collected nearly 900 signatures–almost twice as many as needed–qualifying his version of a growth-management ordinance, or GMO, for the November ballot.

Winston’s decision in February to pursue an initiative divided his allies. Among those who parted ways with him were several prominent Healdsburg slow-growth advocates, including Leah Gold, who chaired the 1996 campaign that established Healdsburg’s 20-year urban-growth boundary, one of five similar measures passed in the county that year.

“Initiatives are a heavy mallet to save for when you really need them,” says Gold.

She calls using the initiative to negotiate with the city “a kind of hardball politics that’s his style, not mine.”

Winston argues that the initiative forced the council to act. He downplays his differences with fellow activists, saying, “In the end, when they’re in the polling booth with the curtains closed, they’re going to vote for my initiative.”

The Winston Initiative would limit to 30 the number of new homes allowed in the city each year, with an exemption for affordable and low-income housing.

Issued a clear signal by voters in favor of slower growth, but convinced the Winston Initiative would put too tight a clamp on local development, the council had little choice but to push for its own GMO.

“There’s no doubt in my mind we have to get something on the ballot to defeat [Winston’s] ordinance,” says Councilwoman Cathy Harvey.

The council’s proposal has the same cap of 30 new homes, but includes seven categories of exemptions, including affordable housing, in-fill projects, granny and live/work units, and subdivisions of four lots or less.

So determined were councilmembers to defeat the Winston Initiative that on Monday Councilman Mark Gleason, initially the most resistant to the idea of a GMO, actually suggested setting the limit below the 30 proposed by Winston.

The competing initiatives are now similar enough that Winston, who has shown himself unafraid of offending the council, was moved to announce: “I’d be happy with the passage of either measure, as long as you include my recommendations in your initiative.”

The city’s proposal won the support of Gold and Bruce Abramson, another leader in the 1996 UGB campaign. In the days before Monday’s meeting, Gold, Abramson, and Councilman Jason Liles worked the telephones with both Winston and councilmembers, trying to fashion an alternative that would be acceptable to a majority of voters.

“As a local environmentalist, I’ll say this is a good approach,” Abramson says of the council version.

IN FACT, the city’s proposed GMO is almost identical to an earlier compromise plan brokered by Liles, a plan that both sides agreed to on April 17. Following that agreement, amid congratulations all around, Winston promised to withdraw his initiative, but found that doing so was next to impossible under state election law. The compromise died and with it the short-lived amity.

“This initiative no longer belongs to us; it belongs to the 900 people who signed the petition to get it onto the ballot,” Winston declares.

Several councilmembers wasted no time criticizing the Winston Initiative.

Councilman Kent Mitchell called it “bad legislation that’s bad for Healdsburg,” saying that Winston’s proposal “does not allow enough opportunity for in-fill development and affordable housing.”

Over Liles’ objections, the council proposed that the compromise GMO “with one significant difference” be put on the ballot to compete with Winston’s. The difference: reducing from a fourth-fifths supermajority to a simple majority the number of council votes needed to change any aspect of the GMO.

Winston denounced the council’s proposal as a “sham.”

A week later, on Monday, the dead April 17 compromise was revived–complete with a fourth-fifths vote required to alter the ordinance–to face off with the Winston Initiative in November. “It’s a very interesting case,” says Dane Waters, president of the Washington, D.C.­based Initiative & Referendum Institute. “I don’t know of a single case where someone goes out, collects the signatures, spends the money, gets something on the ballot, then reaches a compromise.”

In the end, the two most significant remaining differences between the initiatives boil down to minor subdivisions and the issue of altering the adopted ordinance.

* The Winston Initiative could be altered only by a vote of the people; the council’s version by a four-fifths council vote.

* The council’s ordinance would make minor subdivisions of four lots or less exempt from the 30-home limit. Winston says this exemption might be a loophole, allowing developers to develop large projects in smaller increments.

Winston says the minor subdivision exemption “is still a major sticking point with us.” But the differences seem slight enough that even some of his staunchest supporters are reconsidering.

“I think we’re real close. . . . I don’t know whether that’s worth going to battle over,” Rex Wilson, who collected signatures for the Winston Initiative, said after the meeting.

THE INITIATIVE battle is just the latest twist in a tug-of-war commenced a year ago, when Winston appeared at a council meeting warning that if the city wasn’t careful it was going to outgrow the UGB well before its 2016 expiration date. He and a hastily formed citizens group led with a proposal that the city limit new housing units to 40 a year.

The group’s concern was fueled by the building boom at the city’s north end, where nowadays street after street of large single-family homes march over 230 hilly acres annexed by the city in 1995. Healdsburg experienced incremental growth through the early ’90s. But a surging economy ignited residential construction, mostly in the annexed area, where dozens of roads were carved and nearly 200 new homes built from 1997 to 1999.

Neither of the initiatives on November’s ballot will affect the close to 400 new homes already approved for eventual construction in the annexed area.

But GMO advocates say the goal is to slow the rate at which Healdsburg develops in the future and preserve the integrity of the UGB. Through much of the past year, GMO advocates and the city remained far apart on the number of new units to be permitted a year. The Planning Commission proposed 60, with a generous bundle of exemptions. Winston called the number “absurd,” saying that at that rate the city would use up the room within its boundary by 2008.

Under public pressure, the council lowered that number first to 50, then 45, but balked when Winston, citing revised figures from the city’s planning department, proposed a new limit of 30 units a year. The council dug in, and Winston decided to go after an initiative.

Now, Winston says, the decision is in the right hands. “Who better to decide than the people?” he says.

Says Gold: “It’s a win-win. We need strong growth management, and it looks like we’re going to get it one way or another.”

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Chicano Secret Service

Fear of a Brown Planet

Satire is the weapon of choice for the Chicano Secret Service

By Daedalus Howell

“A SATIRIC PIECE in the Times is one thing, but bricks and baseball bats really get to the point,” Woody Allen observed when discussing neo-Nazis during a cocktail conversation in his film Manhattan.

The members of the Chicano Secret Service would disagree with the kvetching auteur. Satire is the weapon of choice for this three-person sketch comedy troupe, and it’s one they plan to use with devastating effect when they bring their sociopolitical comedy Fear of a Brown Planet to Sonoma State University on Cinco de Mayo.

“Satire is able to put out issues that, if they were addressed pointblank, would just shut people off. Satire puts a twist on everything and opens up people’s minds,” says the group’s co-founder Tomas Carrasco, 37, who is quick to add that his troupe doesn’t sugar-coat the issues, but rather let’s them in the backdoor with a hearty guffaw.

“It’s more of a sneak attack,” he says. “It’s funny to make fun of serious things.”

Founded 12 years ago when Carrasco and collaborator Elias Serna were students at UC in Berkeley, the Chicano Secret Service was born as a pointed response to President Reagan’s “Decade of the Docile Hispanic.”

With the addition of Carrasco’s sister Susan in the mid-1990s, the group has continued delivering comedy to venues as farflung as Tijuana’s Festival Internacional de la Raza, New York City’s HBO Comedy Festival, and colleges such as Yale and Notre Dame.

The group honed its skills with the guidance of noted playwright and activist Luis Valdez and his El Teatro Campesino. Other influences include the San Francisco Mime Troupe and “Chicano art godfather” Rene Yanez, whom they credit in their promotional literature with showing them “the ropes on how not to get ripped off in the low-paying, high-profile, back-stabbing, Eurocentric, classist world of American Theatre.” (“But it’s all gooood,” they say, winking.)

“People have said we are like a combination of Teatro Campesino, Monty Python, and Saturday Night Live, which I take as a compliment,” says Carrasco. “I think sketch comedy is a natural outlet for us. The bottom line is that we’re acting out jokes.”

Carrasco also credits the conservative climate of the Reagan era with shaping the Chicano Secret Service’s stylized theatrical revolt.

“With the political atmosphere at the time, there was lots of craziness and big changes going on, which was a very satirical situation,” he says. “It was so funny in and of itself that sketch comedy and satire were just a very natural way to comment on the times.”

But the current political milieu also provides Carrasco and company with plenty of targets. Among the hot-button issues they tackle are California’s recent slate of voter-approved propositions, including Prop. 187 (which denies illegal immigrants medical care, schooling, and other government services) and the controversial Three Strikes law.

“In the ’60s our youth were being sent to Vietnam. In the year 2000, all of our youth are going to jail,” Carrasco says. “There’s a large population of the Latino community in jail, and that’s a harsh reality. It’s really weird to deal with it because it seems like it’s being done so underhandedly.

“Extreme laws such as the Three Strikes law are affecting a lot of communities,” he continues. “People are just disappearing. It’s serious and sad, but you’ve just got to laugh and ask, ‘What’s going to come next?’ ”

THE MEMBERS of the Chicano Secret Service have long labored to put Mexican-Americans and Latino culture as a whole onto the map of the American media landscape.

Both Carrasco and Serna are currently producing their own films. Serna occasionally accepts commercial acting jobs, though he refuses to play stereotypical Chicano characters. Upon returning to Los Angeles after college, the Chicano Secret Service fielded interest from television producers intent on packaging their talents in a sitcom, but the project floundered.

“Hollywood really wasn’t receptive to our political humor and us as Mexican-Americans, or Chicanos,” says Carrasco, who has since worked with stage and film sensation John Leguizamo.

“It’s hard for them to deal with ‘smart’ Mexicans. What we were presenting must have been a radical image of Chicanos to them,” he says laughing, then asks rhetorically, “Where are the regular Chicanos, the regular Mexicans that have jobs and go to school and have good lives? If we’re acknowledged in the [entertainment industry] at all, it’s always an extreme. We’re always cholos.”

Apart from misrepresentation by Hollywood, Mexican-Americans also face the sometimes more insidious phenomenon of nonrepresentation, says Carrasco.

“The are 4 million Mexicans in Los Angeles, and you would think there were none if you looked at what Hollywood produces,” he suggests. “We make fun of all that kind of stuff in various sketches.”

PAIRING LIVE action and video sequences, Fear of a Brown Planet is a series of sketches chronicling the exploits of a superhero named Zeta, whose mission is to “liberate all oppressed people in the City of Hate,” a thinly veiled Los Angeles.

The futuristic character tackles California’s politics with Chicano-inspired riffs on such icons of American culture as the Wizard of Oz, Judge Judy, and CNN (reimagined by the troupe as the Chicano News Network). He also battles the president of the Caucasian Alpha Caucasian Association, or CACA, an elitist Hispanic “who believes she has effectively pulled herself up by her huarache straps.”

“I hate to call it intellectual comedy,” says Carrasco, who lists “an audience with a mind” as part of the troupe’s technical requirements.

Among the group’s other requirements: baseball bats to ward off “right-wing, Nazi Republicans,” who occasionally take umbrage at their show.

Fortunately, the Chicano Secret Service gigs mainly at universities and museums–venues its members prefer over traditional comedy clubs–where they generally encounter enthusiastic and interested audiences.

“At clubs, everybody is drunk and wants caca-peepee jokes,” observes Carrasco, who is confident that local audiences will relate to his company’s offbeat comedy, which the group customizes to match the local political environment.

“Every town,” says Carrasco, “has a totally liberal cool politician and an asshole right-winger.”

The Chicano Secret Service performs on Friday, May 5, at 8 p.m. in SSU’s Warren Auditorium, 1801 E. Cotati Ave., Rohnert Park. Tickets are $5. For details, call 664-2382.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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It’s time for ‘the book Washington doesn’t want you to read’

By Greg Cahill

IN THESE POST-GIDDY Wall Street days, you can argue all you want about the goodness of greed, but there’s no denying that greed is an equal opportunity vice. Case in point: Republicans and Democrats feed with equal zeal (and at the taxpayers’ expense) at the trough of pork-barrel politics. Now the 2000 Congressional Pig Book Summary–not the catchiest of titles–by Citizens Against Government Waste, has all the sordid details in its annual report, which shows how representatives attach items to spending bills.

It chronicles $17.7 billion in government waste.

“No matter how you slice it, pork is always on the menu in Washington,” notes CAGW President Thomas A. Schatz. “In fiscal 2000, Congress went whole hog, porking up the various spending bills with billions of dollars in worthless earmarks. Our elected representatives simply couldn’t resist the lure of easy money, putting their partisan political interests above the best interest of taxpayers.”

According to Schatz, Congress indulged itself at a record pace–eclipsing last year’s totals by a whopping 47 percent (and you thought there was going to be a tax rebate in your future), 22 percent higher than the previous record set in 1997.

Indeed, with 365 pork-barrel items, you can skim one-a-day style through this pink pamphlet–and still take a day off to commemorate the leap year.

But Congress was not solely to blame for the outrageous pork-barrel feeding frenzy. “President Clinton was an enabler . . . ,” Schatz notes. “When congressional leaders proposed cutting just one percent of the budget by eliminating waste, fraud, and abuse, the White House said no.”

Here are the Pig Book‘s top oinkers, recognizing “dogged perseverance in the mad pursuit of pork.” Something to think about the next time you’re stuck in gridlock traffic and wondering why the feds say they can’t afford to fix the Bay Area’s traffic mess:

The Piracy of the Potomac Award is given to Senate Majority Leader Trent Lott, R-Miss., for procuring a $375 million amphibious-assault ship that the navy doesn’t want, but that will benefit his constituents. (Not to be outdone, House Minority Leader Richard Gephardt, D-Mo., snared $275 million for five F-15 fighter planes that the Pentagon didn’t want.)

The Smell Test Award is shared by Sen. Kit Bond, R-Mo., and Rep. Stephen Buyer, R-Ind., for $1.75 million for animal waste research at the University of Missouri and Purdue University.

The Tracks of My Tears Award goes to Rep. Jack Kingston, R-Ga., for $100,000 for Vidalia onion research.

The Bridge Over Troubled Waters Award goes to Sen. Ernest “Fritz” Hollings, D-S.C., for $1 million for the Limehouse Bridge, which is used by patrons of golf resorts on the exclusive Kiawah and Seabrook Islands.

The Who Wants to Be a Billionaire Award is delivered to Sen. Ted Stevens, R-Alaska, for using the other 49 states as his “porkline” while securing more than $1 billion in earmarks since 1991.

The Son of a Beach Award is shared by Reps. Rodney Frelinghuysen, R-N.J., and Michael Forbes, D-N.Y., and a bipartisan group of members for adding $55 million in beach-renourishment projects.

The Jurassic Pork Award goes to Rep. Julian Dixon, D-Calif., for adding $1 million for a dinosaur exhibit at the Los Angeles Museum of Natural History.

The What a Dam Waste Award is picked up by Rep. Chet Edwards, D-Texas, for $625,000 for Lake Waco, including a lighted hike and bike trail on top of Lake Waco Dam.

The Empire Strikes Back Award is issued to Rep. James Walsh, R-N.Y., for bringing home $41.7 million in VA/HUD bacon, including $450,000 to convert a former NYNEX building into a parking garage.

The Breaking Up Is Easy to Do Award goes to Sen. Barbara Mikulski, D-Md., for a $35 million plan that fails to consolidate Food and Drug Administration facilities in suburban Maryland.

The Passing Gas Award is won by Sen. Patrick Leahy, D-Vt., for adding $5 million for the Vermont gasification project, even though the House explicitly prohibited further funding.

The Money Does Grow on Trees Award goes to Sen. Robert Bennett, R-Utah, for $500,000 for the Olympic Tree Program.

Copies of the book are available online at www.cagw.org.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘The Virgin Suicides’

Pining Away

Five lovely sisters mope through their teenaged angst in ‘The Virgin Suicides’

By

SOPHIA COPPOLA’S debut as a director, The Virgin Suicides, is mannered and occasionally pretty, noteworthy for some tantalizing glimpses of Kirsten Dunst, who plays the second oldest of a tribe of five girls in an upper-middle-class suburb circa 1975.

The narrator (Giovanni Ribisi) explains that these Lisbon sisters–Cecilia, Lux, Bonnie, Mary, and Therese–are the golden hearts of the neighborhood. They are the unaccountably beautiful daughters of the Lisbons–a dull math teacher (James Woods) and his highly overprotective wife (Kathleen Turner). All five girls are, we’re told, doomed, especially the one whom the camera shows the most interest in, she with the tony name of Lux (Dunst), which means “light” in Latin.

The first of these episodes in the life of the Lisbon sisters begins with the suicide of Therese (Leslie Hayman). When a doctor confronts her as someone too young to feel depressed, Therese squelches him: “Obviously, you’ve never been a 13-year-old girl.”

According to Coppola, this logic is unanswerable, and yet you’d love to have it answered. The narrator sums it up: “We knew that they knew everything about us, and that we could not fathom them at all.”

As Coppola presents this quintet of misses, they aren’t fathomed. Coppola takes their yearning with an adolescent’s own sense of drama and just hopes we’ll identify. But the girls are as unknowable to us as they are to the boys. And yet we see so much more of them than their young male suitors do. We see the insides of their house, we hear their private conversations–and note that mostly what they do is lie on the floor and pine.

The turning point of The Virgin Suicides is a prom night during which Lux gets in trouble through a combo of peach schnapps, pot, the music of 10cc’s “I’m Not in Love,” and the attentions of the most charismatic boy in school (Josh Hartnett).

After this night, Lux and the rest of the girls are pulled from school and kept walled up in their house by their furious mother. Lux is the only one who rebels–even in a self-wounding way–by becoming promiscuous.

The clue to the sisters’ ethereal behavior should be in the parents, but Coppola doesn’t find it. There’s redder dirt in Turner’s Southern accent than usual–which could be evidence that she construed this part as a bitter-comic role. Certainly Mrs. Lisbon is the heavy in the film, even if the narrator tries (vainly) to get the mother off the hook for the religious hysteria that undoes her family.

The narrator tells us of the confusing “estrogen haze” in which the father lives. It’s a witty description, and Woods’ lonely father is amusingly underplayed. Yet The Virgin Suicides has such a thick estrogen haze that it almost fogs the lens, a drugged quality that reflects the narrator’s perhaps untrustworthy claims that these girls are unknown and unknowable and, by implication, too good for this world.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Jerry Garcia

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High on Bluegrass

Jerry Garcia’s bluegrass roots are showing on legendary ‘lost’ tapes

By Greg Cahill

IT’S ONE of the most celebrated bootleg recordings in pop history. In 1993, mandolinist David Grisman invited his old pal Jerry Garcia–then enjoying some of his most commercially successful days as the Grateful Dead guitarist–to join him and bluegrass picker Tony Rice for a laid-back afternoon session at Grisman’s home studio in Mill Valley. The result was an intimate gathering that evoked a friendly front-porch feeling.

Some months later, Grisman heard that the jam session had found its way onto KBAI radio in New York, and deadheads were swapping the tapes at shows. The recording even popped up in a shipment of bootleg CDs that the Dead confiscated.

Perplexing.

But then Grisman discovered that a pizza delivery boy had lifted a cassette version of the sessions from Garcia’s kitchen counter.

That episode is immortalized in The Pizza Tapes (Acoustic Disc), newly released on Grisman’s CD label. It’s a real gem, sometimes brilliant, sometimes not, but filled with warmth. The recording retains the banter–and false starts–that took place during the session. The trio tries its collective hand on Lefty Frizzell’s “Always Late” (a hit a few years earlier for country star Dwight Yoakam), jams on George Gershwin’s “Summertime,” and noodles its way through Bob Dylan’s “Knockin’ on Heaven’s Door.” There’s even a rare Garcia vocal rendering of a tentative “Amazing Grace,” sung at the request of Grisman’s wife.

The closing track, on which Garcia sings “The House of the Rising Sun,” is worth the price of admission alone.

For Garcia, the bluegrass sessions were a return to his country roots.

In 1992, I had a chance to sip tea with Garcia on a rainy morning at the Dead’s San Rafael office, located in a big Victorian a couple blocks from the downtown, and talk about his renewed interest in bluegrass.

“My grandmother was a big Grand Ole Opry fan,” Garcia recalled. “Yeah, I grew up in San Francisco listening to the Opry every Saturday night on the radio without knowing what I was hearing. In fact, my first 45 was a Hank Williams record, a song called ‘The Love Bug Itch.’ It was a really stupid song,” he added with a laugh, “but, hey, it was Hank Williams.”

At the time, Garcia–long regarded as one of rock’s most innovative electric guitarists–had begun nurturing his affinity for bluegrass breakdowns and hillbilly spirituals, playing occasional concerts with Grisman and some of the hottest country pickers this side of Kentucky. Grisman had just released Bluegrass Reunion (the first of six Acoustic Disc recordings featuring the duo), to which Garcia contributed two tracks. That CD was a traditional outing with bluegrass great Red Allen and featured banjo player Herb Pedersen, fiddler Jim Buchanan, and bassist James Kerwin.

In 1992, Grisman and Garcia had teamed up for a gorgeous self-titled CD featuring bluegrass-inflected renderings of B. B. King’s trademark “The Thrill Is Gone,” the Dead’s “Friend of the Devil,” and Irving Berlin’s “Russian Lullaby.”

“For me, that was a rich experience,” Garcia said of the recording while puffing a low-tar cigarette and showing satisfaction at being “one of the guys” during the no-frills sessions.

THE GRISMAN/GARCIA projects underscore a long-standing relationship between the two musicians. “He’s a real livewire and kind of a perfectionist,” Garcia said of the notoriously finicky Grisman. “We fire each other up in a way that I think is very interesting–and it’s interesting for the audience. But it’s one of those things that doesn’t bear too much analysis.

“After all, musical chemistry doesn’t yield to a rational yardstick.”

Ironically, the pair had first met by chance in 1964, when Garcia was on a pilgrimage to the East Coast in search of authentic bluegrass music. At the time, Grisman was leading a group of upstart bluegrass players called the New York City Ramblers, still fresh from their upset victory at the prestigious Union Grove fiddle competition in North Carolina.

“I had my banjo, he had his mandolin,” Garcia explained. “We cranked a little bit and he kind of tested me. I guess he wanted to see if these guys from the West Coast could play.”

Returning to San Francisco, Garcia fretted over the lack of good bluegrass players in the Bay Area and found himself regretting what he perceived as his own lack of virtuosity. “I wanted the bluegrass stuff to be perfect, and I wasn’t happy if it wasn’t,” he said.

Instead, he passed his time in Mother McCree’s Uptown Jug Champions, a local jug band that included guitarist Bob Weir–then a rebellious 15-year-old kid who’d been expelled from high school–and blues harmonica enthusiast Ron “Pig Pen” McKernan. In 1965, that band went electric, changed its name to the Warlocks, and added drummer Bill Kreutzmann and bassist Phil Lesh. By August of 1966, they had changed their name again, this time to the Grateful Dead, moved to the Haight-Ashbury district, and begun playing at Bill Graham’s psychedelic emporium the Fillmore Auditorium and other local venues.

Yet bluegrass continued to influence Garcia. With their acoustic instrumentation, three-part vocal harmonies, and narrative lyrics, Working Man’s Dead and American Beauty, both recorded in 1970, marked a momentary shift from the band’s signature freewheeling jazz-rock jams. “For me, it was one of those things where I didn’t want to spend the rest of my life in a studio making records that are too fucking weird for anybody to listen to,” Garcia said. “Besides, we recorded [Working Man’s Dead] around the same time as Live/Dead, which gave us a chance to scratch our itch for the weird shit.”

Coincidentally, American Beauty features Grisman playing mandolin on two tracks: “Ripple” and “Friend of the Devil.” The sessions were recorded on the day Grisman moved to the Bay Area, an auspicious event that compelled him to settle in Stinson Beach, near Garcia and fellow musician Peter Rowan. In 1973, Grisman and Rowan persuaded a moonlighting Garcia to pick up his five-string banjo for the first time in a decade for the short-lived Old & in the Way. That band–including fiddler Vassar Clements and bassist John Kahn–recorded one live album at the old Boarding House in San Francisco. The Grateful Dead’s Round label issued an album of those live sessions, also called Old & in the Way. In 1996, Grisman released the stellar Old & in the Way: That High, Lonesome Sound, also culled from the Boarding House dates.

Despite the long break between projects with Grisman, Garcia maintained that bluegrass remained “a vast reservoir” to which he returned time and again. “I think of this as an ongoing thing in my life,” he said. “And as long as it’s comfortable for both of us, I’d be happy to keep doing it part of every year.”

Fittingly, Garcia’s last known recording, made just two weeks before his death in 1995, was with Grisman in the small basement studio in which he had found so much peace and contentment.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Farmers’ Markets

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Farmers’ markets spring to life

By Paula Harris

IF YOU GROW IT they will come, especially if it’s fresh, juicy, crunchy, fragrant, or ripe. Growers are once again beginning to showcase their flourishing yields of locally grown fruits and veggies and setting up stalls at farmers’ markets in parks and parking lots around the North Bay.

It’s a movable feast of greens, squash, berries, peaches, herbs, and much more that signifies the arrival of warm weather, frosty drinks, sizzling barbecued veggies, and cool salads.

Each local farmers’ market has its own particular character. In some instances, the markets are more akin to community meeting places, with the addition of live music and arts and crafts exhibitions. Some markets hold cooking demonstrations and samplings. And many farmers are becoming savvy about the value of the personal touch and are offering customers recipes, information, and the occasional story about their produce.

What occurs is an old-fashioned social exchange that’s rarely achieved (with any real sincerity) in the big-box supermarket down the street. So, for a change, forsake that squeaky warped-wheeled wire cart and instead select a woven basket and troll the stalls at the nearest farmers’ market.

Here’s what’s going on locally, according to the latest information from the California Federation of Certified Farmers’ Markets.

Sonoma County

Cloverdale: Downtown Plaza; Saturdays, 7 a.m. to noon, June-October; 894-4470.

Healdsburg: West Plaza parking lot at North and Vine streets; Saturdays, 9 a.m. to noon, May-December; and the Plaza; Tuesdays, 4 to 6 p.m., June-October; 431-1956.

Petaluma: Walnut Park, Fourth and D streets; Saturdays, 2 to 5 p.m., May-October; 762-0344.

Santa Rosa: Oakmont, bank parking lot, White Oak and Oakmont drives; Saturdays, 9 a.m. to noon, year-round; 538-7023.

Original Farmers’ Market, Santa Rosa Veterans Bldg., 1351 Maple Ave., Santa Rosa; Saturdays and Wednesdays, 8:30 a.m. to noon, year-round; 522-8629.

Wednesday Night Market, Fourth and B streets; Wednesdays, 5 to 8:30 p.m., May 31­Sept. 6; 524-2123.

Sebastopol: New Town Plaza, Petaluma Avenue at McKinley Street; Sundays, 10 a.m. to 1:30 p.m., May-November; 522-9305.

Sonoma Valley: Depot Museum parking lot, First and Spain streets; Fridays, 9 a.m. to noon, year-round; and Sonoma Plaza at Napa Street; Tuesdays, 5 to 8:30 p.m., April-October; 538-7023.

Napa County

Calistoga: In front of the Sharpsteen Museum, 1311 Washington St.; Saturdays, 8 to 11 a.m., summer months; 942-4769.

Napa: First and Main streets; Thursdays, 4 to 8 p.m., May-September; and West and Pearl streets; Tuesdays, 7:30 to noon, May-October; 252-7142.

St. Helena: Hwy. 29 and Grayson-Crane Park; Fridays, 7:30 to 11:30 a.m., May-October; 265-8602.

Yountville: Compadres Bar & Grill parking lot, 6538 Washington St.; Wednesdays, 4 to 8 p.m.; year-round; 257-8481.

Marin County

Novato: Sherman and Grant streets; Tuesdays, 4 to 8 p.m., May-November; 800/897-FARM.

Pt. Reyes Station: Toby’s Feed Barn, 15479 State Route 1; Saturdays, 9 a.m. to 1 p.m., May-October; 415/633-9153.

San Rafael: Civic Center, Hwy. 101 and San Pedro Road; Sundays and Thursdays, 8 a.m. to 1 p.m., year-round; 800/897-FARM.

Shopping Hints

Forget the shopping list–just get to the market and see what looks good, then go from there.

Look, smell, touch, and try to sample and compare produce at different stalls before you purchase anything.

Be adventurous. Ask the grower for advice on how to select and prepare unusual items if you need to.

Tote your own bags or baskets–keep the squashable items in their own bag.

Take the kids–it’s more fun and entertaining than the supermarket. Buy them fresh-baked breads and honey sticks (and encourage them to chat with a local beekeeper, so they appreciate the work that goes into food production).

Shop early for optimum variety and freshness. Or shop late in the day while growers are packing up and haggle for a cheaper price.

Get to know the farmers. Quiz them on selection and cooking procedures. Become a “regular.”

On warm days, plan to go home immediately afterward or bring a cooler to stash delicate items like ripe strawberries or tender spinach. Be careful about leaving the fresh produce in a stifling car. Try to eat the goodies on the same day.

From the May 4-10, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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