Seaweed

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Sea Hunt

Stalking wild seaweed on the North Coast

By Marina Wolf

LIKE MANY of its breed, Eleanor and John Lewallen’s cabin near Mendocino is cozy in a cluttered, back-to-the-land sort of way. An ancient gas stove sits next to a modern wood stove. A prism in the window casts rainbows across the reading alcove, with its sagging, homemade shelves of books. But the real clues to the Lewallens’ lives are in the jars lining the kitchen counter.

Where others might store tea or pasta or spice, the Lewallens keep their seaweed.

“Their seaweed” is not as simple as saying, for example, “your can of seasoning salt,” unless you had laboriously harvested the seasoning salt by hand and hauled thousands of pounds of it uphill in backpacks and pushcarts. “Their seaweed” is the Lewallens’ livelihood, their food, their peculiar passion. But it’s not as peculiar as I thought it would be. As Eleanor shakes four or five dried varieties into very domestic pink-flowered dishes to sample, I taste and listen and think idly about how normal it seems.

“You always should rehydrate seaweed in water first,” she says as she covers one bowl, containing gnarled ribbons of sea-palm fronds, with cold water from the tap. She’ll be mixing these and flakes of bull whip with a little rice vinegar for a simple Asian-style seaweed salad. The soaking doesn’t take long, maybe five or 10 minutes, but it is essential. “You can soak it in vinegar, but it picks up the flavor quickly, and it’s too strong for people,” says Eleanor as she pours the now dull-green soaking liquid into a pan to save for later. “After all, you don’t make pickles with dried cucumbers.”

MOST AMERICANS know the Lewallens’ favorite food as something to gross out siblings with or to pick our way delicately around as we comb the shores for more interesting items like seashells or clams. Sushi and macrobiotics notwithstanding, seaweed harvesters such as the Lewallens are up against an intense food taboo. But the Lewallens have waded right into the fray to move their beloved greens beyond the stereotype of stinking flotsam.

When they first started harvesting and selling in 1980, the beachcombing couple regularly shared their wares at the Mendocino Farmers’ Market and at simple-living fairs around the North Bay. They visited a route of natural-food stores in the Bay Area to give out samples, much as Eleanor is offering them now, in quick nibbles and recipes from their self-published cookbook, Sea Vegetable Gourmet Cookbook and Wildcrafters’ Guide.

The couple is much less of a public presence now: Eleanor is convalescing from cancer, aided, she says, by regular ingestion of sea vegetables. But their mail-order business is thriving, and each season the Lewallens are joined at their harvesting sites by a steady trickle of visitors, including chef-students from the Culinary Institute of America at Greystone in Napa County.

“Those chef students don’t really start using it that much, but at least they get the idea that maybe it’s food,” says John, his empty backpack flapping loosely. “They really just like to walk on the beach.”

That’s an understandable laziness, an urge, or lack of one, that often hits on a deserted beach. Here is calm, especially in the company of the moon-faced Eleanor, who picks up pieces of drift for her collages and waxes poetic all the while.

“The ocean is so beautiful and strong,” she says dreamily. “It gives us so many gifts.”

Meanwhile, John strides off ahead of us and peers intently at the tidescape for signs of seasonal beginnings. For millennia, Native Americans of the California coast followed the same paths, focusing their search primarily on nori. It is too early to harvest in quantity–the best season is in June and July, with harvestable growths coming in as early as March–but the signs of the new season are there.

“See those little brownish flags out there?” says John, pointing out to the wash of the low tide. “Those are kombu. We’ll harvest a lot of them. But it’s still too early.”

He eats pinches of the first fucus tips out of a little plastic bag and offers me a few. They look like snakes’ tongues, forked and slithery. On the inside they are gelatinous, a little like aloe vera, and only slightly salty.

He folds the bag into his pocket and turns his attention to the crevices full of water that cut across the tidescape. “Here we have alaria, or wakame,” he observes.

He bends to lift a limp, dull-green frond from a narrow pool, and slices through it with a rusty, hooked blade. Then he crams one end of the wide ribbon of seaweed in his mouth and chews thoughtfully as he walks carefully along the edge.

“If all goes well, this whole thing will be full later,” he says.

He offers me a mouthful off the new end of the wakame frond; fresh out of the ocean, the stalk is crisp, and the leaf gives in reluctantly to my teeth in a rubbery burst of good green flavor, like kale.

ON OUR WAY BACK to the sand, John stops to point out the first blackish blooms of nori, lying like ruffles along a damp rock. It’s nothing like the stiff blooms that Eleanor offered us in the kitchen, much less like the sheets of toasted nori that wrap around Japanese delicacies. It is cool, chewy, and mild-tasting–most of the sea vegetables are fresh to the palate.

Closer to the shore, Eleanor leans down to show me one of their other crops, a seaweed for the bath. Balancing on my rubber boots on the fading shoals, I stroke the wonderfully rough strap, a long reddish ribbon called Turkish towel that combines the best qualities of a loofah and a terry-cloth towel.

The sun is going down, it is getting hard to see, but I can still feel. And this piece of seaweed doesn’t feel weird at all.

Sushi Salad

8 cups cooked rice, cooled 3 tbsp. diced green onion 1 tbsp. honey 4 tbsp. soy sauce (or to taste) 2 tbsp. roasted sesame oil 1 tsp. grated ginger 1 tbsp. sesame seeds (optional) 1 tsp. rice wine or vinegar 4-6 cloves garlic, crushed 1/2-1 cup flaked roasted nori 1/4 cup chopped parsley or cilantro, to taste Diced red and green bell peppers, to taste

Combine all the ingredients, adding roasted nori and parsley last and reserving 1/8 cup nori and 1/4 cup green herb for garnish. Adjust ingredients to taste. Serve on a bed of lettuce, garnished with remaining herbs and nori and slices of red and green bell peppers.

Roasted Nori

Nearly all recipes made from wildcrafted nori call for roasted nori. Roasting tenderizes the otherwise chewy (frankly, tough), single-cell-thick sea vegetable. When roasted, nori can easily be crumbled or broken into small pieces. Roasting gives nori a toasty, delicious odor and flavor.

To roast nori, place desired amount of dry nori in an iron skillet over medium-high heat. During roasting, turn nori gingerly with fingers, continually feeling for crispness, which should happen in 30 to 60 seconds. Remove each piece of nori from skillet immediately, as it becomes crisp, breaks easily, and, being very light and delicate, can burn in an instant. If you smell any burning odor, immediately lower heat and quickly remove roasted pieces.

Nori also can be roasted in the oven; again, watch it closely as it can burn in an instant (preferably, use this method only when oven is already hot from previous use). Nori can also be roasted on an auto dashboard on a sunny day or on a wood-heat stove in use.

Roasted nori is a crisp, crunchy, mildly salty condiment that can also be munched as a wholesome snack food.

Recipes adapted with permission from Sea Vegetable Gourmet Cookbook and Wildcrafter’s Guide, by John and Eleanor Lewallen (1966). For details on the products of the Mendocino Sea Vegetable Co., including the cookbook, see the Lewallens’ website at www.seaweed.net or call 937-2050.

From the March 2-8, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Primary 2000 Endorsements

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Noreen Evans 3rd Supervisorial District

Dawn Mittleman 2nd Supervisorial District

Mike Reilly 5th Supervisorial District

Elliot Daum Superior Court Office No. 2

No on Measures B & C

Frank Egger 6th State Assembly District

No on Prop. 1A

Yes on Prop. 12

Yes on Prop. 13

Yes on Prop. 14

Yes on Prop. 15

No on Prop. 16

Yes on Prop. 17

No on Prop. 18

No on Prop. 19

No on Prop. 20

No on Prop. 21

No on Prop. 22

No on Prop. 23

Yes on Prop. 25

Yes on Prop. 26

No on Prop. 27

No on Prop. 28

Yes on Prop. 29

Yes on Prop. 30

No on Prop. 31

From the March 2-8, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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Cotati council fracas inspires satire

By Janet Wells

THINK THE LATEST fracas in Cotati is just about Vice Mayor Pia Jensen getting stiffed on her turn at mayor? The recent cries for a recall election are just the latest chapter in the pernicious politics of Sonoma County’s smallest city.

For a peek into Pandora’s box, go back several years to the hiring–and mysterious firing less than two years later–of Paul Marangella as city manager. Get ahold of a copy of “The Sellout of Cotati,” a razor-sharp satirical slam of city officials written by longtime Cotati resident and private investigator Tony Adler.

Adler’s undisguised ire toward city officials came to a head in 1998 after returning to Cotati from his usual three-month stint in France and finding Marangella “running roughshod over everyone,” Adler says. Rankled by Marangella’s ideas for developing the sleepy town, Adler says he sleuthed out that Marangella may have been removed from his city manager job in Mammoth Lakes, and that later the Carpinteria City Council voted against renewing his contract. Furthermore, he alleges, the Cotati City Council voted to hire Marangella without doing an adequate background check. Furious, Adler started talking recall.

Then suddenly, last August, Marangella was out of a job again. The council gave him $26,500 to go away and refused to disclose the reasons for his axing. Steam for a recall petered out until a Jan. 12 council meeting, when, during an almost farcical six rounds of straw votes, council members Richard Cullinen and Harold Berkemeier worked to deny Jensen her rotation as mayor. Eventually, a reluctant Geoffrey Fox accepted the honorary post.

“My experience with Richard Cullinen and Harold Berkemeier is that . . . neither one has interest in what the people they are representing want. They want to satisfy everybody and anybody who is going to bring money into Cotati,” says Cotati carpenter Mark Firestone, who, along with Adler, is part of the latest recall effort aimed at getting Berkemeier and Cullinen out of office.

Cullinen says he didn’t support Jensen’s nomination for mayor because of the number of times she has been the lone holdout vote. “It takes on the notion of grandstanding, and the inability to see the big picture in the community,” he says. “Most of it comes down to teamwork and the ability to work with other council members.”

A recall election would be a waste of $10,000 of Cotati’s money, says Cullinen, since his and Berkemeier’s terms are up in November, and he does not intend to run for office again. “This really comes down to disagreeing with me. It’s a handful of disgruntled individuals who have a vendetta against me and Harold Berkemeier,” Cullinen says. “If you’re going to take the energy to recall somebody, there should be some sort of charges, some sort of problem outside of disagreement.”

Recall proponents have yet to submit a petition to the city clerk and start the process of gathering signatures for a recall ballot initiative. They are, however, holding an informational meeting, Thursday, March 2, at 6:30 p.m., at 8483 Loretto Ave., Cotati.

Bohemia Ranch Sold Out?

WEST COUNTY environmentalists are up in arms over a vineyard development plan filed by the new–and still mysterious–owner of Occidental’s scenic Bohemia Ranch. Filed in December, just one day before the county’s new vineyard ordinance took effect, the plan requests permission to convert up to 100 acres of the 960-acre ranch to grapevines.

Long coveted as a Sonoma County park, Bohemia Ranch boasts a spectacular 30-foot waterfall, pristine redwood groves, and endangered plants and animals. Efforts to buy the land for a public park were thwarted last year. Representatives of the new owner vowed to preserve the property.

The owner’s attorney, Philip Feldman, says in published reports that the vineyard conversion plan was submitted as a method for preserving rights, and that no decision has been made about moving ahead. The county’s vineyard conservation coordinator, Gail Davis, says she was going to survey the property this week to determine if the conversion application qualifies for exemption from the county’s new ordinance.

Bohemia Ranch’s owner, a 40-ish telecommunications businessman who shielded his identity by buying the property through a limited-liability corporation, came under fire last fall when reports surfaced that he was moving ahead with a 1997 timber harvest plan that allows aggressive logging on the property.

The owner’s representatives rebutted those reports, preferring to focus instead on work with the Pacific Forest Trust to establish a conservation easement on the property and restore Bohemia Ranch’s old-growth forest. “I know this guy is a big-time environmental supporter,” says Caryl Hart, who, along with her husband, Grateful Dead drummer Mickey Hart, organized a benefit concert last year that raised about $75,000 to purchase the property for a public park.

“It’s hard to continue to have faith in what he said, when what he does is inconsistent. It doesn’t make sense. I have to think that he’s not really on top of these things.”

From the March 2-8, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Music for Kids at Risk Celebrity Concert

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All stars: Roy Rogers joins a host of musicians for a concert to benefit local kids.

Child’s Play

Celebrity musicians perform local benefit for at-risk kids

By Paula Harris

IF YOU’RE A LOCAL RESIDENT, you probably know Sebastopol songwriter and musician Buzzy Martin from his appearances at county fairs, his numerous stints as an open-mike host, and his emotive 1993 song “Please Come Home,” which helped raise awareness about Polly Klaas and other missing children.

If you’re part of the group known as “at-risk” youth, the catch-term for kids who come from a variety of difficult situations, from neglect and drug addiction to gang membership and homelessness, you probably know Buzzy Martin as the music guy who comes by your “nontraditional” school or juvie hall each week.

He’s the one who shows you the sweet release of beating the hell out of a drum. Or first introduces you to the seductive, heart-pounding sound of applause. Or teaches you about cultural icons like Jimi Hendrix or Ritchie Valens.

“Music is a creative form of self-expression and a self-esteem builder, and it definitely makes you feel good,” says Martin, 44, who co-founded the nonprofit Sonoma County Music Association, which provides the music programs for at-risk youth.

For seven years now, Martin has been teaching 14 classes, interacting with about 300 kids around the county each week. And he continues to do so, even though funds for the program officially dried up last November.

Scrambling to find a way to continue the classes, Martin sought help from colleagues. One teacher suggested that Martin call some of his “rock-star buddies” to see if they’d be interested in putting on a show to raise money.

What followed was a chain of phone calls, industry referrals, and pledges to perform. The end result is the upcoming Music for Kids at Risk Celebrity Concert in the Luther Burbank Center for the Arts. The fundraiser, produced by Martin in conjunction with the Sonoma County Music Association and the Sonoma County Independent, will showcase an impressive lineup of talent.

The veritable multitude of musicians will include Keith Knudsen and Tom Johnston of the Doobie Brothers; Chris Hayes of Huey Lewis and the News; John Allair of the Van Morrison Band; Vince Welnick, formerly of the Grateful Dead; Latin percussionist Pete Escovedo; singer Shana Morrison; jazz trumpeter Pete Welker; and bluesman Nick Gravenites, to name a few.

One of the biggest draws is likely to be bassist Benny Rietveld of the super-caliente Santana. In addition, Martin promises the appearance of several well-known surprise guests.

The event also will include a silent auction and raffle. One of the highlights of the auction is a custom Hohner guitar with gold-plated hardware, autographed by such rock legends as Graham Nash and Tom Waits, says Martin.

The money raised will start scholarships, continue the music programs, and buy keyboards for the youth music programs. Martin estimates that if the concert is a sell-out, funds raised will keep the programs afloat for at least another two years.

“There’s no doubt about music’s benefits,” adds Martin. “Becoming involved in music positively changed the destinies of many famous musicians, such as Pete Townshend and John Lennon. It got a lot of guys off the street.”

It’s something he believes the community should think about when it comes to troubled youth. “These are our kids that were dropped through the cracks,” he says. “They’re our next generation and we have to take care of them.”

The Music for Kids at Risk Celebrity Concert (black tie optional) hits the stage on Sunday, Feb. 27, from 6 to 10:30 p.m. at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Doors open at 4 p.m. for the auction and a preview of the raffle items. Tickets are $25, $40, and $60. 546-3600 or 510/762-BASS.

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Holy Smoke’

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Cults, Courage and ‘Holy Smoke’–a conversation with Jonestown survivor Deborah Layton

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This is not a movie review; rather, it’s a freewheeling discussion of life, alternative ideas, and popular culture.

“I don’t consider myself a cult expert. I don’t want to be a cult expert,” says Deborah Layton over a cup of hot tea, about 30 minutes after watching the powerful Jane Campion cult-drama Holy Smoke. “I only know what my own experiences were, and from my own experiences I can say what I think the dangers are. But that’s it.”

Of course, Layton has plenty of experience to draw on. As a member of People’s Temple leader Jim Jones’ “Inner Circle,” the Piedmont resident saw the charismatic preacher rise from small-town minister to powerful political leader to self-described “revolutionary”–and finally, inside the guarded walls of Guyana’s Jonestown–to maniacal mass murderer.

Layton escaped Jonestown just a few months before Jones’ tragic final act, on November 18, 1978. Sparked by the arrival of a team of reporters, led by Senator Leo Ryan–who had been alerted to the accelerating cruelty and madness at Jonestown through Layton’s reports –Jones ordered the murder of Ryan, and all 913 of his followers, over 200 of them children. Some committed suicide, using punch laced with cyanide; most were shot to death. Ryan and three journalists were killed. Jones himself was shot in the head by a follower, who then took her own life.

All of this is referenced, though briefly, in Holy Smoke.

Starring Kate Winslet and Harvey Keitel, the odd, thought-provoking film is about a confrontation between Ruth, a young Australian woman (Winslet) who is kidnapped by her family after being drawn into a mysterious religious group in India, a suspected cult group that vaguely resembles the followers of the late Bagwhan Shree Rajneesh. Back in Australia, Ruth is isolated in a remote cabin in the desert, left alone with a cocky cult-expert and “exit counselor” P.J. Waters (Keitel), who attempts to systematically break her attachment to her newfound “faith.” What transpires is a roller coaster of mind games and sexual power plays, as Ruth decides to try and beat the deprogrammer at his own game.

Though troubled by the mysterious, ambiguous ending–“It was a little out there,” Layton concludes–my guest enjoyed the film, respecting the director’s decision to tell the story through Ruth’s eyes. Though clearly young and easily swayed, she is far from the wild-eyed, foaming, Manson-esque cult-members we usually see in films about cults.

“People are always surprised at how normal I seem,” says a smiling Layton. “When I talk to people, when I do book readings or radio interviews, I always want to remind people that nobody joins a cult. They join a self-help group, or a religious organization, or a political action group. I think it’s easy to say, ‘Oh, I’d never join a cult.’ Of course you wouldn’t. Because you don’t know you’re joining one. You think you’re doing something else.”

Layton herself was 17 when she first met Jones. Swayed by his talk of making a better world, she eventually persuaded her brother Larry and mother Lisa (herself a survivor of Nazi Germany) to join as well. Lisa died of cancer, a few days before the massacre. Larry, who wounded two defecting members during the final confrontation, is currently in prison, the only Peoples Temple member to be sentenced for his part in those events.

Layton, who changed her name and essentially went underground after Jonestown, now tells her family’s story with remarkable candor and insight in her compelling, bravely revealing book Seductive Poison: a Jonestown Survivor’s Story of Life and Death in the Peoples Temple (Anchor Books, 1998).

While watching Holy Smoke this afternoon, she was unexpectedly thrown back to Guyana, during a scene where P.J. forces Ruth to watch videos about cults, including shots of Jim Jones and Jonestown after the massacre.

“No wonder Ruth gets up to leave the room during the cult videos,” says Layton, cradling her teacup. “They showed all the bodies at Waco and Jonestown and Heaven’s Gate, but she could never have identified with that, because they were only showing her the end result.

“If you look at the end result of Hitler’s Germany, of course it was bad. But it’s more profound and frightening to go back to the beginning, and take look at how it started. What was it that enamored people? What was it that they liked about that movement? What was charismatic about that person, what spoke to them? What trapped them? That’s far more frightening. Because then you’re allowing the person to understand how they too, in different circumstances, could find themselves entrapped.

“In writing my book, I wanted people to understand how it is that someone can become entrapped. That this is something that can happen to you or your loved ones.”

In Holy Smoke Ruth shows unexpected strength and courage. Layton, however, is uncomfortable when her own actions are praised as having been courageous.

“I don’t think any of us who left our friends and families behind, would in any way think of ourselves as courageous,” she says. “My mother was courageous. She spoke up. In Jonestown, she defended this one black woman, who’d made her this wonderful marmalade. [Jones castigated the woman in public for wasting resources on such an ‘extravagance.’] My mother stood up and defended her, and took Jim’s anger on herself–but I was too afraid to stand up to protect her.

“It’s a very dark thing to carry inside you. Knowing that the best of us, the ones that did speak up and speak out, were the first to die,” she says. “It doesn’t feel so courageous to have gotten out and then told the world afterwards.”

As for Holy Smoke, Layton is glad it was made, if for no other reason than its demonstration of what not to do when a loved one joins a cult.

“When you join one of these groups,” she says, “it’s a gradual isolation from the rest of the world, from society. And as a family member, you’re on the outside, and if you call them a cult member, they will shut you further out.

Instead she recommends a simpler solution.

“Remind them you love them, whether they are in this organization or not,” says Layton. “Make sure they know you’ll still love them whenever they’re ready to come back home.”

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Five Spot

New alt-pop, trip-hop, alt-country CDs

Supreme Beings of Leisure Supreme Beings of Leisure Palm Pictures

The Baby Namboos Ancoats2zambia Palm Pictures

TWO NEW RELEASES from Palm Pictures reveal a split in British dance pop. The self-titled debut from Supreme Beings of Leisure is techno-retro world-lounge-pop, while the Baby Namboos’ debut, Ancoats2zambia, is classic dark and brooding Bristol trip-hop. The model for both is steamy, steady beats and sonic twists offset by languorous female vocals. S.B. of L. lean largely on popular drum ‘n’ bass grooves, which they punctuate with flutes, strings, and Eastern melodicism. They’re more pop-savvy Berlin than edgy Breakbeat Era, as they follow their one purely trip-hop cut with a blast of house-heavy disco. Conversely, the Baby Namboos follow their one crisp drum ‘n’ bass track with two strange and wildly different remixes of the title track. Trip-hop meister Tricky is an active collaborator, so the Baby Namboos are naturally haunted and brittle. Each disc has its place: S.B. of L. booming on a huge and shiny dance floor, the Baby Namboos moaning when you’re alone after midnight wondering what the hell to do. Karl Byrn

Julie Miller Broken Things HighTone

WARM, INVITING, earthy, innocent, and sweetly enchanting, Miller’s distinctive voice is suggestive of a folkier, bluesier Cyndi Lauper. Broken Things, the singer-songwriter’s sixth album, features poignant, stirring lyrics and an overall theme of heartbreak. Broken Things includes cameos by notables Patty Griffin, Steve Earle, and Victoria Williams; silvery songbird Emmylou Harris (who has recorded several of Miller’s tracks) even joins Miller on the impassioned dirge “Two Soldiers.” Miller’s “Ride the Wind” is a spirited love song, and “I Need You” (“I need something like morphine only better/ I need something like a kiss that lasts forever”) is an edgy rocker. Then there’s the haunting, sorrowful cello on the aching “I Still Cry.” Miller may never become a household name, but this album is absolutely exquisite. Sarah Quelland

The Walkabouts Trail of Stars Glitterhouse

COMPARISONS to Portishead are inevitable, and this little-known Seattle band is certainly haunting and elegiac. Tales of poisoned love dominate these 11 tracks. Virtually unknown in the States, the Walkabouts have sold more than 100,000 CDs in Europe, thanks to two releases on the Virgin U.K. label. Still, you may already know the dark romanticism of singer-songwriters Chris Eckman and Carla Torgeson through their work with the Tindersticks. The rest of the current lineup includes keyboardist Glenn Slater, drummer Terri Moeller, and former John Zorn bassist Fred Chalenor. Producer Phil Brown (who is responsible for Talk Talk’s classic Spirit of Eden) provided a huge influence. A minimalist return after 1996’s orchestral Devil’s Road (recorded with the Warsaw Philharmonic) and 1997’s string-driven Nighttown. Greg Cahill

Bell Book & Candle Read My Sign Turbo Beat/Atlantic

IT’S TAKEN 13 years for this Berlin pop band to get its break in the States, but this debut album already is drawing critical acclaim. Billboard editor-in-chief Timothy White recently opined that the CD “is one of the finest pop releases from Europe in years.” The first single, “Rescue Me (Let Your Amazement Grow),” is in rotation on KRSH (98.7FM). Raven-haired singer Jana Gross draws comparisons to Cranberries vocalist Dolores O’Riordan, though Gross’ keening vocals are far less affected. But don’t brush Bell Book & Candle off as just another Euro-pop band–this outfit often echoes the pioneering electronica of Tangerine Dream and can deliver haunting alt-pop reminiscent of the best 4AD bands. G.C.

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Blame It on the Movies’

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‘Blame It on the Movies’ offers uneven revue of Hollywood’s hits

By Daedalus Howell

DREAMWEAVERS Theatre of Napa’s season opener, Blame It on the Movies, is a blameless, shameless, and ultimately brainless romp through Hollywood’s songbook that, owing to the sheer moxie of its performers, declares, “No one is going to rain on my hit parade!”

A hasty pastiche of songs from the silver screen spanning the history of cinema (conceived by Ron Abel, Billy Barnes, and David Galligan from an original idea by Franklin R. Levy), the show features an enthusiastic (if uneven) brood of seven chorusers caught in the twilight zone between a bona fide song-and-dance revue and a community talent show.

Comprised of nearly 70 songs (one can only imagine the licensing nightmare this production brings with it), the show includes such first-act chestnuts as Casablanca‘s “As Time Goes By,” as well as “April Love” and “An Affair to Remember” (from movies of the same titles). The second act confirms that cinematic songwriting peaked just before the ’60s, when it showcases such campy ditties as “The Blazing Saddles Theme,” “Goldfinger,” “What’s New, Pussycat?” and “Chitty Chitty Bang Bang.” Imagine the AFI 100 confined to a jukebox and less 77–most of the numbers are sugary, forgotten relics only occasionally framing a timeless gem.

Throughout, director Howard flirts with the notion of mixed media by including a number of projected video clips from the films whose soundtracks make up the bill. The danger in this is that the movies are often more compelling than the onstage players. It’s like when some gangly, sexually ambivalent teenager flails about in front of the Rocky Horror Picture Show and you just want to holler, “Hey, you in the fishnets, vamoose!”

But then, this show is about the music, not the spectacle. The song list notwithstanding, many of the performers shine in their solo performances, and they all benefit from pianist Ellen Patterson’s fine accompaniment.

YOUNG SONGSTRESS Brooke Aved does a fine turn with the humorous “I Get the Neck of the Chicken” from 1942’s Seven Days’ Leave. Sung from the perspective of a young woman used to life’s leftovers, the tune includes the clever lyric “That’s how they give me the bird” and other allusions that conjure up the banter found in contemporary locker rooms. Aved later steals the show with her haunting rendition of the title track from The Town Without Pity.

Crooner John Kelley time and again proves that he truly has golden tonsils and seems to make a conscientious effort not to overshadow the other performers, especially his young sidekick Samuel Palmer, with whom he shares the show’s regrettably brief Road to Morocco sequence–a sort of paean to the road movies of Bing Crosby and Bob Hope.

Palmer does well vamping Jerry Lewis’ shtick in one of the show’s many obtuse segues when he plays a pratfalling usher besieged by a sexually aggressive redhead.

Indeed, this show has more hams than a smokehouse on Easter, but then that’s the beauty of it–there’s a lot of room for broad performing, and the cast clearly enjoys dishing it out.

Though Blame It on the Movies is not pitch-perfect entertainment, you will leave humming a tune. At the very least, this production succeeds as an act of musical preservation, which is surely to be applauded, albeit sometimes with only one hand.

Dreamweavers Theatre’s production of ‘Blame it on the Movies’ plays Friday and Saturday, Feb. 25 and 26, at 8 p.m., and on Sunday, Feb. 27, at 2 p.m. at the Uptown Cinemas, 1350 Third St., Napa. Tickets are $15. For details, call 255-5483.

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Patrick Warner

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Dry run: Local promoter and sound engineer Patrick Warner thinks a new alcohol-free club would solve the problem of Sonoma County’s contracting music scene. But can anyone keep an alt-music venue running smoothly in Santa Rosa?

Mosh Master

Local promoter plans new all-ages music club

By Karl Byrn

A DECADE AGO, aspiring punks and headbangers dreamed of playing their first gig at the rocking Railroad Square nightclub Magnolia’s. Now that former hot spot is a kitchenware store. In the downtown Santa Rosa area, many other local music clubs–the Studio Kafe, Cafe This, Santa Rosa Brewing Co., Masses, and the Moonlight–have also gone silent.

The Old Vic on Fourth Street seems like the only one that can last.

These ups and downs of the music scene come as no surprise to Patrick Warner. The 31-year-old music promoter and sound engineer knows that sustaining local music is hard work.

For four years now, his company, Aurora Sound Presents, has provided the North Bay scene with such “musician and event services” as booking, promotions, and equipment rentals. In that time, Warner has seen a lot of venues come and go–especially go.

But now Warner thinks he has a simple solution to the problem of the disappearing nightclubs. The answer: Don’t open a music venue as a nightclub. With that philosophy in mind, he is crafting an ambitious plan to open a building or large room as an all-ages-friendly event center and a place for local bands to rehearse and stage shows.

“One of the steps I’m trying is to eliminate the alcohol,” Warner says. “I’m really scared of it being labeled a ‘nightclub.’ I think that label brings along a lot of heartache.”

Warner has been scouting for sites and now has two strong possibilities: a storefront next to a bowling alley on Sebastopol Road and an old grocery store on Petaluma Road. The venue could open as early as this spring.

Musicians, Warner says, “need a refuge to protect and shield them from distractions like police and downtown bureaucracy.” Those common nightclub heartaches are something he has witnessed firsthand as a booker who had two clubs drop away beneath him.

For almost two years, Aurora Sound Presents booked hardcore and alternative bands on weekends at the Moonlight on Fourth Street in Santa Rosa. Warner also took over booking responsibilities in Sebastopol during the waning weekends of Marty’s Top of the Hill, a former country bar that converted to alternative music shows for several months before closing this January.

At the Moonlight–which now operates as a restaurant and bar without live music–Warner witnessed landlord and police pressures to first cut out hardcore bands and then eliminate music altogether. In this case, Warner feels the bands clearly lost a battle of “property owners vs. disrespectability . . . in downtown.”

“[The members of the City Council] have grape values,” he says. “If it isn’t wine, it doesn’t count. They want tourism, not teenagers.”

Hardcore bands took the blame for an incident at the Moonlight last April when a patron cut his elbow in a mosh pit, but Warner claims he was ignored when he asked security to monitor the area. He also notes that “there were more fights on a pool night or when a blues band played [than on hardcore nights].”

But by Warner’s own admission, the roadblocks to a consistent live scene aren’t just club owners or hostile downtown neighbors. The bands themselves sometimes “need help breathing” and “to keep a fire lit.”

Though Warner originally started Aurora Sound as a recording label for his own metal band Daytura, he quickly saw that Daytura’s survival meant expanding his new company’s reach into booking and marketing.

“There was never any coordination,” he remembers. “You’d be booked for a show, but no one knew who was playing or who went on at what time.”

He soon took charge of booking package shows with compatible bands like the Heat Creeps.

“I’d try to put together a good combination that would draw attention,” he says. “You always want to put your band in a position that looks good, so you can maybe catch hold of a few more people for your fanbase.”

Eventually, bands and club owners came knocking. Aurora Sound Presents and Hedgehog Productions teamed up to co-produce Slamfest 2000, which brought eight metal bands from around the Bay Area to play before a crowd of 200 last January at Club Rumors. A second Slamfest is now scheduled for April 27 at Rumors.

But much of Warner’s energy these days goes to selecting a site and securing sponsorships and permits for the venue he hopes to open. The facility would feature Aurora Sound’s equipment as the house sound system, which bands could rent for performances, rehearsals, or social events.

BECAUSE the space will be open to underage rockers, Warner wants to encourage parents’ involvement. “I want to make the community more responsive and accepting of the idea of a teen center,” he says, noting that clubs like the Inn of the Beginning and the Phoenix Theatre have staying power because they’re willing to do all-ages shows.

“Teens can have a place to go and have sound equipment available, an affordable place to rehearse,” he says. “Parents that help have to know it’s a safe place.”

Warner’s vision of a musical event center is part labor of love, part business decision: “Being a musician, I know what the hitches are,” he explains. He wants to contribute to the local scene, but he also has to stay in the black, so bands renting the center would need to put down a deposit.

Still, the question of money aside, Aurora Sound would be offering Sonoma County bands something they badly need–a venue of their own.

“Every time someone puts up money for a teen center, it becomes a senior center,” Warner says. “But not a whole lot of people look at it from the musician’s point of view.”

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Maya

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Valley of the Moon meets Club Med: Chef Manuel Arjona of Maya has whipped up creative dishes–ranging from chipotle-braised lamb shank to vegetable tamales–that match the popular restaurant’s vibrant, colorful presentation.

Mad for Maya

Yucatan spirit thrives in Sonoma

By Paula Harris

IF THERE WAS EVER a festive cure to send those winter blahs a-packing, then surely this is it. Maya, an upscale Mexican restaurant on the southeast corner of Sonoma Plaza, is the perfect destination that feels as if you’re getting away without actually going very far. The proprietors have transformed the former Della Santina’s Italian restaurant (now located down the street) into a tropical hideaway.

From the moment you go through the heavy copper-framed glass door, you’re caught up in a happy vacation-like atmosphere. Sort of Valley of the Moon meets Club Med.

The poolside party mood is accentuated by a ceiling painted the sunny azure blue of a foreign sky and a semi-open kitchen with a thatched canopy roof made from exotic palm fronds.

A colorful Yucatan mural, warm deep coral and rough stone exposed walls, blond wood , and a wooden armoire that holds glasses, water jugs, and Mexican artifacts enhance the picture.

Dominating the scene is what can only be called the Tequila Temple: a Mayan-inspired tiered tower boasting rows of shiny bottles of cactus juice. In this watering hole you can ponder the differences among blanco, reposado, and añejo and sample some different 30 tequilas (not all at once, por favor!) available by the half shot.

There’s a good wine list too, but many patrons opt for the imported beers and specialty cocktails. The yummy shaken ‘n’ strained Maya Margarita ($4.95), made with Hornitos reposada tequila, triple sec, and fresh juices and served in a chilled salt-rimmed martini glass with a fresh lime wedge, is a house favorite.

Chunky rustic wooden chairs with curved “butt holders” ensure comfy seating for the casual-chic, Margarita-sipping crowd. Blame the Corona or the Cuervo 1800, but most people do look very relaxed in here.

THE FOOD IS FUN. The thin, warm, slightly salty tortilla chips, served with two salsas, plus fresh diced chilies, onion, and cilantro, are so addictive we munch our way through two basketfuls while mulling the menu.

A small bowl of warm, extremely spicy, toasted pumpkin seeds ($1.50) shocks our taste buds into action. My sleepy commuter companion bites into one particularly vicious seed, abruptly jolts awake, and comments that “it’s like taking an upper.”

The ratitos–jalapeño masa chips ($2.75)–are empty, puffy dough triangles which are rather oily. The saving grace is a lovely fresh accompaniment of sweet pepper and avocado pico de gallo with cilantro.

A pasilla pepper crammed with chicken and herbs ($4.95) is a satisfying appetizer, although some may find the overall flavor a bit sweet. The expertly roasted chili pepper is fork tender and the finely ground filling is smooth and tasty. It’s napped with a creamy sesame seed sauce and sprinkled with another handful of those killer pumpkin seeds.

Our solicitous server recommends the salmon à la parilla entrée ($15.95). It’s a vibrant, colorful presentation. The moist salmon is wrapped in a banana leaf, and it pairs really well with the chunks of creamy avocado on the side. Also on the plate are pieces of grilled pepper, onion, and zucchini; rice; and a zesty chili and guava sauce.

Vegetarians can select either the grilled seasonal veggies ($10.50) with warm tortillas and chili and guava salsa (rather run-of-the-mill), or the vegetable tamale ($9.50). The slightly spicy tamale, cooked in a banana leaf, has a good texture–firm but not too dense–and it comes with rice and some really good whole black beans.

Heavier fare includes chipolte-braised lamb shank with lemon zest and mint ($16.50) and Yucatan-spiced grilled rib-eye steak ($19.50) with pasilla and tropical fruit salsa.

As for desserts, the Maya flan ($4.95) is a popular choice. It’s garnished with fresh mango and strawberries, as vivid as a tequila sunrise.

But the star dessert has to be the pastel de tres leches ($4.95). This exquisite cake has a thin, custardy, cinnamon-spiked sauce and is garnished with strawberries. It’s as moist as a trifle with its rich condensed-milk filling and creamy topping, yet it’s as light and delicate as a cloud. “Señora Betty Crocker should make a cake this moist!” brags the menu. And they ain’t kidding.

There’s a certain brightness to this place, with its cheerful cocktails and sunny cuisine, which should elevate even the most sunken of winter spirits.

Maya Address: 101 E. Napa St. East, Sonoma; 935-3500 Hours: Monday-Saturday, 11:45 a.m. to 10 p.m.; Sunday, 4 to 10 p.m. Food: Upscale Mexican Service: Attentive and courteous Ambiance: Festive and colorful Price: Moderate to moderately expensive Wine list: Good selection of local wines; also beers, specialty cocktails, and some 30 tequilas available by the half shot Overall: 3 stars (out of 4)

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Les Ballets Trockadero

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Men in Tights

Les Ballets Trockadero are more than fluffy skirts and nice legs

By Marina Wolf

WHEN LES BALLETS Trockadero de Monte Carlo first tottered out onstage in 1974, funny men in dresses were still novel enough to bring in the crowds. But a dance company needs something else to keep selling tickets for 26 years. And for the dance-savvy audiences who come to the all-male classical ballet, the technical prowess and pointe work are what usually draws the applause.

Long the province of lithe young women, dancing en pointe–on the very ends of the toes–is meant to convey airborne grace, creating an elongated line that draws the eye ever upward. Muscular, masculine legs and big feet look altogether different en pointe, and there’s not a lot of institutional support for men in toe shoes. But they belong in them just as much as any ballerina, says longtime artistic director Tory Dobrin.

“There’s no [anatomical] reason why a man can’t dance en pointe,” he says. “God gave everyone the feet they need to support their own weight.”

Collectively, the 15 dancers of Les Ballets Trockadero–all men, all professionally trained–have the feet needed to support the weight of the classical ballet repertory, and to lift it into the realm of physical comedy and brilliant artistic parody.

At the start, says Dobrin, their campy onstage antics did not endear them to the critics, who took umbrage at the idea of spoofing their pure art. But audiences and even other dancers have always loved “the Trocks”: recently, Darcey Bissell, the prima ballerina of the London Ballet, presented the whole company with flowers at the end of a performance.

And the critics have come to realize that Trockadero humor can come only from true fans of ballet. Who else would know the exact moments of comic potential in the choreography and iconography of the art form–the endless curtain calls, the tense on-stage dynamics, and the over-the-top tragedies? For example, The Dying Swan, a perennial favorite, ends up molting feathers all over the stage in a death scene that convulses both the swan and the viewers.

Dobrin insists that the company’s real comic genius is more about character development than gender.

“I never think about it in terms of male bodies in female ballet roles,” says Dobrin. “The steps you learn, whether you’re in Les Ballets Trockadero or in the San Francisco Ballet, are simply steps. The characterizations are all based on emotions that a man or a woman would have. Yes, the costume is different. But once you get used to the costume and pointe shoes, you’re developing a character. That isn’t male or female, it’s just a character.”

Physical differences between the genders do enter into the equation, though, when it comes to the athleticism that Les Ballets Trockadero are contributing to ballet en pointe.

“Women are really going for a fine-detailed, ethereal technique,” says Dobrin. “And we are really going for the attack.”

In place of the delicacy, the Trockadero dancers have developed their pointe work to take advantage of the strong legs and greater body mass, much as in figure skating.

“That’s one thing that makes our pointe work more exciting,” dancer Paul Ghiselin says with obvious enthusiasm. “Our turns are quicker, our jumps are higher, and we really fill up the stage with movement.”

Filling up the stage is hard work, as any dancer will testify. The dancers of Les Ballets Trockadero may seem to be effortlessly pulling out the gags, but comedy mixed with dance steps means timing is key, and full-time training is essential. The company trains and rehearses daily for at least six hours and tours for over 40 weeks a year. This is ballet at its finest and most traditionally grueling.

But the Trockadero repertory is even more of a throwback: it is a repository of the classics: Giselle, Les Sylphides, Swan Lake. Paul Ghiselin (known onstage as Ida Nevaseyneva) came to Les Ballets Trockadero five years ago, after 13 years of dancing in the Ohio Ballet, and found the change to classics a refreshing switch.

“I had never danced the truly traditional things,” recalls Ghiselin. “I would have to join another company during the Christmas season to do The Nutcracker only because my company didn’t even do The Nutcracker.”

That emphasis on the classics is a strong positive contrast with much of contemporary American ballet, and it also gives Les Ballets Trockadero a continuing leg up in Japan, which has proved to be a guaranteed moneymaker for these men in tights.

“They’re in the middle of this incredible ballet boom now, similar to what America was in the ’70s. And they have this wacky sense of humor. You can see it in their game shows; they’re totally whacked out,” says Dobrin. “And of course this drag element has no stigma attached to it at all, because they’ve got kabuki, they’ve got an all-female performing troupe called the Takarazuka. So that whole issue was no issue.”

For most of their audiences, though, the Trocks do bring up issues–of gender, art, illusion, and comedy. Substituting men for women in ballet is an amazingly effective way of tweaking some of the supposedly fundamental truths about the dance. But Dobrin brushes away attempts to analyze his company’s impact on ballet.

“You just do what you do, and people hopefully come,” he says. “It’s not really that important. A cure for AIDS would be important. This is just a lot of fun.”

Les Ballets Trockadero flit on stage Friday, March 3, at 8 p.m. at the Marin Center, Avenue of the Flags, San Rafael. Tickets are $30 and $24. 415/472-3500.

From the February 24-March 1, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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