Vegetarian Restaurants

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“Another weirdo.” The waitperson’s unspoken thought in the face of a vegetarian or vegan request was typical not too many years ago. No longer. But even though the raised-eyebrow reaction is not predictable anymore, it’s still often a bloody challenge to find restaurants with generous menus for vegetarians and vegans (we’ll call them VVs here). Die-hard carnivores, who regard VVs as gastronomically disabled, exhibit disdain, puzzlement, pity, resigned tolerance, or all of the above. Because Americans tend to be more carnivorous than many other nationalities, VVs find the most friendly menus in ethnic (especially Asian) restaurants. Chinese food can be a bonanza, particularly for vegans, who, in addition to shunning flesh foods, also avoid dairy products and eggs; rarely, if ever, does a Chinese eatery use dairy foods (as the Chinese say, “Cheese smells like dirty feet”). Italian restaurants, with their pastas and pizzas, are another good bet. Still, vigilant VVs are ever on the lookout for such seemingly innocuous dishes as Asian soup that has a nonveg base; Chinese noodle and rice dishes that may have been simmered in meat broth, or the noodles laced with oyster sauce; Indian sauces and breads made with dairy products like ghee (clarified butter); Italian spaghetti sauces containing meat, and risotto traditionally sautéed in butter before simmering; Mexican dishes cooked in lard. Some restaurants (mercifully unidentified here) believe they’ve done their bit by offering a tasteless, overcooked mess called a “vegetable plate.” Fortunately, if for some reason VVs are stuck in a fast-food joint, they can usually order a baked potato or two and a salad. Any sensible VV will steer clear of such eateries as Cattlemans, Hungry Hogg Barbecue, Hamburger Heaven, and the ubiquitous Lyons (whose menu is a VV’s nightmare). Raw-food VVs may really be up against it, but for the rest, here’s a far from exhaustive list of choices:

Sonoma County

Acre Cafe and Lounge 420 Center St., Healdsburg. 432-1302.

Aram’s Cafe 131 Kentucky St., Petaluma. 765-9775.

Blue Heron Hwy. 116 and Moscow Road, Duncans Mills. 865-9135.

Breaker’s Cafe 1400 Hwy. 1 at Pelican Plaza, Bodega Bay. 875-2513.

California Thai Restaurant 522 Seventh St., Santa Rosa. 546-6142.

Costeaux French Bakery and Cafe 417 Healdsburg Ave., Healdsburg (433-1913); 104 Calistoga Road, Santa Rosa (539-3357).

East West Bakery Cafe 128 N. Main St., Sebastopol. 829-2822.

East West Cafe and Restaurant 2323 Sonoma Ave., Santa Rosa. 546-6142.

El Patio Mexican Restaurant 425 Stony Point Road, Santa Rosa. 578.4757.

Fresh Choice Restaurant 5080 Redwood Drive, Rohnert Park (585-1007); 1018 Santa Rosa Plaza, Santa Rosa (525-0912.

Gary Chu’s Gourmet Chinese Cuisine 611 Fifth St., Santa Rosa. 526-5840.

Higher Grounds Cyber Cafe 1899 Mendocino Ave., Santa Rosa. 525-8125.

Inn of the Beginning 8201 Old Redwood Hwy., Cotati. 664-1100.

Marbles Cafe 1770 Piner Road, Santa Rosa. 576-8003.

Slice of Life 6970 McKinley St., Sebastopol. 829-6627.

Sonoma Taco Shop Gateway Shopping Center, Petaluma (778-7921); 913 Golf Course Drive, Rohnert Park (585-2944); 100 Brookwood St. (Creekside Center), Santa Rosa (525-8585).

Stella’s Cafe 4550 Gravenstein Hwy. N., Sebastopol. 823-6637.

Viva Mexico 6536 Front St., Forestville (887-8388); 842 Gravenstein Hwy. S., Sebastopol (823-555); 7234 Healdsburg Ave., Sebastopol (824-8482).

Yao-Kiku Japanese Restaurant 2700 Yulupa Ave., Santa Rosa. 578-8180.

Napa County

Brix Restaurant 7377 St. Helena Hwy. (Hwy. 29), Napa. 944-2749.

French Laundry 6640 Washington St., Yountville. 944-2380.

PJ’s Cafe 1001 Second St., Napa. 224-0607.

From the July 20-26, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Hardware/Software Gurus

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Byte This

The techno horror stories are out there. Believe them or not. There’s the unfortunate fellow who broke the “cup holder” off his computer (he’d been using the load drawer of the CD-ROM drive as a coffee-mug holder and snapped it off the drive). The poor woman who couldn’t get her “compootah” to run even as she pressed down hard on the “foot pedal” (which turned out to be the mouse). The irate couple who called tech support to complain that their keyboard no longer worked (after they’d cleaned it by filling up their tub with soap and water and soaking the keyboard for a day, then removing all the keys and washing them individually). And the bemused guy who called the techies to say he couldn’t get his PC to fax anything. After 40 minutes of painstaking troubleshooting, the technician discovered that the man was trying to fax a piece of paper by holding it in front of the monitor screen and hitting the “send” key. Hmmm. But even fairly computer-literate folk like you and me can get themselves into such cyber chaos (even if we actually do read the manual) that seemingly the only remedy for an all-buggered-up system is to deliver a swift kick to the hard drive when it instructs you to “reboot.” A saner option is to take the whole freakin’ gizmo to the nearest computer hospital and pray they can resuscitate the little devil. Here are some of the local hardware/software gurus waiting to repair your maniacal machine:

Sonoma County

ADN 2000 Computer Center 5690 Old Redwood Hwy., Windsor. 838-0101.

All Computer Solutions Inc. 6 Petaluma Blvd. N., Petaluma. 765-1316.

Alpha Electronics 2750 Fourth St., Santa Rosa. 542-8363.

Business PC Troubleshooting Office 131 Stony Point Circle, Santa Rosa. 865-9328.

Computer Maintenance Service 141 Foundry Wharf, Petaluma. 778-6299.

Domaine Systems Group 1350 Industrial Ave., Petaluma. 769-1799.

Executron Computers 1831 Guerneville Road, Santa Rosa. 525-3715.

Holbrook Technologies P.O. Box 68, Rio Nido. 869-9061.

MacNetworks 456 10th St., Santa Rosa. 522-1400.

Pro-tech Computers 9074 Brooks Road, Windsor. 838-0390.

Sonoma Computer Store 500 W. Napa St., Sonoma. 938-0275.

Napa County

Advanced Data Systems 1735 Action Ave., Napa. 257-8600.

Computer Connections 2538 Jefferson St., Napa. 224-9115.

Computer Service Center 589 Coombsville Road, Napa. 224-5542.

From the July 20-26, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Coffee Resources

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Rush Hour

Nothing can kick-start a heavy-lidded, fuzzy-brained morning like a steaming hot cup of joe. And nothing can perk up an equally heavy-lidded, fuzzy-brained late night, hunched over an iMac and a stack of books, like a steaming hot cup (er, make that a pot) of joe. Pair it with a sugary or chocolatey tidbit and the world looks all right. Yup, centuries of java junkies have cherished their special times–mornings, noons, or late, late nights–with the deeply fragranced potent brew and its wide-awake wallop. Of course, coffee connoisseurs know that the ultimate caffeine elixir is usually whatever’s the freshest. That means beans toasted to perfection and aged for just 24 hours for the heating process to release and develop the flavors, then ground up mere minutes before the boiling water hits. The resulting flavor should be dark and rich as sin but not thin, burned, or bitter. And never, ever stale. A whole lotta coffee-bean roasting goes on locally, with many of the most popular coffeehouses pulling double duty as roasteries. Leon Sange, co-owner of the Napa Valley Coffee Roasting Co. in St. Helena, says the best beans are arabica (rather than the more commercially used robusta) from various geographic locations, such as Indonesia, South America, and Central America. “We blend varieties to get medium-bodied to full-bodied flavor,” he explains. The beans are toasted in a drum roaster that heats the air, which in turn heats the beans. The process takes 14 minutes to roast the beans, which go from a greenish hue to brown-black, and five minutes to cool them. “The advantage to roasting on the premises is you always get good and fresh coffee,” says Sange. “Freshness is the key.” According to Sange, roasted beans are at their optimum a day after heating, then start to deteriorate quickly and have a life span of just seven to 10 days. Here are a few local selections for your daily grind:

Sonoma County

A’Roma Roasters 95 Fifth St., Santa Rosa. 576-7765.

Barking Dog Roasters 17999 Sonoma Hwy., Boyes Hot Springs. 939-1905.

Daily Grind Coffee Co. 1940 Piner Road, Santa Rosa. 545-5282.

Deaf Dog Coffee 1120 Industrial Ave., Petaluma. 762-7848.

Flying Goat Coffee 324 Center St., Healdsburg (433-9081); 10 Fourth St., Santa Rosa (575-1202).

Gold Coast Coffee Co. 23515 Steelhead Blvd. (off Hwy. 116), Duncans Mills. 865-1441.

Gorilla’s Coffee & Espresso 1451 Southwest Blvd., Rohnert Park. 793-9990.

Jeanine’s Coffee & Tea Co. 464 First St., Sonoma. 996-7573.

Petaluma Coffee & Tea Co. 189 H St., Petaluma. 763-2727.

Sonoma Valley Coffee Roasters 464 First St. E., Sonoma. 996-7573.

Taylor Maid Farms Organic Coffees & Teas 6793 McKinley Ave., Sebastopol. 824-9110.

Wolf Coffee Co. 336 Coddington Center (524-8039); 614 Fourth St. (524-8036); 1810 Mendocino Ave., Santa Rosa. 546-9653.

Napa County

Break Time Coffee Service/ PauPaiz Fine Coffees 978 Kaiser Road, Napa. 224-7434.

Calistoga Roastery 1631 Lincoln Ave., Calistoga. 942-5757.

Napa Valley Coffee Roasting Co. 1400 Oak Ave., St. Helena. 963-4491.

From the July 20-26, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Screeing Schedule

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Rock Ross

THE MONTE RIO filmmaker offers an evening of beautiful, non-narrative black-and-white shorts. The five-minute film created by participants in the Camera-less Film workshop will also be screened. Friday, July 28.

Women Animators

THIS SCREENING draws together work by three female animators from around the United States. First up will be Karen Aqua’s fluid and impressionistic work, which draws on all sorts of iconographic traditions (including Native American and Egyptian) to offer such startling images as ancient petroglyphs writhing in agony under a radioactive rain. Also on offer: the quirky, personal, and introspective work of Oregon filmmaker Johanna Priestly, whose films have screened at the Museum of Modern Art in New York. The evening will also feature three films from Emily Hubley. Unlike other Film Cafe events, this evening will not feature an appearance by any of the featured filmmakers. Friday, Aug. 25.

William Z. Richard

MANY OF THIS San Francisco resident’s works are art films in the strictest sense–meditations on form and mood and movement rather than plot or character. Perhaps the most compelling of his films slated to screen at SMOVA is “Permit File,” a disturbing conglomeration of images taken from documents that support public identity, including newspapers, films, passports, and criminal records. Friday, Oct. 6.

The Film Cafe opens at 8 p.m. on all three nights, and films roll at sunset. Catered food and drink is available for purchase. The screenings take place in the courtyard of the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Tickets are $12 for one evening and $30 for a season pass. For details, call 527-0297.

From the July 20-26, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

James Carter

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Both sides now: James Carter

Photograph by Lorenzo Aguis

Carter’s Craft

Jazz saxophonist James Carter releases a pair of new discs

James Carter Chasin’ the Gypsy (Atlantic Jazz) Layin’ in the Cut (Atlantic Jazz)

JAZZ SAXOPHONIST James Carter’s 1996 release Conversin’ with the Elders (Atlantic Jazz)–with Lester Bowie, Buddy Tate, Harry “Sweets” Edison, and other guests–earned kudos for its intelligent treatment of straight-ahead classics. It paid homage to Charlie Parker, John Coltrane, Lester Young, and other greats without succumbing to the shameless imitation that is so rife among young jazz lions. The newly released Chasin’ the Gypsy takes a similar approach. Employing sparse arrangements, Carter draws inspiration from the Romany Gypsies and Parisian cafe jazz while lending an affectionate nod to the late, great guitarist Django Reinhardt through such Django chestnuts as “Nuages” (best known as “The Honeymooners Theme”) and “Oriental Shuffle.” Romero Lubambo provides the tasteful Djangoesque licks while violinist Regina Carter fills the Stephane Grappelli role; Carter dishes up the soulful vision and adds some drop-dead bass sax solos. The second release in this double whammy is Layin’ in the Cut, an electrified set that builds its foundation on Ornette Coleman’s groundbreaking ’70s-era Prime Time fusion ensemble. Guitarist Marc Ribot is featured. While not as deep as Coleman’s outfit, this combo may help dispel Carter’s reputation as a lightweight held by his harshest critics. And, frankly, he’s on to something. Together, these discs reaffirm the brilliance of one of the genre’s most promising rising stars. Greg Cahill

Queens of the Stone Age Restricted (Interscope)

WELCOME TO the New Age of Arena Rock: rap-metal fusions may dominate today’s hard rock, but a subtler strain of big-riff, hippie-punk, retro bad boys like Monster Magnet, Fu Manchu, Buck Cherry, and Nebula are picking up where AC/DC, Pink Floyd, and Guns N’ Roses left off. On their second disc, Restricted, Southern California’s Queens of the Stone Age (led by former founding members of Kyuss) bring this new wave of “stoner rock” into the mainstream. The opening drug-paean blast “Feel Good Hit of the Summer” sounds like the Ramones covering Led Zeppelin, while the rest of the keyboard-heavy disc sounds like a glam version of classic Black Sabbath. Hold those lighters high! Karl Byrn

Anti-Pop Consortium Tragic Epilogue (75 Ark Records)

A NAME LIKE Anti-Pop Consortium might lead one to think of either goofy New Wave revolutionaries or overly serious techno wunderkinds. Here, it’s a quintessentially avant-garde hip-hop group. In the mode of classic “alt-rap” acts like De La Soul and A Tribe Called Quest, this East Coast MC trio busts odd rhyme schemes against sparse, angular, jazzy-electro beats. Rappers Beans, Priest, and Earl Blaze are unusually smart but no more speedily verbose than mainstream acts (some cuts here borrow their abstract darkness from the Wu-Tang Clan style). Their strength is in being artfully, quizzically abstract; lyrically, they thankfully avoid the alt-rap trap of preaching against hardcore rappers. Different–very different. K.B.

Spin du Jour

The Mermen The Amazing California Health and Happiness Road Show (Mesa/Blue Moon)

NEO-SURF GIANTS the Mermen used to ride heady sonic waves with a heavy mix of twangy surf and psychedelic Hendrixesque guitars. These days, the band is plying calmer waters with peaceful melodic instrumentals that evoke the sparkle of the shimmering shoreline (although tracks like “Miki’s Lust Behive” show that the band can still stir up a storm). California dreaming at its finest–the perfect soundtrack for cruising the coast this summer. G.C.

From the June 13-19, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Pt. Reyes Station Dining

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Gourmet to go: Liz Vella of Tomales Bay Foods/Cowgirl Creamery in Pt. Reyes Station displays some of the local flavors.

West Marin Meanderings

Plenty to savor at Pt. Reyes Station

By Paula Harris

FORGET THE CALL of the wild. It’s the call of the ocean that lures me. Sometimes a day trip to the nearby windswept sandy beaches of west Marin for a piercing tangy whiff of salt water and a sudden cool lash of sea spray across sun-toasted skin is enough of a vacation to get you through another summer work week.

One immensely scenic route to get from Sonoma County to Marin County is to go to Petaluma and take the D Street extension road. You’ll pass stately Victorian mansions with their little turrets and immaculate lawns as you head out of town. It looks like (and has indeed been) a movie backdrop for nostalgic Americana on the silver screen.

But suddenly the Peggy Sue Got Married street scene gives way to snaking country roads, grandly plunging hills–as dry and golden as sand dunes–and a patchwork of craggy dark rocks and olive groves.

Before you hit your beach destination, stop at the tiny whistlestop town of Pt. Reyes Station (population 725). Once a drowsy little place with plenty of Old West charm after the bustling railroad closed in 1933, the tiny coastal town has transformed itself during the past couple of years into quite a foodie enclave.

In fact, there are so many food options to explore here, you might not even make it to the ocean.

Begin a lazy morning in Pt. Reyes Station with an eye-popping cup of espresso brewed with house-roasted beans at Cafe Reyes, 11101 State Route 1 (415/663-9493). Wake up leisurely to the swaying melodies of Latin American vocals on the sound system in the large open dining room, with its rough-hewn floor and a corrugated tin roof softened by large canvas umbrellas, sacks of java beans, and golden straw beachcomber hats. Or slump in the sun on the picturesque outdoor patio next to the gurgling fountain. Return later for a dozen local oysters (oysters are the thing in Pt. Reyes Station) sautéed in garlic and lemon butter ($14) or just plain raw (although of the half-dozen oysters we sampled, only one was truly stellar). Or try the mole roja enchiladas, a choice of grilled chicken, baby shrimp, or garden vegetable ($8.95); or the exotic-sounding kim ti kai burrito–chicken breast marinated in coconut milk and curry with jasmine rice ($6.95).

Then mosey on down the street, sidestepping an elderly couple strolling hand in hand and a couple of free-roamin’ dogs, to Bovine Bakery, 11316 Hwy. 1 (415/663-9420). This is a popular community meeting place where locals gather by the outside benches to dish the day’s dirt. Pick a hulking blueberry buttermilk scone ($2) or a flaky pain au chocolat ($1.85) from the glass display case and savor a little sugar intake as you try not to eavesdrop.

If you’re still planning to head to the beach, stop at Palace Market, 1200 Hwy. 1 (415/663-1016) and pick up some picnic fare (or even some live fishing bait.) Wander over to the deli and buy beach goodies: salmon frittata ($2.50 a slice), a crisp baguette, huge garlic-stuffed olives ($6.99 a pound), individual lime tarts ($2.50 each), and a chilled bottle of chardonnay or sauvignon blanc, or a sparkler from the large refrigerated selection.

If it’s a summer Saturday, swing by the Farmers’ Market in the middle of the main street between 9 a.m. and noon to score some crisp-from-the-garden produce. Or try Toby’s Feed Barn, 11250 Hwy. 1 (415 663-1223) next door. Pass by the hay, feed, and country gifts to snag a one-pound bag of almonds ($3.79), roasted pistachios ($4.99), or dried peaches ($4.49) to fuel a power walk along the sand. A variety of specialty chips, jams, jellies, sauces and oils, local organic Straus Creamery milk, local fertile free-range eggs ($3.99 a dozen), breads, and organic fruits and veggies are also available. You can even pick up a picnic basket at Toby’s.

CASUAL DINING spots include Point Reyes Whale of a Deli, 997 Mesa Road (415/663-8464), for takeout specialty sandwiches like Mama’s meatball ($5) and pizzas by the pie or the slice, and Taqueria La Quinta, Highway 1 at Third St. (415 663-8868), a no-frills taqueria, for inexpensive Mexican fare, fruit smoothies, and aguas frescas.

The Station House Cafe, 11180 Hwy. 1 (415/663-1515) is a good spot for lunch (this venerable institution also serves a great breakfast and innovative dinners that have drawn raves from Gourmet magazine). In sultry weather, eschew the classy but plain dining room in favor of the beautiful garden and red brick patio–popular for wedding parties. If you’re fortunate, one of the resident hummingbirds will hover just inches from your ear as you read the menu. Huge colorful blooms, birdsong, and a fountain conspire to give a restful feeling while wooden fencing and lattice work conceal you from the rest of the world.

Johnson’s oysters, from nearby Tomales Bay, steamed in the shell ($7.50 for six, $13.50 for a dozen) bring a mouth-to-mouth breath of the sea. Black bean and turkey chili with corn bread ($6.25 a bowl) is a good standby (and even more welcome after a bracing trek to the Pt. Reyes lighthouse in windy weather). But forget the minestrone soup of the day ($2.70 a cup), which is too watery. Nonmeat eaters will love the vegetarian shepherd’s pie ($6.50), a heaping dome of golden-topped mashed potatoes encasing squashes, mushrooms, and tomatoes. Follow with the “famous” bread pudding ($4.95) or homemade butterscotch pudding ($3.95) or the luscious lemon pot de crème ($3.95) for dessert.

Or do as we did and head over to the Pine Cone Diner, 60 Fourth St. (415/663-1536) for a slice of house-made fruit cobbler ($3.95) and a mug of coffee at the worn old counter. The place is small and funky, with red vinyl stools and plastic booths, but it’s no greasy spoon. The motif is cozy-kitsch (little gingham curtains, linoleum on floor, and mismatched plates on the aqua-painted wall), but the food is definitely in the gourmet leagues; for example, scrumptious fruit cobbler brimming with slices of apple and mango.

Martini time: Jasmina Henley bartends at the Station House Cafe, renowned for its innovative gourmet offerings and also boasting live music on weekend nights.

BREAKFAST at the Pine Cone includes pan-fried trout fresh from Idaho with two eggs ($8.50), and honey-baked ham and cheese omelet ($8.25). Lunch features sandwiches, burgers, soups, and salads. But the dinner offerings make you want to stick around till 5 p.m., when they start serving true delights like cherry wood­smoked pork loin with lavender gastrique–lavender-infused sherry, vinegar, and honey ($15.95); and tried-and-true roasted garlic chicken with garlic mashers, pan gravy, and green beans ($13.50).

After all the eating, maybe a little walk is in order. How about to the Point Reyes Oyster Co., 11101 Hwy. 1 (415/663-8373), where you can buy some locally harvested Tomales Bay shellfish at bargain prices or pick some new gourmet cookware?

Or spend an hour or two at Tomales Bay Foods, 80 Fourth St. (415 663-9335) a renovated old hay barn that houses fresh, local, organic, and artisan foods and wines Wednesday through Sunday 10 a.m. to 6 p.m. Select from many deli delectables, including a rockfish salad with summer squash, wax beans, and tomatoes ($10) and a Niman Ranch pork loin sandwich with barbecue sauce and pickles ($5.75).

Within Tomales Bay Foods is the Cowgirl Creamery, where they turn out batches of handmade organic cheeses like crème fraîche, quark, and fromage blanc. You can watch the cheese makers in action through the glass.

Before you go, grab a half-pint tub of pudding-rich Cowgirl Creamery ice cream ($2.75), with choices like mixed berry, chocolate chip, cappuccino, and (anything but boring) vanilla, made with pasteurized organic milk, cream, eggs, sugar, salt, and all-natural ingredients.

Slip in a plastic spoon and prepare to swoon–the beach can wait.

From the June 13-19, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Wine Country Film Festival

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To Walk with Lions, a new feature screening at this year’s Wine Country Film Festival. Harris will be on hand for a film tribute as well.

Richard the Lionheart

Wine Country Film Fest fetes Irish actor Richard Harris

By Paula Harris

RICHARD HARRIS has been thrown to the lions before. He’s survived two long and rocky marriages, a nasty bout with the vodka bottle, and several bizarre career moves–his off-key, tremulous recording of the song “MacArthur Park” and his appearance in Orca, a clunky Jaws wannabe, spring to mind.

But nothing quite prepared the Limerick-born movie star and former hellraiser–known as much for his drinking sprees and wildly bawdy lifestyle as for his widely varied film career–for his latest role.

In his new movie, To Walk with Lions, screening July 22 at the Wine Country Film Fest, Harris plays real-life lion guru George Adamson, the conservationist made famous by the Oscar-winning movie Born Free and its sequel, Living Free. The latter film told how George and his wife, Joy, raised Elsa the lioness and rehabilitated previously captive lions to release them into the African wild.

For the movie, the eccentric, bombastic actor, who’ll be 70 in October, was expected not only to walk with the lions, but to romp and snuggle with the tawny beasts as well.

The film was shot in Kenya using trained “movie” lions from Los Angeles. When Harris first took on the role, he initially refused to mingle with the big cats and immediately requested a stunt double.

“I told the directors I would do the picture, but I didn’t want to work with the lions. I thought they were very dangerous animals,” Harris recalls in his loud, velvety Irish brogue, talking to me by telephone from his suite at the Surrey Hotel in New York. “I’ve survived many mishaps in my life, and I didn’t necessarily want to end up in the belly of a lion as some big cat’s breakfast.”

But once he arrived in Kenya, Harris realized he couldn’t very well play the life of George Adamson without having some contact with the lions, so he had trainers instruct him on self-defense, should the animals decide to attack during filming. After two days, though, Harris decided knowing self-defense wasn’t enough–he wanted to bond with the big cats.

“I went down every morning. I would lean in front of their cages and talk–just for two or three minutes so I didn’t bore them. Then I went down again every evening and spoke to them again,” he remembers. “I got on really well indeed with some of them; they’re the ones we use in the picture. I found it quite thrilling, frightening in a sense because they’re not house pets and are still predators and they could turn on you, but you’ve got to take that risk.”

And take the risk he did. Apart from one particularly intense attack sequence, Harris decided not to use a stunt double.

The actor claims he now misses the lions more than the people who worked with him on the movie. “I’m going to see the lions when I’m in Los Angeles,” he vows. “I’m definitely going to visit them. I’m told they’ll remember your smell and your voice.”

The twice-Oscar-nominated Harris, whose films have included Unforgiven, Cromwell, A Man Called Horse, Camelot, and This Sporting Life, will make a personal appearance in Napa County on Saturday, July 22, to receive a Lifetime Achievement award from the Wine Country Film Festival, which will screen To Walk with Lions.

Festival Fun: The Wine Country Film Festival offers a varied program of some 80 works.

THE FILM, directed by Carl Schultz, is based on a true story. It chronicles the embattled twilight years of Adamson and opens in 1980, shortly before Joy Adamson’s murder, reportedly by a disgruntled employee. To Walk with Lions chronicles George’s struggles to save the preserve, known as “Kora,” and protect his cherished lions from invading poachers and bandits.

“I thought the part was very challenging,” says Harris. “It was something I’d never done before in my career, and I just found [Adamson] to be an absolutely fascinating man.”

The actor initially thought he wasn’t right to play Adamson. But he researched the role by studying documentaries about the man, emulating his mannerisms until he took on a startling resemblance to the famed conservationist–even down to the movement of his arthritic hands and the way he sucked his pipe.

Although he enjoyed filming To Walk with Lions, Harris says he doesn’t need to work and he chooses his roles judiciously. “I work whenever it suits me, whenever the part is good enough, and I like the people,” he avers. “I don’t want to paint myself into a one-character role. I try my best to play different parts.”

Harris’ most recent film is the epic swords-‘n’-sandals spectacle Gladiator, in which he plays Emperor Marcus Aurelius.

His upcoming projects include a new version of the Count of Monte Cristo and a modern twist on King Lear, to be filmed in Liverpool. “It’s a modern version set in the present day, with the King Lear story but not Shakespeare’s dialogue,” he explains.

In the meantime, Harris divides his time between his beach house in the Bahamas and his adopted home, a suite at London’s Savoy Hotel. When not acting, he keeps himself occupied by writing short stories and poetry.

HARRIS OFTEN visits Ireland–but balks at ever making a home on the Emerald Isle. “I won’t live there,” he states emphatically. “There’s a love-hate relationship between me and the Irish, and I find our temperaments are too equal. I think that if I’d lived in Ireland I’d probably have been dead 20 years ago.

“The life there is too . . . um . . . ,” he continues, struggling for the right words. “It . . . it would suit me too much. It would suit me to excessive extremes.”

Of course, that’s always been his (well-documented) image, hasn’t it? “I’m afraid so,” he responds in a dismal tone. But Harris says that his health is good and he’s cut way down on the booze. After a doctor’s warning in 1981, he quit alcohol cold turkey for 13 years, but nowadays partakes in moderation.

“I don’t drink spirits at all. I drink the odd glass of wine with dinner, and I drink Guinness,” he says.

But I’m still curious about the “Chief of Camelot” in his notorious prime. “So, tell me more about the wild days,” I ask, eager for details. But there’s a pause on the end of the line.

“Oh, don’t make me go into all that!” Harris chimes. “I will say that everything was true–and that only 10 percent of what I did was published. So you can imagine . . .”

“You’ve had a very colorful life, Richard,” I comment.

“The best, ” he replies in his King Arthur voice. “I have no regrets at all.”

Richard Harris is scheduled to appear Saturday, July 22, at Sequoia Grove Vineyards, 8388 S. St. Helena Hwy., Rutherford. Cost is $125 for the VIP Winemakers’ Dinner, tribute, and film screening, $25 for the tribute and screening only. Gates open at 6:30; tribute, 8: 30; screening , 9. p.m. 935-3456.

From the June 13-19, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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Petaluma organizer blazes a different path for dealing with development issues

By Karen Schell

DOES TRAFFIC make you snarl? Are you sick of suburban sprawl? You want the problems solved, and you even have a few ideas of your own, but the thought of a sleeper meeting on the topics of land use and transportation makes your stomach do a U-turn! Imagine for a moment a community forum that hosts no speakers, no workshops, and no experts. A loosely defined topic provides the only framework, and the ideas are generated entirely by the meeting participants.

Sort of like a structured coffee break.

This vision promises to become reality Saturday, July 15, at the Community Forum on Land Use and Transportation at the Petaluma Community Center. Brought to you by the Leadership Institute for Ecology and the Economy, the forum will feature a structure referred to as “Open Space”–a leaderless meeting style that has been used for about a decade in, of all places, the business world.

Born in the early ’90s, the Open Space format has been used by companies and organizations like Rockport, Honeywell, even the World Bank to generate new ideas, empower their employees, and increase profitability. The innovative technique cuts out much of the hierarchy and authority of traditional meetings and gives the idea-generating power back to the participants, where it belongs.

Beth Meredith of Sustainable Petaluma, a key organizer of the event, has been focusing on ways to give the public a voice beyond the ballot box with regard to the important issues of land use and transportation, including the lack of affordable housing, the repercussions of widening Highway 101, and other hot-button topics. “The purpose of this community forum is to open up the dialogue,” says Meredith. “A lot of the talk has been focused around ballot measures, and that’s really narrowed the conversation. We are interested in how we can broaden and reinvigorate this conversation.”

The Open Space format certainly gives voice to anyone who wants it. Even better, it gives attendees the option to choose their level of participation.

AN OPEN SPACE meeting captures the energy of the coffee break and carries it forward. It begins as a large circle of people. First, the facilitator explains the loose structure. Anyone feeling passionate about a particular idea within the topic writes the idea on a large piece of paper taped to the wall. The resulting collection of subjects evolves into the formation of the discussion groups. Next, the groups begin to assemble. A participant looks at the wall and decides what topics sound intriguing, then joins those discussions, meandering around to any group that looks interesting.

“Whoever comes to a particular discussion is interested in that topic,” explains Meredith. “In Open Space, people are free to move to the conversations that are meaningful to them, where they’re learning and contributing, and if they find that the conversation isn’t really what they want to be talking about, they can go to another conversation.”

Meredith, an enthusiast of the process, has helped organize other key conferences, including the Better Not Bigger forum in Santa Rosa last summer. She finds Open Space to be one of the most useful ways to organize a meeting. People can listen to the conversation, be part of the conversation, lead the conversation, or do any and all of the above. “I’m always looking for ways to capture the energy and intelligence of the people who attend,” Meredith states. “I want the output to be multidirectional.”

So often Meredith finds that attendees of traditionally organized conferences and meetings leave revved up, only to find nowhere to take their ideas. Open Space gives participants the chance to connect with others. “It really expedites people with similar interests getting together to discuss what’s important to them.” she explains. Language barriers can be overcome here as well. In an Open Space meeting, participants who speak another language, such as Spanish, can convene a group using that language.

Meredith is quick to point out that the forum is the “discussion and creation of ideas” part of the process and not the “implementation and action” part. That doesn’t mean, however, that no action will be taken. “There’s no organization, no structure that is going to take our ideas and implement them. It will be up to us, our passion and our responsibility, to take these ideas forward,” she says. This is empowering, as participants realize that they are capable of creating change.

MEREDITH, along with co-organizer Rick Theis of the Leadership Institute, is collaborating with some of the forum’s sponsors and others to help people carry out the ideas they create. Sponsoring organizations include Greenbelt Alliance, the Sonoma County Transportation/Land Use Coalition, Sonoma County Conservation Action, the Sonoma West Times and News, the Sustainable Petaluma Network (part of the Healthy Community Consortium), and Sustainable Sonoma County.

The organization presenting the event, the Leadership Institute for Ecology and the Economy, is a nonprofit educational organization dedicated to educating current and future leaders and the local community on environmental, economic, and social equity issues.

Everyone is invited to participate in this daylong countywide forum. A $15 donation is requested, but no one will be turned away for lack of funds. Bring a lunch to enjoy in the park or walk to one of the nearby restaurants to eat.

Important topics aside, the meeting style itself should prove intriguing. “Once you experience Open Space, you start looking at all other processes differently. It really becomes a perspective!” exclaims Meredith, who would like to see the technique applied to other difficult issues and processes, including city general plans.

“All we ask,” she adds, “is that you come prepared to be surprised.”

Usual Suspects loves tips. Call our hotline at 527-1200 or e-mail us at In**@******re.com.

From the June 13-19, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Sears Point Raceway

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Yellow flag: Marvin Krasnansky has filed a lawsuit to curb expansion at Sears Point Raceway, saying the project is ruining the serenity of Sonoma Valley.

Hitting the Brakes

Sears Point: It ain’t over till it’s over

By Tara Treasurefield

TONY AND NANCY LILLY, who live two and a half miles from Sears Point Raceway at the junction of Highways 121 and 37, planned their summer vacation this year around a major sporting event–leaving town June 22 to escape a period of intense auto-racing activity at Sears Point that drew 100,000 rabid racing fans. But the couple also is reacting to the influx of crowds to this small, usually quiet Sonoma County town in another way.

In May, the Lillys and the Yellow Flag Alliance filed a lawsuit in Superior Court against Sonoma County, the Board of Supervisors, and Sears Point Raceway, under the California Environmental Quality Act, objecting to an environmental impact report approved by the board in April that cleared the way for a major expansion of Sears Point.

Marvin Krasnansky, who has led the Yellow Flag Alliance for two years, says, “CEQA requires an attempt to reach a negotiated settlement before going to court. That’s where we are now. If we aren’t able to settle, it will go to court.”

Negotiations began on June 19, and what goes on at the meetings is confidential.

Krasnansky, who lives far away from Sears Point–on Sonoma’s east side–says he’s involved in this struggle because “Sears Point is the source of air pollution, traffic, and environmental problems that affect everyone, not just immediate neighbors. . . . You have to know the details to appreciate what a horror this expanded track is going to be,” he says.

The $30 million expansion will almost quadruple the capacity of the increasingly popular speedway, which is riding a crest of popularity fueled by celebrity drivers and high-profile NASCAR events.

According to Krasnansky, if the current EIR stands, the only way to handle the traffic will be to make Highway 121 four lanes all the way to Napa, and widen Highway 37 between Highway 121 and the Mare Island Bridge. “The board could have reduced traffic by reducing the maximum allowable crowd from 110,000 to 80,000,” he says. Instead, he adds, it has allowed Sears Point to grow exponentially.

“The NASCAR event drew 100,000 people on June 25; 10 years ago, only 28,000 people came,” he says. “Sonoma County put its head in the sand [over the influx of crowds]. With this board, some piece of land is always for sale.

“They’re selling this piece of the environment for $2 million year in tax revenue.”

The lawsuit charges that the EIR is inconsistent with four elements of the Sonoma County General Plan: noise, land use, circulation and transit, and scenic landscape. Specific complaints are that the noise from Sears Point alone is seriously detrimental to the lives of near neighbors–the Lillys, Roche Winery, the Roches, and others–and that the proposed project will have significant impacts on the area around Sears Point.

According to the lawsuit, there’s no substantial evidence to support the board’s finding that the project would not be detrimental to the “health, safety, peace, comfort, or general welfare” of people living and working in the neighborhood, or to the general welfare of the area.

THE LAWSUIT isn’t the first time that Krasnansky and the Yellow Flag Alliance have run up against the corporate sports giant. In 1998, the retired public-relations executive rattled investors on Wall Street by paying a news service to distribute a press release on the Internet claiming that the county could shut down Sears Point because of noise violations. Internet providers then electronically cross-referenced the press release with the company’s stock information. The speedway’s stock reportedly fell by almost $1.50 a share at that time, but it is unknown whether the press release caused the tumble.

At the time, Krasnansky was unrepentant about the high-tech tactic, but Sears Point president Steve Page, who had to field calls from shaken portfolio managers and investors, criticized the move. “It was impossible to say what effect it had on stock prices, but it did raise concern,” he told the Independent.

“What worries me was the tactic itself. This is an open public process, and there is a right way to go about it.”

The information in the release was misleading, Page added, noting that the raceway was not in danger of closing. Indeed, he has contended all along that Sonoma County has no noise ordinance. “The General Plan lays out certain standards recommended for business and various land uses,” he explained at the time.

“Our use permit was modified in 1992 and incorporates a sound study that explicitly says Sears Point Raceway occasionally achieves noise levels in excess of county standards.

“To say we’re in violation of the use permit is incorrect.”

PAGE HASN’T changed his stance. “The lawsuit is without merit,” he says. “All the issues it raises have been studied as part of the environmental review. They have been argued in front of the Sonoma County Planning Commission and the board, and both . . . have made specific recommendations and decisions. The people who have filed the suit disagree with those decisions. This is their one avenue to contest it, and that’s what they’ve chosen to do. There is probably no project of this kind that has been studied for as long and as thoroughly as this has been studied.

“We don’t view the lawsuit as a particular threat, because the issues have been studied, addressed, and debated by the public and at great length through two EIRs,” Page says. “Every relevant agency has studied it–the state Regional Water Quality Control Board, Caltrans, the Board of Supervisors, Fish and Wildlife, the Planning Department, etc. Everyone has had their input, has evaluated the potential impacts and the proposed mitigations.

The board voted 5­0 to approve the project. The lawsuit flies in the face of an awful lot of data and determinations that this process was followed thoroughly and absolutely as it should be–legally. They disagree with the board’s policy decision.”

But opponents of the approved EIR argue that the review process was flawed, and that county supervisors ignored recommendations made by their own Planning Department. Consequently, the lawsuit asks for:

* A ruling that the Sears Point project was illegal and is therefore null and void;

* A temporary restraining order to prevent the board from granting permits or executing agreements that would allow the project to go forward; and

* A requirement for the board to prepare, circulate, and consider a new and adequate EIR.

All along, the Lillys and the Yellow Flag Alliance have made a number of specific requests, including the establishment of attendance limits based on an actual count of cars instead of an estimate from the air; noise monitoring of the five biggest events and a requirement that all other events comply with the noise element of the county General Plan; and restrictions on the use of two-stroke engines, which are notoriously noisy and polluting.

“We’re the noise garbage dump for California,” says Krasnansky. “If it’s too noisy for [the raceway at] Laguna Seca, why is it OK for Sonoma County?”

Win or lose, Krasnansky says that the last two years’ worth of battles haven’t been in vain. “We succeeded in getting some limits on the size and frequency of events,” he says. “One of the conditions of the [raceway’s] use permit is that they can’t have rock and roll concerts or auto shows. This is not an entertainment facility, which is what they wanted.

“It’s an auto-racing track.”

From the June 13-19, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

SoFo2

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Red-letter day: Irene Belknap’s Gifts is among the works on offer at “Seeing Red.”

Red Means Go

SoFo2 exhibit will have you ‘Seeing RED’

By Daedalus Howell

THE COLOR RED means radically different things to different people. To some, it signals danger; to others, it screams “Come hither.” To the folks who write the encyclopedia, it’s “a hue of the long-wave end of the visible spectrum, evoked in the human observer by radiant energy with wavelengths of approximately 630 to 750 nanometers.”

But for Elisa Baker, exhibits coordinator for the Cultural Arts Council of Sonoma County, the color is the theme of the council’s latest exhibit, “Seeing RED,” currently at the SoFo2 Gallery in Railroad Square.

A fusion of red-drenched visual works and poetry that evokes the color, the exhibit culminates in a reading on Saturday, July 15, by five young and five adult poets against a backdrop of 57 works by artists from throughout California.

“I’ve always loved red,” says Baker. “It’s a very strong, vital, aggressive color. There’s a quote about art: ‘When you don’t know what to paint, paint big. When you paint big, paint it red.'”

Baker’s inspiration for the exhibit came, in part, from a poem about the color by local poet Penelope La Montagne. A meditation on red as a galvanizing life force, “Penelope’s poem was the initial ‘seed-poem,’ or the seed-idea, to include poetry in the exhibit,” recounts Baker. The poem closes with the evocative lines “The rev of red cannot be sustained/ But please, scatter her berries throughout my day.”

“I thought it would be great to combine poetry and the visual arts,” says Baker, who enlisted artist and educator Maurice Lapp to juror the visual works. The accompanying poems were selected by a trio of local poetry bigwigs: Sonoma County Poet Laureate Don Emblen, Healdsburg Literary Laureate Doug Stout, and California Poet in the Schools Arthur Dawson.

“I love the juxtaposition of artful words and visual art. Each can obviously stand alone, and yet the mere proximity of one to the other changes each of them,” says poet La Montagne. “In this situation, the artists and poets had no contact before the event, so the pairings are totally random, which promises to yield serendipitous results. Having these two art forms together gives us new doorways to both.”

A longtime art teacher at Santa Rosa Junior College and a lifelong artist, juror Lapp applied simple criteria to the 57 works he admitted into the exhibit–works whittled from over 300 slides sent in by artists across the state.

“I think you have to evaluate a show based on the form, content, emotional feeling, tone, and the expressive quality of the work in question,” says Lapp, whose paintings have been shown in such prestigious art centers as San Francisco’s De Young Museum and New York’s Whitney Museum.

“Without good form you don’t have anything–just something that’s illustrative or merely factual,” he continues. “What we’re after is something that is what one could call ‘something approaching art.’ If we call it art, it has to have coherent form and communicate an emotion.”

Lapp was also careful not to let the show’s theme cloud the process of evaluation.

“Though the title involved the color red, in judging the show I decided I was not going to be overwhelmed by a profusion of red,” he explains. “That’s not what made the works engaging. Red had to be used in a way that gave the work function and meaning.”

As an example of what he was looking for, he cites Budapest 56, by Edgar Haris. The piece is a sculpture of “a tall wreck of a building” in Budapest that uses no red at all, but rather makes a sly political allusion to the color by suggesting its subject was damaged by the Red Menace.

“As a color, red has a lot of impact. It’s a highly saturated chroma and often used as an accent or as a large statement in and of itself,” says Robert Rice, the Arts Council’s education coordinator. “Red has so many hues or variations, from the coolest cool to the warmest warm. You will see a lot of that in this show.”

ONE CAN ALSO expect to see how younger artists have interpreted the color–often as a woeful reference to the violence that shapes their world.

“Many of the youth submissions are laced with images of violence. Collectively they are a screaming indictment of our society,” says La Montagne. “I had no idea when I embarked on this project that red was banned in some schools because of its gang affiliations.”

“Seeing RED” has also proven to be a transformative phenomenon for several of the more “marginalized” artists whose work was selected, including a Vietnam vet who credits the exhibit with turning his life around.

“The exhibit is really inclusive, and I like that,” says Baker, who plans to continue combining art forms at the gallery–a notion La Montagne applauds.

“Poetry and visual art are like singing and dancing–and sometimes I’m not sure which one is which,” she says “Many poets also make visual art, and the reverse is also true. I used to watch folks at art galleries and museums wearing those headsets and wish they were broadcasting their thoughts about what they were seeing and sensing to somewhere that I could tune in. The ‘Seeing RED’ exhibit is a variation on that theme.”

She continues, “I want more joint events where words and watercolors, poetry and pastels, simile and sculpture can swim in the same pond. The more modes of expression the better. Nothing but good can come of it.”

“Seeing RED” continues through Aug. 25. A reception and party goes from 5 to 8 p.m., July 14; the “Reading RED” poetry reading begins at 7 p.m., July 15. Gallery hours are 12 to 5 p.m., Mondays-Fridays, and 12 to 4 p.m., Saturdays. SoFo2 Gallery, 602 Wilson St., in Old Railroad Square, Santa Rosa. For details, call 579-ARTS.

From the June 13-19, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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