Usual Suspects

In Recovery?

Is local law enforcement warming up to advocates for the mentally ill?

By Patrick Sullivan

IS A THAW developing in the icy relationship between Sonoma County law enforcement and advocates for the mentally ill? Alarmed by a rash of jail suicides and police shootings involving the mentally ill over the last few years, activists have frequently accused local police and the Sonoma County Sheriff’s Department of not understanding the special challenges posed when law enforcement officers confront victims of mental illness. But now representatives of the Sonoma County chapter of the advocacy group National Alliance for the Mentally Ill are getting two unprecedented opportunities to make their case to law enforcement officials, and one NAMI representative calls the situation “hopeful.”

On Aug. 4, NAMI representatives delivered a special presentation to the Sonoma County Law Enforcement Chiefs’ Association. The three-member NAMI team urged the gathering of local police chiefs and Sonoma County Sheriff Jim Piccinini to improve training for law enforcement officers to help them deal humanely with the mentally ill in arrest situations.

The U.S. Department of Justice estimates that more than a quarter million inmates in America’s prisons and jails suffer from mental illness, according to NAMI, and both police and jail guards frequently face difficulties dealing with the mentally ill. In Sonoma County, such problems have led to at least five suicides or suicide attempts by inmates at the Sonoma County Jail since 1996. Advocates charged that inmates were poorly evaluated for special mental health needs and denied medication.

The NAMI team, which included a representative from the organization’s Sacramento office, urged the chiefs and the sheriff to take advantage of training that NAMI makes available to law enforcement agencies. The speakers also urged Sonoma County law enforcement to implement special mental-illness emergency response teams modeled on a program in Memphis, which NAMI says has been very effective in reducing mortality in arrests of the mentally ill.

“NAMI has been working with police departments around the country with very beneficial results,” explains Nora Ernst, former NAMI vice president and the group’s current Forensic Committee chairman.

Though the team had only 15 minutes on Aug. 4 to make its case, both NAMI members and at least one chief came away with positive impressions.

“It feels really hopeful to me, but we don’t have anything definite set yet,” explains NAMI president Sharon Barrett. “My impression was that Sheriff Piccinini was pretty open. He seemed interested and was asking questions.”

Piccinini did not return calls requesting comment, but Petaluma Police Chief Pat Parks says he thought NAMI offered useful information. Parks added that he’s open to considering bringing the organization’s training program to Petaluma.

“There is definitely a need in law enforcement for additional training for issues around the mentally ill,” Parks says. “Any training that we can bring to our respective organization would have a benefit, provided it’s by knowledgeable presenters.”

On a less positive note, Ernst says she does wish her team had been offered more time. And she wishes more chiefs had expressed interest in NAMI’s training proposals.

“We had two requests for more information,” Ernst says. “It was hard to judge in 15 minutes how we were received, but at least they know that there is an organization that can help with training and information. This is the first time we’ve ever been asked to address the chiefs, so we see this as a very positive step.”

THIS WEEK also saw NAMI score a rare tour of Sonoma County’s Main Adult Detention Facility. Piccinini approved the tour, which allowed a large NAMI team to inspect the jail.

Feedback from the tour should be available next week, but speaking in advance, Ernst explained what the team was looking for. Members have closely inspected a recent report by the state’s Board of Corrections report on jail conditions in Sonoma County.

“NAMI is particularly concerned with the mental health unit and the new health-care contractor,” she explained. “I have studied the Board of Corrections report in detail, so I will be looking for things like how the cameras work, the size of the cells people are kept in, and how observations are conducted.”

Ernst had originally invited members of the media, including reporters from the Sonoma County Independent and the Press Democrat, to tag along on the tour. But she says Piccinini nixed that idea after Ernst sent him a list of names of those going on the tour.

“He said that if the media wanted their own tour, they could set that up separately from ours.” Ernst explained.

In the past, Piccinini has denied such requests from the Independent following a series of articles critical of health care at the jail. Calls to Piccinini attempting to set up a new media tour of the detention facility were not returned.

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From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Sex Clubs Lure GOP Conventioners

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Ready for reform: NAMI members say Sheriff Jim Piccinini is receptive to talking about possible changes.

Photograph by Michael Amsler

Shaky Start

Philly sex clubs lure GOP conventioneers

By Jennifer Bleyer

IF, LIKE ME, you don’t frequent executive boardrooms, cattle ranches, Catholic churches, or the Upper East Side of Manhattan, you may never have seen a registered Republican. Indeed, they are elusive figures. In television specials presenting them in their natural habitats, one notices how deftly they camouflage themselves against the surface of a yacht or an oil field, how delicately they prey on a mutinous shareholder. They are fascinating creatures, and it was impossible to resist going on safari to observe their fleshly presence in the wilds of Philadelphia.

They were spotted devouring sandwiches under the “Wawa Hoagie Day” tent, demonstrating that the words “free food” elicit a ravenous primal response regardless of income level. They were later seen pouring drunk out of a Young Republican party, displaying their particular brand of humor to the stone-faced hipsters on trendy South Street (“You must be a conservative, am I right?” they guffawed, with no response).

After so much frolicking around town, the Republican-at-play was finally traced to Delilah’s, Philadelphia’s premier gentleman’s club. Delilah’s is, as they say in the business, a really classy joint. Large tuxedoed men hold open the door and escort guests through a metal detector.

The main room is a cavernous space that seats 200 comfortably, with a 60-foot runway decorated in patriotic red, white, and blue streamers and a banner reading “Welcome GOP Delegates!”

Three or four nude girls at a time writhe onstage as others extend their hospitality to men around the room.

Our subject Republicans were spotted in their requisite khakis and polo shirts, swilling Budweisers and taking in the scenery.

On my first night observing Republicans at Delilah’s, a flock came in with some of their woman Republican friends. The ladies sipped cocktails, their blonde hair in headbands and legs crossed at the ankles. They cooed politely when the dancers climbed the brass pole and slid down it suggestively.

The men sat at the side of the stage, simultaneously talking on their cellphones and tucking dollars into G-strings, demonstrating the multitasking aptitude of the 21st-century Republican.

One of them was overheard saying, “Look who just came in over on your right, the former White House . . .”

The end of his sentence was drowned out by the infectious beat of the “Thong Song,” and the lanky, bespectacled man to whom he referred disappeared into a private room with a lithe black dancer with small, perky breasts.

A black dancer!

Surely a demonstration of Gen. Colin Powell’s promise that the Republicans will “earn the mantle of Lincoln” and “help bridge our racial divides.”

The dancer reappeared after an hour without her customer, and I asked where he went. “Well, he asked me if I would go home with him. I was like, no, I don’t do that. Then he asked me if any of the girls here do that, and I was like, no, so he left.”

She told me his name, and indeed, he was a former Reagan White House staffer, now skulking back into the surrounding city.

ON NIGHT 2 at Delilah’s, three young Republicans were drooling over a size-DD blonde in 6-inch spike heels when an image of George W. Bush was projected on the giant TV screen behind the stage. “I feel like I’m back at the convention!” they shouted, cheering and clapping. The girls onstage, confused, responded with extra-ferocious jiggles.

A cluster of Republicans in the corner took a particular liking to a beautiful short-haired brunette, who looked vaguely like Rick Lazio with a boob job. One of them went off with her for a private dance, and she came out seeming exasperated, gesticulating wildly to a bouncer. True to the rigors of scientific inquiry, I asked what had happened.

“Oh, he just kept trying to put his hands on me, and I kept having to push him back. We don’t allow touching at Delilah’s, and he just didn’t get it. But he tipped me well, that’s for sure.”

Ah, Republicans are good tippers! And people call them greedy bastards who hoard the nation’s wealth. Rubbish!

I spent one last evening at Delilah’s. A small herd of Republicans sat transfixed by a curvy Hawaiian dancer. Her breasts were like huge effervescent balloons; it seemed that at any moment, she would float toward the sky, lifted by their amazing buoyancy. I asked one of them how the convention was going so far. “Oh, it’s just great. I only managed to get in because I’m an elected official, and it’s just such an honor to be there. So, do you work here?”

A blonde dancer came and sat on his lap, and he grinned broadly into her cleavage. But he didn’t have inappropriate relations or do anything funny with a cigar, somehow confirming Dick Cheney’s vow that the Republican Party will restore “decency and integrity to the Oval Office.”

Indeed, three days of watching the mysterious Republicans at Delilah’s revealed them as racially sensitive, financially generous, and morally upstanding creatures. Onward to Washington in November!

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Charles Becker

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Fruitful endeavor: Charles Becker’s art attracts big bucks and critical questions.

Photograph by Michael Amsler

Brush with Success

Pop art is all a matter of perspective for Santa Rosa painter Charles Becker

By David Templeton

“I’m a 19-year-old hippie from San Mateo,” says Charles Becker, age 47. “I’m into black-light paintings and crazy kinds of art. I have no idea where I’m going in my life or what I want to do, but I think I might want to be an artist.”

This is how Becker–the former- hippie-turned-world-renowned-painter–describes the moment, 28 years ago, in which he stepped out of the dark, literally, and came face to face with his destiny.

“It’s late at night, and I’m stumbling around,” Becker recalls, his voice and face growing more passionate as the memory unfolds. “All of a sudden I’m looking into the window of this art gallery, and there’s this painting, this ‘still life,’ very traditional, all lit up in front of me. The painter is an Italian master named Roberto Lupetti–the man who would become my teacher–but I don’t know that yet. I stand there frozen, shaking, goose bumps running up and down my body. I can’t look away. It’s a painting of a silver platter filled with fruit, resting on a big marble table, with a gold drape behind it. And the colors are just bursting out at me. It’s just so full and vibrant and real. I stand there and I swear this painting is shimmering.

“So now I know,” he says. “Now I know what I’ll be doing for the rest of my life.” He takes a breath, lets it out, and smiles.

And that is how Charles Becker became a painter of apples.

“That’s me, the painter of apples,” groans Becker, playfully. “One of the greatest challenges I have is critics who think I just paint apples.”

It is a gross oversimplification of Becker’s talent to say that he is a mere apple painter. And yet, on the walls of Becker’s light-filled Santa Rosa studio, apples figure rather prominently. And not just apples–there are oranges and plums and pomegranates and strawberries, dripping with dribbles of gleaming juice so realistic that visitors have been known to lean in close to the paintings, peering sideways at the canvases to see if they might not be truly wet. It’s enough to make anyone salivate.

Becker knows this. Making people salivate is one of the things he lives for.

“In fact,” he jokes, “we’re seriously thinking of putting in a produce stand.”

With luck, it will be there this weekend, when Becker holds a rare open house at his studio. Open to the public, the event will allow Becker’s many fans (his critics and detractors too, for that matter) to meet the artist and catch a close-up glimpse of his workplace–and his work.

The young Becker spent two years with Lupetti, studying the shapes and shadows and lights and darks that are the building blocks of an artist’s craft. As Becker describes it, he spent those years “learning to see.” From Lupetti–one of the painters recruited to restore the Sistine Chapel–Becker learned to use tools that would lead him to his current position as one of the leading painters of still lifes.

IT’S A STRANGE little phrase: “still life.” In the face of Becker’s vibrant, richly detailed, strikingly imaginative paintings, those two little words seem woefully inadequate. Becker is clearly not content with mere representations of goblets and flowers and teapots and plums. An undisputed master of trompe l’oeil–or tricking the eye–he builds lushly colored neverworlds with his images of shimmering goblets, glowing porcelain cups, stained and shadowy books stacked haphazardly high, and fruit–piles and piles of fruit.

According to Roland Weinstein, owner of the San Francisco&-based Weinstein Gallery, Becker uses the traditional still-life form while simultaneously pushing the very limits of the tradition.

“Rather than paint a simple apple,” Weinstein submits, “he paints a portrait of that apple with colors that make it seem more than real. He gives it a little more curve and cleavage so it has a sensual energy all its own. He starts with the real and pushes it to the edge, incorporating elements that keep the viewer thinking and guessing.”

By all accounts, Becker is among the most successful painters of still lifes on the planet; his paintings have been shown in exhibitions around the world, and his limited editions sell for tens of thousands of dollars. His work has been commissioned by numerous magazines, and following a five-painting series for Absolut Vodka–featuring the distinctive Absolut bottle integrated into Becker’s now-recognizable collections of food and finery–Becker’s career is at an all-time high.

Yet there are those who feel that Becker’s eye-tricking paintings amount to little more than artistic stuntsmanship. Others merely write him off as a “commercial artist.”

“Charles Becker has great facility as a painter,” allows Gay Shelton, director of the Sonoma Museum of Visual Art. “But he does still lifes. It’s a style that was popular 200 years ago.”

Attempting to explain why Becker’s critics are so quick to dismiss him, Shelton says, “It’s pop-culture art. It fails to take advantage of 200 years of human psychic development. He’s painting the kind of thing that’s easy for the viewer to get without engaging you intellectually or psychologically, as abstract art can. [Becker’s work] doesn’t produce the question in the viewer ‘Oh, what am I seeing?’ In the face of this kind of art, there are really no questions at all.”

WITH THE POSSIBLE exception of the question “How the heck does he do it?”

“I first need to make my canvas very smooth, so I put a lot of ground on it, and then I sand that canvas very carefully,” Becker explains. He likes linen canvas, which he coats with three layers of gesso before sanding.

After doing an underpainting in charcoal, he begins to paint, working with “very richly pigmented” oil paints–the brightest he can find–and soft sable brushes, building the complexly structured images slowly, using as few brushstrokes as possible.

Becker recites these facts slowly, with a barely audible sigh–almost as if it were physically painful to reveal such mundane, such prosaic, such technical details.

“I actually don’t want people to think about the painting part of my work at all,” he admits. “I don’t want them thinking about brushstrokes. I want people to be so dazzled that they are unaware of the canvas or the paint. I want them to be fooled. I think that’s fun.”

As for his critics, he’s heard it all before. “I’ve could be called worse things than a pop artist,” Becker says. “I’ve heard the theory that representational art doesn’t give you anything to think about or react to.

“Well,” he remarks, “a still life sure gave a 17-year-old hippie from San Mateo something to react to. I’ve seen people be moved to tears by these paintings. They obviously are reacting to something. I’ve received notes from couples who said they had to rush home and make love after seeing one of my paintings, because it was so rich and lush and sensuous it turned them on and kept them up all night.

“I don’t know about you,” Charles Becker says, smiling proudly, “but I can’t think of a better response to a painting than that.”

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Other Offerings Around the North Bay

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Marin Shakespeare Company

The 11th season of the company’s “Shakespeare under the Stars” offers three plays. The slapstick-filled The Cmplt Wrks of Wllm Shkspr (Abridged) runs through Sept 17 (Sundays at 8, through Sept 17, with no show on Aug. 27). Cyrano de Bergerac, based on Edmund Rostand’s classic love story, runs through Aug. 19 (Fridays and Saturdays at 8 p.m.). The Merchant of Venice runs Sept. 1&-30 (Fridays and Saturdays at 8 p.m., with special matinees on Sept 3 and 10 at 4 p.m). All plays take place at the Forest Meadows Amphitheatre, Dominican College, San Rafael. Tickets are $20 for adults, $18 for seniors, and $12 for youth. 415/456-8104.

Shakespeare at Stinson

The Bard goes to the beach (or darn near, anyway) in this company’s performances. This year, catch The Comedy of Errors through Aug. 13, and Macbeth from Sept. 1 through Oct. 15. And for God’s sake, bring a blanket, because when the sun goes down, the temperatures plunge. The action starts Fridays and Saturdays at 7 p.m. and Sundays at 6 p.m. on Hwy. 1 at Calle del Mar, Stinson Beach. Tickets are $18 for adults, $13 for ages 16 and under. 415/868-1115.

The Avalon Players

Now in its 20th season, the company offers The Taming of the Shrew through Sept. 24 every Sunday at 7 p.m. at Buena Vista Winery, 18000 Old Winery Road, Sonoma. Tickets are $17 for adults and $5 for children 10 and under. 938-1266, ext. 1466.

Sonoma Valley Shakespeare Festival

Catch three plays in revolving repertory during this nine-year-old company’s season. Henry V runs Aug. 19 and 20 and Sept. 3 and 8. Twelfth Night runs Aug. 13 and 18 and Sept. 2. Good Night, Desdemona, Good Morning, Juliet runs Aug. 19 and 20 and Sept. 3 and 8. Shows take place at Gundlach Bundschu Winery, 2000 Denmark St., Sonoma. Tickets are $20 for adults, $18 for seniors, and $10 for ages 12&-18. Call for times. 584-1700.

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Putting Your College Education On Hold

Putting your college education on hold

By Erica Silverstein

DO YOU EVER FEEL as if your life has been planned out for the next 10 years and you can’t do anything about it? Finish high school, go to college, choose a major, study for another four years, get a job in the real world, and hole up in a small apartment. Guess what? It doesn’t have to be that way.

But I thought it did during my senior year of college. While my friends were planning for grad school or interviewing for the perfect job, I couldn’t bear to think about my next step. I didn’t know what I wanted to be when I grew up, and I didn’t feel ready to make that decision. I wanted time off to travel, to meet new people, to learn more about myself. I wanted independence and a chance to live by my rules.

Most students feel the same way I did a few years ago, says Robert Gilpin, founder of Time Out Associates (a company that offers consultations for teens wishing to take time off from school). “Many high school and college students reach a point where they realize that another year of school or work is not the right way for them,” Gilpin says. My case was different because I waited till my college graduation to take time off. Most students do it right after graduation from high school or in the middle of their college career, according to Gilpin.

Close to 2 million teens will graduate from high school this year, and very few have considered alternatives to going to college. But plunging back into academic life isn’t the best route for everybody, for a variety of reasons.

Some girls have lived in the shadow of their male classmates and want to taste achievement, independence, and adventure. “Other students need a chance to collect [themselves], refocus, and find a better sense of [themselves],” Gilpin says.

Your teen years are about discovering who you are and what you want out of life. If school can’t give you those answers, maybe a different kind of experience can. College is expensive, so there’s no use in enrolling when it’s not the right time for you to be there. Besides, unhappy students are more likely to fail school.

Once you decide that you’re ready to tromp off to Asia or do community service in South America, you might run into an obstacle–your parents. Gilpin offers the following logical arguments to convince Mom and Dad that taking time off is a smart thing to do.

Colleges Love It

TAKING A YEAR to discover something new about the world and yourself looks great on college applications. Learning Spanish in Peru or building houses for the poor in Arkansas will shine brighter than great SAT scores and piano lessons, which so many other applicants have. A mature student with real-life experiences has a clearer idea of what she wants to get out of her education, and people in the admissions office know it.

It’s Cheap

YOUR PARENTS might fear that they’ll have to pay for another year of tuition if you go abroad for a year. While some programs do cost a hefty amount, most are on the lower end. Some community service programs are paid for by governments, and work-abroad programs allow you to earn money while you’re there. Tuition at foreign universities is often lower than tuition in the United States, so Mom and Dad can let you explore and still make their next house payment.

You’ll Be More Focused

MANY PARENTS worry that their kids won’t return to their studies after taking a break from them. But students who take a break often come back more focused on their studies, Gilpin says. If all else fails, you can always negotiate a summer adventure between school years.

Pick a Program

NOW THAT YOUR parents are on your side, you can figure out how to spend the year and when the application is due. If you want to take time off before college, plan on asking the admissions office if you can wait a year to attend after being accepted. Colleges are usually happy to let you start a year late, as long as you give them a good reason.

Finding a program can be easy, given the large number of opportunities available. Check out Transitions Abroad, the Time Out Associates website, and Peterson’s to find a range of study, work, travel, and community service program ideas.

Some programs, like Sojourn Nepal and Cultural Homestays International, allow you to get into another culture while you study abroad. Career- focused girls can try programs like Dynamy, which offers internships in various fields. Do-gooders flock to City Year to do community service in the United States or to Involvement Volunteers to help out in Australia and other countries around the world.

I worked in Scotland, thanks to the British Universities North America Club, an organization that provides work permits and job-hunting assistance to Americans in the United Kingdom. I showed up in Edinburgh with no more than a suitcase and a hostel reservation and soon had a job and a house-sitting gig. I traveled and made friends from Australia, Scotland, and England, and even learned to drive on the left side of the road. Best of all, I gained confidence and learned that taking risks can be fun.

Three months after I graduated from college in the United States, I stood on the craggy hills of Arthur’s Seat looking down on Edinburgh Castle, Holyrood Palace, and the waters of the Firth of Forth leading out to the North Sea. I knew that for six months this land would be my home. I would become a person who belonged here, and I was looking forward to meeting that person.

This article originally appeared on Chickclick‘s teen channel, Missclick. Erica Silverstein is an editor at a travel website based in San Francisco.

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Merry Wives of Windsor

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Lust in the dust: Gerald Haston and Eric Thompson star in Sonoma County Repertory Theatre’s outdoor production of The Merry Wives of Windsor, Shakespeare’s randy comedy of romantic misadventure, opening Aug. 18 in Sebastopol.

Sonoma County Rep airs out Shakespeare

By Daedalus Howell

IT’S NOT uncommon to hear drunks caterwauling in the park–but it’s far rarer that their bawdy antics receive applause. Sonoma County Repertory Theatre hopes it’ll happen come Aug. 18, when Shakespeare’s paunchy merrymaker Sir John Falstaff and his brood begin a bender in Sebastopol’s Ives Park as part of the company’s outdoor production of The Merry Wives of Windsor.

SCR’s annual “Shakespeare in the Air” programming (later performances will be held in Courthouse Square in downtown Santa Rosa) is now in its eighth year and firmly fixed in the firmament of local theater tradition.

“Every year, people talk to me on the street and ask which Shakespeare we’re doing,” says SCR artistic and executive director Jim DePriest. “They talk to all their neighbors and friends and get all their kids to come out.”

Of all of Shakespeare’s creations, Falstaff is the most aligned with the Freudian concept of the id. The rotund rogue is completely motivated by his appetites–or at least those that originate in his stomach and below. In The Merry Wives of Windsor, Falstaff gets an eyeful of two comely wives of Windsor and schemes to seduce both of them. He is unaware, however, that the women share not only confidences, but also the identical love letters he has sent both of them. In retaliation, the ladies set about teaching Falstaff a lesson.

DePriest, who directs the play, credits the informal, rustic setting and the natural ambiance of the park (grass, trees, and limited plumbing) with supplementing the Shakespearean experience.

“Performing Shakespeare’s plays in parks is certainly nothing new, but what I think makes it so great is that having them outside just gives the play more of a festival feeling, especially when you’re serving food and wine,” he says, adding that theatergoers are encouraged to bring a picnic dinner or purchase one from the smorgasbord of catered suppers available at the evening shows.

Though DePriest has had success staging Shakespeare indoors, he enjoys the freedom outdoor productions afford both the theater artists and the audience–a fact that’s appreciated by theater companies around the North Bay .

Other Offerings Around the North Bay

“It’s a totally different feeling than being within the restrictions of those walls and rigid seating. Out at Ives Park, the audience can put out a blanket or a folding chair and spread their food out,” DePriest says. “It’s also different in terms of just basic ‘stage pictures,’ because if you have somebody turn upstage or even give a profile, their voice just goes off up into the timbers.”

DePriest also appreciates the “natural” setting the park lends to the outdoor shows and leaves much of the art direction of the productions to the civic planners and preservationists of yore.

“Some of the park’s trees have been there for probably a hundred years and are 70 and 80 feet tall,” he says. “They add a natural background to the stage that you can’t duplicate inside a theater. It’s just magical.”

Another bit of theatrical magic occurs with the physical transformation of veteran Sonoma County actor Gerald Haston into the mountainous, pleasure-seeking Falstaff. Seventy pounds of padding and one pair of lamb-chop whiskers later, Haston’s Falstaff looks something like a debauched Neil Young on a fare-thee-well tour.

“We’ve got him as big as the lobby of one of our theaters. At one point he has deer antlers on his head–it looks very funny,” says DePriest, who has a soft spot for the period evoked by Shakespeare’s comedy. “I like the period in which the play is written–you’ve got all the brightly colored costumes and actors coming up through the audience who could just reach out and grab somebody’s wine if they want to, they’re so close.”

THOUGH they’re too young to legally commandeer one’s cabernet, many younger actors are included in the production’s cast. Many of these folks were homegrown in the SCR’s in-house Young Actors Conservatory before graduating to the stage.

“We are very pleased to be able to cast students, current and alumni, when we have a role that is age- appropriate in one of our productions,” says artistic director Diane Bailey. She adds that on Sept. 3 at 4:30 p.m. an hourlong selection of scenes from Shakespeare’s oeuvre will be performed by some of the company’s young thespians, preceding one of the Courthouse Square engagements of The Merry Wives of Windsor.

“Because these students need to be able to act with professional actors, they receive specific coaching from the conservatory director, especially vocal training to meet the needs of performing outdoors,” says Bailey.

The Young Actors Conservatory’s present director, Steven David Martin, comes armed with 10 years of experience performing, directing, and teaching Shakespeare with the Alabama Shakespeare Festival. He has tailored this year’s conservatory curriculum to performing the Bard’s works.

“We’ve had great success with casting our most talented young actors in our Shakespeare productions because of our talented and dedicated conservatory directors, Jennifer King and Steven David Martin,” says Bailey. “The invaluable learning experience for our young actors is one they will carry with them their entire life and career.”

IN THE PAST, SCR has fielded calls from theatergoers concerned about the safety of attending a play performed in the urban jungle of a burgeoning metropolis like Santa Rosa–especially after sunset. Though bemused by such concerns, DePriest simply assures them that “Shakespeare in the Air” is relatively hazard-free entertainment.

“It’s interesting–when we were doing Shakespeare in Courthouse Square last summer, I had about 20 calls from people asking, “Is it really safe to come to downtown Santa Rosa at night?’ ” he recalls. “What that tells me is that the public perception of Santa Rosa is much different than the reality. It’s in that transition between a small town and a city.

“The people that called me took exception to people on the street asking them for quarters, or some of the kids over in the park who dress and do their hair differently than the rest of the population,” he continues. “They’re intimidated by that? God, I mean, this is a city! It has city problems and all kinds of people downtown, but, as I tell people, I feel perfectly safe walking downtown at night. It is quite a benign place, I think.”

Theatergoers, beware: Roving merrymakers abound in city parks through August. Be particularly wary of the fat ones wearing antlers.

The Merry Wives of Windsor begins Friday, Aug. 18, with a gala fundraising dinner and performance. Tickets for the fundraiser are $50 and must be purchased in advance. Subsequent performances run through Aug. 27 (except for Monday, Aug. 21, when there is no show) at Ives Park in Sebastopol; audiences should bring lawn chairs or blankets and can bring picnics or purchase boxed dinners for $5 to $8 at the park. The play moves to Santa Rosa’s Old Courthouse Square Sept. 1&-3. Both venues open at 5:30 p.m., with a 7 p.m. curtain. Admission is $15. Tickets are $5 for the Young Shakespeare performance on the square Sept. 3 at 4::30 p.m. All performances free for kids 12 and under. For details, call 544-7278.

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Community/Law Enforcement Relations

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Deadly toll: Outside the 1998 U.S. Civil Rights Commission hearing, demonstrators erected a makeshift memorial to those killed in police-involved incidents.

Blue Shield

Forum focuses on police relations

By Greg Cahill

LOCAL LAW enforcement officials mostly dismissed the findings of a 1998 U.S. Civil Rights Commission panel critical of police practices and policies that may have contributed to the deaths of several people over a two-year period. But a group of progressive organizations, politicians, and media won’t put the issue to rest.

Cruz Reynoso, the former California State Supreme Court Justice and vice chair of the U.S. Civil Rights Commission, will be the keynote speaker at an Aug. 10 forum on community/law enforcement relations in the Sonoma County. Reynoso, who served on the Supreme Court from 1982 to 1987, participated in the daylong standing-room-only hearing in Santa Rosa at which the panel heard testimony from law enforcement officials and angry citizens. He will deliver a talk titled “Police Abuse: Can We Change the Culture?”

The final report, leaked to the press in late May, criticized law enforcement for several police-involved shootings, including the killing of Rohnert Park resident Kuan Chung Kao. It also portrayed police as out of step with community relations. “Even given the abnormally high number of police-involved deaths in recent years . . . local law enforcement continued to paint a peaceful picture of police-community [relations] that defied all belief,” commissioner Yvonne Lee wrote in the report. “Instead of using the hearing to candidly respond to issues and concerns of the community, local law enforcement chose to raise a blue shield in defense and deny that any such problems existed at all.

“And yet, as my colleague the Honorable Cruz Reynoso noted, I have rarely walked into a situation where I felt the relations were as tense.”

In the appendix to the report, Reynoso wrote that after hearing testimonies he was shocked by the depth of the rift between local law enforcement and citizens. “It was as if there were two Santa Rosas and two Sonoma Counties,” he noted.

For the most part, local law enforcement officials dismissed the report as biased.

“The one point we’re trying to get across to these guys is that until they recognize there is a problem, there can be no dialogue,” says Mary Moore, a west county activist who is helping organize the event. “Instead of acknowledging the problem, they just circle the wagons.”

Santa Rosa Police Chief Mike Dunbaugh says he is disappointed that organizers of the forum have not asked for police participation. He says many of the recommendations outlined in the report are either already in effect or planned, and points out that others–like the call for a citizen police review board–are vague.

Commissioner Lee also has argued that the police community must acknowledge the problem before it can begin to address the situation. “To treat a patient, a doctor must first diagnose the illness,” she continued. “Similarly, to heal a community, all groups must first acknowledge the rift that has grown between them. Before there can be any serious efforts to improve police-community relations, the law enforcement community needs to come to the table as a willing and sincere partner, open to recognizing concerns and viewpoints which may be different from its own.”

Among those sponsoring the police relations forum are the ACLU of Sonoma County; journalist Martin Lee, co-founder of FAIR; the NAACP of Santa Rosa; and the Sonoma Civil Rights Action Project.

The event will be held Thursday, Aug. 10, at 7 p.m. at the First Methodist Church, 1151 Montgomery Drive, Santa Rosa. For details, contact Mary Moore at 874-2248.

From the August 3-9, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

DaVero olive oil company

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Fruit of her labor: Colleen McGlynn rides the Olive Oil Express.

Liquid Gold

Healdsburg couple strikes oil

By Paula Harris

COLLEEN MCGLYNN, dressed casually, with a blunt haircut, glasses, and a dazzling smile that lights up her tanned face, is preparing a little something to nibble in her impressive kitchen. The open room boasts shelves of cookbooks, rows of wine glasses, and a chunky antique weighing scale. A classical-music radio station renders soft piano music. Outside is a pond populated by cranky geese and surrounded by olive groves. More than 4,500 olive trees on 22 acres on the edge of Healdsburg, to be precise. That “nibble” McGlynn is preparing is sure to involve olive oil.

Sure enough, McGlynn pours a slim stream of fragrant olive oil from an old flacon of thick greenish glass onto a white saucer. The unmistakable scent of Meyer lemons rises up from the golden glistening pool. She rips handfuls of crusty bread into bite-sized chunks for dipping–for saturating–and pours out a small glass of red wine. The humble “meal” is complete.

As co-owner of DaVero olive oil company, with husband Ridgely Evers, McGlynn could be dubbed the county’s Olive Oil Empress. The Dry Creek Valley appellation oil produced by this Healdsburg company was the first American oil to earn the prestigious extra-virgin designation in Europe. Three years ago, the Sonoma County oil won over Italian and French equivalents during a blind tasting in Imperia, Italy.

The ever-proud McGlynn is obviously truly in love with her product. “Oil is so good–it’s just tremendously rich and vibrant and tasty,” she enthuses. “It’s more that just a fat, it’s a flavor.”

She even teaches classes on how to “taste” the extra-virgin elixir. “Note how the oil feels in your mouth. It should fill your senses without coating your palate,” she instructs. “A good oil will make its presence known, then move on. An inferior oil will linger, leaving you feeling like you’ve licked paint.”

However, McGlynn wasn’t always the expert. She grew up on a dairy farm in Wisconsin, where cans of Bertoli olive oil, imported in bulk, and a couple of wizened garlic heads wrapped in cellophane were considered the height of glamour and sophistication. “Wildly exotic and precious,” she recalls with a grin. “I was captivated. That’s when I began to love food.” She embarked on a culinary career, eventually landing a job as a chef at Stars Restaurant in San Francisco.

AFTER FIVE YEARS at Stars, she and two friends opened the now-defunct Samba Java restaurant on Healdsburg plaza. In 1990, Evers and McGlynn planted the first olive trees from precious cuttings discovered in Tuscany. McGlynn currently splits her time between the olive oil business and catering, while Evers, 49, besides making oil, also runs an Internet startup company. But producing the organic gourmet olive oil keeps them plenty busy.

“Just as with wine, it’s the fruit you start with that determines everything,” explains McGlynn. “And oil, unlike wine, is best when freshest with no manipulation–you pick and crush as soon as you can, you handle the fruit carefully, you press it, and that’s it. Unlike wine, where you blend and create flavors, you don’t want to interfere with the product.”

She carefully holds up the green bottle. Caresses it.

But it’s not all romance among the groves: the nitty-gritty reality of being olive farmers can take its toll. Besides being an extremely slow crop, requiring many years to mature, the fruit is also highly susceptible to weather changes. In addition, the recent appearance in the Los Angeles area of the olive fruit fly, a destructive pest that is the olive industry’s equivalent of the grape biz’s glassy-winged sharpshooter, is a major cause for concern. “It’s a huge deal,” says Mc- Glynn. “[The pest] is now in Southern California and is working its way up. It could be a huge problem.”

Besides increased delimitation trapping and larval surveys to find out whether the pest is out there, the California Department of Food and Agriculture is hiring staff for expanded trap monitoring and seeking additional state funding to gauge the problem. Still, so far the isolated DaVero farm has seen no sign of the pest, so life continues and the organic oil is produced.

DURING HARVEST time, two tons of olives per day are picked, transported to Marin County, and pressed with a traditional granite stone and hydraulic press at Frantoio Restaurant in Mill Valley.

The oil produced is for finishing and dressing food rather than for heat cooking, which would burn off all the fruit flavors. According to McGlynn, the product contains a harmony of flavors that needs no additives. “There’s a green freshness, a pepper taste, and a little bitter tone,” she says.

The couple has just introduced the Meyer lemon version of the original oil. Whole Meyer lemons and mission olives are crushed together with the estate oil to give more body, structure, and a slight floral taste. “It’s unlike infused oil where they stick something in to flavor it. Here, the oil of two fruits emulsifies,” Mc- Glynn explains.

The result is a vibrant, bright, fresh flavor–perfect drizzled on butter lettuce or to finish a dish of fettuccine with sautéed shrimp, pepper flakes, and garlic.

And if McGlynn and Evers get weary of olives, there’s always that old Sonoma County standby–wine grapes. “We just planted five acres of grapes. In four years we’ll have Da- Vero sangiovese,” reveals McGlynn. She looks out wistfully at the static pond. “Hmm, maybe we’ll create a whole DaVero line.”

From the August 3-9, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Nonviolent Drug Offenses

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Jailhouse Blues

460,000 busted for drugs–and counting

By Kelly Virella

NEARLY one quarter of America’s prisoners–almost 460,000 people–are behind bars for nonviolent drug offenses, reports a disturbing new study released by the Justice Policy Institute, a think-tank advocating criminal-justice reform.

That number reflects a staggering increase in drug-related convictions over the past decade–from 38,541 in 1986 to 148,092 in 1996. The cost of incarcerating these nonviolent drug offenders nationwide will rise to $9.4 billion this year, the report says.

“America does indeed have a drug problem,” states Vincent Schiraldi, director of the Justice Policy Institute and co-author of the report. “And that problem is that we’ve focused on imprisonment as the near-exclusive solution to substance abuse, while giving short shrift to treatment and prevention.”

Rep. John Conyers, Jr., D-Michigan, used the occasion of the report’s release to introduce legislation that would divert more nonviolent drug offenders from incarceration to rehabilitation. “The casualties from this nation’s drug war have continued to mount, with no end in sight,” says Conyers. “Only by breaking the cycle of abuse, trafficking, and incarceration can we find a way out of this nightmare.”

“We are spending $9 billion to guarantee recidivism,” a senior member of Conyers’ staff added. “Without intervention, these offenders will end up in jail for life or get out and become permanent SSI [disability payment] recipients.”

The legislation Conyers proposed is an omnibus bill aggregating several drug reform initiatives, including more funding for treatment, alternative sentencing guidelines, greater post-treatment support, and a new program to ease the offenders’ re-entry into society.

In an important departure from previous legislation, Conyers’ bill would vest federal judges, rather than prosecutors, with the discretion to divert nonviolent offenders to treatment. Prosecutors who must choose between treatment and incarceration face a natural conflict of interest, Conyers’ staff member said.

Though their actions may not yet reflect it, political players over a wide spectrum are starting to agree that treatment for drug abuse is more effective than punishment. However, the definition of “treatment” has become a contentious battleground, with legislators locking heads over issues such as who should qualify for treatment, how extensive it should be, and who decides which offenders to treat and which to jail.

Conyers’ bill notwithstanding, most of these battles are being fought at the state level. In Arizona, the runaway success of a quite extensive treatment program has inspired reformers in other states to push their treatment laws further. Californians, who already have special “drug courts,” will soon vote on Proposition 36, a statewide initiative that would mandate treatment over incarceration for certain drug crimes, instead of just making treatment an option.

Although the proposition would save an estimated $100 million to $150 million a year, opponents of the measure argue it is the wrong approach. “Proposition 36 will seriously undermine effective drug treatment in California by preventing judges from instituting sanctions like short periods of jail time to change the behavior of uncooperative patients,” said the spokeswoman for Californians United against Drug Abuse, a group opposed to Proposition 36. These opponents describe the measure as a ruse that “decriminalizes drugs” and prefer that greater funding be allocated for more treatment under the current system, in which judges divert offenders from incarceration on a case-by-case basis.

The spokesman for the California Campaign for New Drug Policies, the organization that pushed Proposition 36 onto the November ballot, denied these characterizations of the measure. “What it boils down to is that we want to make everyone presumptively eligible for treatment–making treatment the norm, not the exception. We want to treat 95 percent of drug offenders, as opposed to the 5 percent we are treating now.”

Similar battles are being waged in states across the nation, where harsh drug laws are taking serious social and economic tolls. In New York, a judicially driven reform effort has proposed to divert 10,000 drug offenders into treatment instead of incarceration. Michigan recently modified its mandatory sentencing system–one of the oldest in the country–to be less harsh for drug offenders.

DESPITE these changes, and although only 36 states have mandatory minimum sentencing laws for drug offenses, 48 states have drastically increased their drug-related incarcerations since 1986. California, Louisiana, and New Jersey led the pack with increases of 134 percent, 106 percent, and 85.6 percent, respectively.

Even without mandatory sentencing laws, many states have corralled more drug users into prison by policing more aggressively, issuing longer sentences, and abolishing parole, explains JPI’s Schiraldi.

“Also, racial profiling and targeting neighborhoods that are predominantly black have created an influx into the criminal-justice system,” he says. The statistics in the report echo this observation. “Blacks are incarcerated for a drug offense at a rate 14 times that of whites,” the report states, “while survey data reveals that five times as many whites use drugs as blacks.”

All of these issues were addressed in detail at the July 29 Shadow Convention in Philadelphia, emceed by media celebrity Arianna Huffington, and will be re-addressed at an Aug. 11 Shadow Convention in Los Angeles, both gatherings geared to coincide with the Republican and Democratic national conventions.

From the August 3-9, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Electra

Domestic violence: Brooks Ralston (left), Elisabeth Kirby, Melanie Bandera, and Lindsey Andersen discover the downside of family life in Electra.

Dramatically Dull

Well-intentioned ‘Electra’ a muddled mess

By Daedalus Howell

GERMAN philosopher Friedrich Schlegel once wrote, “Good drama must be drastic.” But drastic drama isn’t necessarily good. For instance, witness the newly formed traveling ensemble Staged Hereafter’s stringent redux of Sophocles’ Electra.

Directed by Susannah Woods from an adaptation by her and Helen Kongsgaard, the production, though difficult and awkwardly muddled, has at least two redeeming features–it’s outdoors and it’s free.

Woods’ project is noble. She wants to bring theater to communities around the Bay Area free of charge (a positively heroic notion given the fact that tickets to local shows are often $15 each). She also wants to provide a forum for the surplus of actors willing to trample the footlights. However, uneven casting and laggard pacing mar the ensemble’s debut show.

Electra is a family portrait painted in blood. Understanding the characters’ motivations requires familiarity with King Agamemnon’s rap sheet. He murders the husband of Clytemnestra (Elisabeth Kirby) in front of her, rips her suckling infant from her breast, and commits infanticide, then forcibly weds the bereaved widow and begets three daughters and a son.

Mercifully, this prescription for family happiness occurs only in the program in the form of a prologue.

Alas, Clytemnestra reaches her breaking point and (in lieu of calling social services) enlists her lover, Aegisthus (Brooks Ralston), to kill the despotic king.

Electra (Melanie Bandera), the middle daughter and apparent victim of the aphorism “Father knows best,” proves herself the consummate Daddy’s girl by bearing a grudge against her mother so vitriolic it makes Mommy Dearest read like a greeting card. She sends her kid brother, Orestes (Gabriel Weiss), off to the temples of Apollo, where he spends 10 years plotting to avenge his father’s death.

And this is where Woods’ production begins. What happens? Orestes comes home and kills his mother, proving once and for all that the family that slays together stays together.

As Electra, Bandera proves herself a studied and pensive actress unafraid to explore the emotional range of her character. Of course, that range turns out to have only one note–despair. Bushels full.

Armond Edward Dorsey does a fine turn as Paedagogus, the loyal servant who had hidden the young Orestes for years. Dorsey is captivating during a monologue in which he recounts a bogus story of his charge’s death in a chariot race (Chariots of Liar?). Indeed, one wishes he’d simply relay the remainder of the play in the same competent if blustery manner.

Since Electra is staged outdoors, audiences are encouraged to make themselves comfortable–as one gentleman did at a performance of this production at the Marin Art and Garden Center in Ross. He lay down on the bench seating and napped.

Bringing classics to the stage free of charge is to be applauded. But in this case, you get what you pay for.

Electra hits the stage on Friday and Saturday, Aug. 4 and 5, at 6:30 p.m. at Pride Mountain Vineyards, 4026 Spring Mountain Road, St. Helena. Free. 415/ 258-1989.

From the August 3-9, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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DaVero olive oil company

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Electra

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