Mel Graves

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All This Jazz

Local composer Mel Graves offers world premiere of ‘Spirit Changes’

MEL GRAVES is what some might call “a spiritual guy.” He can talk easily about meditation, Buddhism, or sacred Sufi poetry. He’s built his own spiritual practice, devoting two hours a day to prayer and study, reflecting on the thoughts of teachers ranging from the Dalai Lama to Neale Donald Walsch (Conversations with God). He can quote Pablo Neruda and Lao-tzu and Sri Ramakrishna.

But he’s also a master of the bass guitar who plays and teaches jazz, as well as writing demanding musical compositions for the likes of the Kronos Quartet. It is through jazz, in fact, that Graves’ eclectic skills and interests have found a comfortable home.

“The thing about jazz,” he muses, “is that old idea of, you know, ‘being in the moment.’ Well, to play really good jazz you have to be in the moment, and it takes an incredible amount of concentration to be in the moment–to be able to go anywhere, musically, with whomever you are playing with.

“I try to do my life the same way,” he says, “to really be in the moment, not to be thinking all the time of the past or the future, but just to really be there performing whatever is before me.”

This weekend, Graves will have a very special opportunity to be in the moment, and in the spotlight, when he joins a team of world-class musicians–New York vocalist Thomas Buckner and the award-winning Turtle Island String Quartet–for the world premiere of his newest piece, a remarkable 13-movement composition titled Spirit Changes.

Commissioned by Buckner, for whom Graves has composed twice before, the demanding piece draws on several obscure yet luminous texts, from Sutta Nipata’s Discourse on Good Will (“May all beings be filled with joy and peace; may all beings everywhere . . . be filled with lasting joy”) to Robert Bly’s adaptation of an ancient Zuni prayer (“This is what I want to happen: that our earth mother may be clothed in ground corn four times over; that frost flowers cover her entirely”).

Spirit Changes will be performed three times in February, beginning with the premiere on Saturday, Feb. 5, at SSU’s Evert B. Person Theatre, followed by a Sunday night show at Herbst Theater in San Francisco and, later in the month, a performance at Lincoln Center in New York City. Graves devoted six months to the writing of Spirit Changes, following a solid year spent searching through libraries for the right half-dozen texts.

“I looked at writings covering the last couple thousand years of Hindu, Buddhist, Taoist, Zuni Indian, and Jewish thought,” he says, “looking for texts that would provide a positive message for the millennium.” The time paid off. On the strength of the finished work, Graves was able to build a team of musicians that is nothing short of top-notch.

“I really feel fortunate to have all the people I wanted in the piece,” Graves says, nodding slowly. “Turtle Island was essential, because the piece requires a string quartet that can do all the contemporary classical stuff, but can also improvise over the jazz material. They all solo throughout the piece as well. Turtle Island is one of the very few groups that can do that.”

A player on the jazz scene for over 35 years, Graves, originally from Ohio, has lived in the Bay Area since 1967. He spent some time at the San Francisco Conservatory as a composer and bassist, after which there were occasional moves away–to San Diego, to New York, and then to Italy for a lengthy residence. But Graves kept returning to Northern California. In 1981, he was asked to teach a few jazz courses at Sonoma State University, a gig that turned him into a full-time local. Graves is now a full professor of SSU’s Jazz Department, one of the few places on earth you can take a four-year degree program in jazz studies.

ONE OF HIS FIRST pupils was flute player Bob Ofifi–“My first star student,” says Graves with a grin–who’s made a name for himself as a versatile musician able to swing easily from classical to jazz. Ofifi will be joining Graves and Turtle Island for all three performances, along with drummer George Marsh, pianist Smith Dobson, and Jon Crosse on winds.

As for the sound and style of Graves’ admittedly ambitious composition, Spirit Changes is mainly a “third-stream, world-concept piece,” with a foundation of contemporary classical music that frequently soars off into segments of full-on improvisational jazz, with multilayered passages revealing Afro-Cuban and Brazilian influences, as well as touches of reggae and Indian music.

“In terms of the rhythmic fields of the tunes,” says Graves, “it’s jazz and all the outshoots of the umbrella of jazz.”

Of the 13 movements, six are settings of the poem, six are jazzlike vehicles for the musicians to improvise on, “and the 13th,” explains Graves, “is a real mix of things.” With a gentle chuckle, he says, “I can’t really describe it, but it’s the most avant-garde thing in the piece.”

Graves points out that Spirit Changes is dedicated to his father, Clyde Graves, who died last summer, as his son was completing the piece.

“My father was one of my most important spiritual influences,” notes Graves. “He was a very giving, very generous man. And jazz is a very giving musical form. To play really good jazz with a band, you have to give generously to the other players, you have to be interdependent.

“That’s what I love about it.”

Catch the premiere of Spirit Changes on Saturday, Feb. 5, at 8 p.m. at Sonoma State University’s Person Theatre, 1801 E. Cotati Ave., Rohnert Park. Tickets are $15 for general admission, $8 for students and seniors. For details, call 664-2353.

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

© Metro Publishing Inc.

Alton Kelley, Stanley Mouse Poster Art

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Poster Kids

Kelley and Mouse psychedelic art takes center stage at Petaluma event

By Greg Cahill

FLASHBACK TO 1967–the waning days of the Summer of Love. America is yet to limp away from its “conflict” in the steamy rice paddies of Southeast Asia. Alabama Gov. Lurleen Wallace tries to foil federal court attempts to accelerate school desegregation. And a young San Francisco Giants captain named Willie Mays reminisces in local newspapers about last year’s pressure-cooker finish and makes predictions for the close of the ’67 baseball season.

Meanwhile, surfer boys and beach bunnies frolicking in the hot summer sun this Labor Day can forget their troubles and flip through the pages of Life magazine, past the exposé on Costa Nostra mob bosses and fashion notes on miniskirts to the cover story about “The Great Poster Wave.”

Splashed across the pages of the Sept. 1 issue is a kaleidoscope of vibrating color, chronicling the latest national hang-up: poster art. Life scorns the phenomenon as “expendable art . . . selling more than 1 million copies a week and gobbled up by avid maniacs who apparently abhor a void.”

The article names five seminal San Francisco poster artists–Alton Kelley, Stanley Mouse, Victor Moscoso, Rick Griffin, and Wes Wilson–as the “phantasmagoria of best-selling avant-garde.”

Two of those artists–Kelley and Mouse, who collaborated on dozens of posters, including works for the Grateful Dead–now reside in Sonoma County.

Their work will speak to rock-poster collectors Feb. 5 at the Petaluma Masonic Hall.

Interest in poster art is running high these days (even first- and second-generation reproductions of psychedelic posters can command hundreds of dollars from collectors). But in the ’60s, West Coast artists seldom earned more than $100 for their designs, whereas New York-based graphic designer Peter Max and a few others reaped a commercial windfall.

In fact, Kelley and Mouse, along with their San Francisco counterparts, didn’t realize any royalties from the innovative concert posters for Winterland, the Avalon Ballroom, and the Fillmore Auditorium that launched the poster craze.

FAST FORWARD TO 1986. Sixties nostalgia is running high. Publication of vintage rock-poster art in San Francisco Rock (Chronicle Books, 1985) by Marin author Jack McDonough led to a lawsuit by ex-Family Dog manager Chet Helms, who claimed that Chronicle Books had violated his copyright on the artwork. That was a revelation to the five poster artists, who believed that they were the legal owners of the rock posters they’d created between 1965 and 1968 to promote concerts by the Family Dog production company.

The artists formed a partnership called Artist Rights Today, suing Helms to recover ownership of their work. The effort proved futile.

“It was like losing the deed to the artistic ranch,” Moscoso, a Yale-trained painter who had settled in west Marin, said at the time.

Kelley and Mouse scored their first big hit with “Zig-Zag Man,” a well-known Family Dog poster plugging a June 1966 Avalon Ballroom concert with Big Brother and the Holding Company, plus the Quicksilver Messenger Service. The poster, which displayed the Zig-Zag trademark logo, helped make the then-fledgling cigarette-rolling-paper company an overnight success and catapulted the artist duo into the spotlight.

In the book The Art of Rock (Abbeville Press, 1986), author Paul Grushkin noted that the duo’s free appropriation of commercial trademarks like Mr. Peanut and the Sunmaid Raisin girl showed “a healthy sense of irreverence toward narrow propriety values.”

During a 1989 interview, Kelley simply smiled at that notion. It was only natural that the poster artists should draw on the “image bank . . . or the graphic flea market” for inspiration” he said. “Those images had been with us all our lives.

“But when Stanley and I did that poster, we got really paranoid. We figured, ‘Oh no. Now they know we smoke dope!’ And we took what little pot we had and flushed it down the toilet. But we wanted to create something that was visual and would make people stop in the streets and read and figure it out.

“It worked like a charm.”

NO ONE KNEW then that Kelley and Mouse would have an impact on the art world that continues to this day. “In the early days, it was real good,” Kelley recalled, describing the San Francisco underground in 1965 shortly after he arrived from Connecticut. Back then, he was just a wayward helicopter mechanic, motorcycle racer, and hot rod-era cartoonist with a knack for drawing monsters and winged eyeballs.

Mouse, a Detroit native, had a lucrative T-shirt painting business centered around the hot-rod and custom-car industry before moving to San Francisco, where he met Kelley.

The scene was “superhip,” Kelley mused. “But there was no such thing as the word hippie. I mean, it was a brand-new thing.”

In the spring of 1965, Kelley moved from the Family Dog’s Haight Street commune to Virginia City, Nev., to help build the notorious Red Dog Saloon. The now-defunct dancehall was the summer lair of the Charlatans, a San Francisco folk-rock band (Dan Hicks and Boz Scaggs were among its members) with a taste for turn-of-the-century gambler chic and potent hallucinogens–and a penchant for packing sidearms onstage.

It became a popular watering hole for Bay Area bohemians and Sierra residents keen on its Wild West flair and psychedelic atmosphere.

“What I remember most about the Red Dog was all the guns,” said band member and poster artist Michael Ferguson in an interview for The Art of Rock. “That’s the only thing we spent our money on–bullets. One of my favorite things was going down to the dump and spending an hour setting up cans and bottles, then finding an old chair, sitting down, and plunking away.

“It was a real loose Western scene.”

It also became the birthplace of the rock poster and helped inspire the freewheeling San Francisco concert scene that nurtured poster art.

That artwork, in turn, helped foster the street life that served as a focal point of ’60s counterculture. “You could not separate [the artist’s] role from that of the musician. . . . It just seemed like part of the puzzle,” Grushkin wrote in The Art of Rock. “When you take all these people as a group, they represent a revolution that was so palpable and so obvious that you couldn’t walk down the streets of San Francisco or be a kid on the East Coast and not hear the reverberations.”

Alton Kelley and Stanley Mouse will make an appearance Saturday, Feb. 5, from 1 to 5 p.m. at an event sponsored by the Rock Poster Society at the Petaluma Masonic Hall, 9 Western Ave., Petaluma. Admission is $5/members, $10/general public. Their work also is featured through this month at an exhibit of poster art at the San Francisco Museum of Modern Art, 151 Third St., San Francisco. 415/357-4000.

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

© Metro Publishing Inc.

Kilimanjaro

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Rocky Road

Kilimanjaro or bust: glimpsing the dawn of the new millennium at 19,466 feet–and on a low budget

By Janet Wells

IT’S MIDNIGHT IN Tanzania, and the equatorial sunshine has long since given way to an inky chill at 10,000 feet on the barren slopes of Mt. Kilimanjaro. Our group of 36 trekkers–newly arrived from the States–is huddled together, shivering and exhausted from miles of unanticipated nighttime hiking. Those with enough energy hike back down the hill to look for several dozen porters and guides, who apparently have gone AWOL with most of our clothing, food, and gear. Our head guide has disappeared without a word of explanation.

Several people have a punishing virus and keep disappearing into the damp, scrubby brush. I’m sitting in a ditch, so cold I am beyond shivering. Like everyone else, I’ve eaten nothing more than an energy bar since lunch, and the clothing I put on in the heat of the day offers little protection against the plummeting temperatures. Someone drags me over to a tent and zips me into a down sleeping bag.

Once thawed, I get up to rotate the toasty cocoon to the next icy comrade, and find my husband, Mark, who has just returned empty-handed from the trail below. It’s after 2 a.m., and there are no porters in sight.

Half of us make do for the first night of our millennium Kilimanjaro trek with handouts: people with tents give up sleeping bags, and others open their duffels to dole out clothing. I wear a borrowed jacket and pants, and sleep on the ground with my husband, sharing a down bag covered by a red plastic tarp.

I am torn between anxiety and fatigue, but figure the worst is over. Our porters will arrive with the morning sun, fire up the missing kerosene stove to whip together a deluxe breakfast, and our grand African adventure will blossom. A few fitful hours later dawn breaks, and it begins to rain. By noon, the porters still have not arrived.

Welcome to holiday in Hell.

CLIMBING MT. KILIMANJARO for Y2K seemed like a splendid idea when my friend Matthias Schabel started tempting us with glowing travelogues about it last summer. A Santa Rosa physicist who lived in Tanzania as a teenager, Schabel invited a cadre of friends to join him on a three-week trekking and safari trip.

One of the world’s coveted seven summits, Mt. Kilimanjaro is the highest peak in Africa–a kind of everyman’s Everest. An active volcano until about 350,000 years ago, Kilimanjaro hardly is a candidate for beauty awards. The truncated cinder cone looks like a massive bread loaf. But at 19,466 feet the peak has high-altitude cachet without requiring technical feats.

In terms of hiking, Mt. Kilimanjaro is nothing to sneeze at–fewer than 10 percent reach the top, and an average of 10 people die every year on the peak, usually from altitude-related problems. By mountaineering standards, however, Kilimanjaro is an enticing cakewalk, with sweeping vistas and the lure of the odd eland on the high plateaus. Except for the summit push, Mt. St. Helena boasts steeper slopes.

Twenty of Schabel’s friends sign on for the trip, a crew of six from Sonoma County joining him: Windsor physicist Carl Mears and his wife, Dr. Panna Lossy; Agilent Technologies engineer Alan Kashiwagi; Scott Sisemore, who has just quit his job at Mark West Winery; and my husband, engineer Mark Ripperda, and I.

All of us have sizable garage space devoted to outdoor pursuits. But this time we’re paying for the luxury of having someone else provide the equipment, do the cooking, set up the tents, and carry our gear. We don’t even have to feel like spoiled colonials, since Tanzania requires all Kilimanjaro trekkers to hire porters and guides.

Matthias signs on to a seven-day budget trip with Tanzanian trek organizer Jasper Lemnge, and we each pony up $650, plus another $800 each for trekking permits. It seems exorbitant, but millennium fever has added a $400 premium to the permit fee, and we pay it for the privilege of ringing in the New Year on the roof of Africa.

Ninety percent of Kili’s 12,000-odd trekkers each year opt for the easiest trail, the “Coca-Cola” route, which boasts sleeping huts with dining areas, plus emergency radio communication. Our group disdains the tourist approach, climbing instead via the Shira Plateau, a more remote route featuring a challenging scramble up the 3,000-foot Breach Wall on summit day. There are no structures on the route except for leaky metal sheds the porters and guides use as kitchens, and the filthy pit latrines.

AFTER TWO DAYS of traveling via Paris and Nairobi, we have a rest day at Jasper’s guest lodge, then meet up with the rest of our group: 14 college students squired by Matthias’ father, Hans, a forestry professor from the University of Wisconsin.

Our crew, along with 20 porters and a mound of duffel bags, tents, food, and cooking supplies, looks more like a military operation than a vacation tour. The morning of Dec. 27, we climb into three enormous open-air four-wheel-drive trucks and embark on a monotonous seven-hour dust-and-diesel-choked journey.

Along the sun-baked road, Masai villagers with their traditional shoulder-slung red blankets herd cattle and goats among the thorny acacia trees. As we move up in elevation, the hardscrabble fields slowly give way to villages tucked among the lush flora and crops of bananas, beans, maize, and coffee that thrive in Tanzania’s highland tropics.

Our trek starts in the late afternoon at the Londorossi Gate of Kilimanjaro National Park, where Jasper hires another 35 porters and waves us off with the assurance that the trucks and porters will soon overtake us and ferry us to camp an hour or two up the road. Jasper plans to return to his lodge, and leaves us in the hands of our stoic head guide, Felix.

Easy strolling through a lush landscape where colobus monkeys swing through the trees turns into a six-hour slog in a moonless night. Twelve miles later we reach our ill-fated first campsite.

We discover the next morning that the semi-sized four wheeler loaded with gear and most of our porters was mired in mud back at the park headquarters. Rather than abandon the truck, Jasper opted to strand our group, along with a few exhausted, ill-equipped porters, for a cold, wet night. Felix, we discover, spent the night in the ranger’s tent.

Just after noon, porters begin to trickle in, and camp begins to take shape. The dilapidated, musty two-person canvas tents provided by Jasper look army surplus circa 1950. Some of our food and fuel apparently are missing.

Our personal duffels, fortunately, are all intact.

Lunch is served at 4 p.m. While some treks have a mess tent, complete with tables, chairs, and white linen humped up the mountain by porters, I hardly expect such luxury given our modest price tag. Our table is a red vinyl tarp on the ground, set with flowered plastic plates. After more than 24 hours without food, we are served peanuts, popcorn, and hot water for tea or instant coffee.

I scoop up as much as my fists can hold, and we gather into a small group to grumble. Panna and Carl talk about bailing, worried that the obvious lack of organization is going to mean trouble higher up. Dinner, however, brings a brighter outlook: pasta with tomato bolognese sauce, sautéed vegetables, French fries, and bread.

Getting the hang of it: During the ascent, the writer follows her bliss while dangling from a rock overhang at the mouth of a small cave on the Shira Plateau.

THE NEXT MORNING dawns clear, and I join several people on a rocky promontory snapping sunrise photos. It’s a glorious view, with Mt. Meru rising in the distance, the Shira Plateau stretching before us, and Kilimanjaro dominating the eastern horizon.

After breakfast the clouds start to roll in. Having learned from the first night’s fiasco, I stuff my daypack full of clothing. The four-hour hike to the Shira camp is wet, but not unpleasant, since we all sport layers of Gore-Tex and fleece. The porters, however, straggle uphill wearing ragged cotton clothing and a motley collection of footwear, ranging from flip-flops to torn loafers. These guys carry loads of 40 to 50 pounds, and at $6 a day are the world’s most underpaid athletes. Their wiry frames are dwarfed by enormous duffels, sacks of food, and barrels of water. I try the porter method of balancing a load on my head and manage about 50 feet before my neck gives out.

Shira camp is on a treeless, boulder-strewn plateau at about 12,000 feet. In the middle of the night, I brave the icy wind and am rewarded with a sky of diamond stars.

The next morning, we have our first case of attrition. Kristen Hughes, a venture capitalist from Palo Alto, is suffering from a bronchial infection and must forego the climb. The 24-hour flu virus continues to make the rounds, and Panna, the doctor who came prepared for vacation rather than triage, is now saddled with her own makeshift clinic.

On the way to the Lava Tower camp, most of us pass our previous high point–California’s Mt. Whitney, which at 14,494 feet is the tallest mountain in the continental United States. We’re now at 14,800 feet, pitched on a sloping muddy shoulder. The rain lets up briefly, and several of us head for a nearby stream to pump water through filters brought from home. The stream is directly downhill from the camp’s fetid privy, and we decide to throw some iodine tablets in as well. Matthias reminds the cooks to boil water for 20 minutes, but is not optimistic that they will comply, given the high altitude and low fuel supplies.

It starts to sleet as we eat dinner. Several of the porters are huddled in thin blankets under an enormous dripping boulder. The tents are apparently too heavy to bring more than what is needed for the clients. With some rearranging, we free up a tent, and five grateful porters pile in.

An evening storm leaves the camp coated in crusty ice.

A clear dawn reveals our magnificent panoramic perch: the 200-foot-high Lava Tower looming over camp is merely a chip compared to the massive crater wall and hanging glaciers above us. Far below, Kilimanjaro’s jungled base ridges stretch like fingers for miles into the plains.

Mt. Meru floats on a bed of clouds in the distance.

Unfortunately, not everyone is enjoying the view. Carl has acute nausea and Alan can feel his lungs rattling when he breathes–both warning signs of high-altitude sickness. The only treatment is to get to lower altitude, and they decide to head down to meet Kristen.

I look around and try to guess who will make it to the summit and who won’t, but give up. Carl sports bearlike strength and spent a summer backpacking 1,500 miles of the Pacific Crest Trail; Alan’s a natural athlete who has been above 17,000 feet in the Himalaya.

Several of the students, however, look ragged and ill, but keep going up.

I feel fine, and credit luck and my twice-daily doses of Diamox, an altitude sickness drug that enables users to breathe faster and take in more oxygen. In the rarefied air atop Kilimanjaro, there is only half the oxygen found at sea level, and by the time we leave Lava Tower, everyone in the group is popping the pills as a preventive measure. The only drawback is the diuretic effect, which sentences users to multiple middle-of-the night pee forays.

THE HIKE to Arrow Glacier–base camp for the summit–is short but steep. We gain 1,200 feet in a little over an hour, as a heavy mist swirls around us. The 16,000-foot-high trash-strewn rocky plateau is a sea of bright colors and activity.

It’s Dec. 31, and a dozen groups are here, poised for the summit attempt tonight.

We obviously represent the low-rent crowd: A group of Brits, who have deluxe dining tents and are given bowls of warm washing water each morning, complain about their food, but it’s hard to be sympathetic after hearing about their afternoon tea and scones, and noting that their enormous garbage pile contains avocado and papaya rinds. Our culinary offerings today have included the by-now ubiquitous hard-boiled eggs, white bread, and instant soup.

The original plan for today was to go all the way to the summit crater at 19,000 feet to camp, then hike up Uhuru Peak to the true summit at midnight. Without a word of discussion, however, we all understand what a ridiculous idea it is. It takes enough energy just to climb 100 feet to take a photo. In the distance is the somber sight of a porter making his way down the rocky Breach Wall trail with a seriously sick trekker on his back.

Mark is lying in the tent, pale and tired. A cold has progressed to a lung rattle, and he’s coughing up bubbly stuff–both signs of pulmonary edema. I am quite alarmed. I know that high-altitude sickness can creep up on a person and, without warning, be fatal. We were told the guides would keep an eye on us and send any sick trekkers to lower elevation. But if our guides have any first-aid training, they’re keeping it secret.

Mark says he feels fine when he stays quiet, and decides to spend the night, then head to a lower camp in the morning. Four other people in our party will do the same.

At least 150 trekkers and several dozen guides will leave Arrow Glacier at midnight. After a measly dinner, I join Mark in the tent and doze. At 11:15 p.m. Matthias rouses everyone for tea and cookies.

I am trussed up in yuppie mountaineering style, and still the cold is palpable. My gear–long underwear, fleece pants, fleece jacket, Gore-Tex bib pants, down jacket, Gore-Tex shell, liner gloves, Gore-Tex outer mitts, fleece neck gaiter, fleece hat, heavy boots, day pack, headlamp, camera–is worth more than the average Tanzanian makes in a year. But all the technical trappings do nothing when nature calls and I have to drop my drawers to pee in the icy wind.

I kiss Mark goodbye, disappointed that I won’t be aiming for the summit with him, and he cautions me to be careful. At the stroke of midnight, everyone yells a hearty “Happy New Year,” a few words of French, German, and Swahili mixing with the British and American accents. A long line of headlamps snakes toward the notch at the top of the Breach Wall. Finding the trail is like a “Where’s Waldo?” amid thousands of vertical feet of loose shale and rock.

Matthias is hot to be on the summit at sunrise and, prodding Felix to go faster, sets a killer pace for 11 of us who are in the lead. After 30 minutes, I start to fall back with several others. I’m breathing too hard and figure that, at this rate, I’ll either pass out or arrive at the summit two frigid hours before the sun rises.

It’s cold, windy, and moonless, and my water-bag hose quickly freezes. Panna has a water bottle, but the process of transferring liquid from my bag is arduous, requiring intense concentration. At 17,000 feet my headlamp batteries succumb to the cold and begin to dim. I will have to change batteries three times to maintain the small circle of light at my feet. I try to eat an energy bar around 3 a.m., but the chalky chocolate sticks in my throat.

We reach the crater just before 5 a.m., Panna and I slapping high-fives as we go through the notch and step onto the 19,000-foot-high caldera. The wind is whipping to subzero temperatures, and I wonder if my nose will get frostbitten.

A sheer 100-foot-high glacier wall bisects the flat, ash-covered terrain. Horizontal ribbons of silvery ice loom above us, reflecting the starry twinkle of the clear night. More than 20 tents occupy the crater, and I wonder who is hardy–or idiotic–enough to brave a night on Africa’s arctic plain.

The summit is only 400 vertical feet away, on top of Uhuru Peak, a snow-covered protuberance that rises out of the crater. The peak looks short and sweet, but it’s a taxing slog. About halfway up I am hit with waves of nausea and can manage only four or five steps before I have to rest, leaning on my trekking poles for support. Bands of yellow and orange light stretch below me across the horizon, and the snow sparkles in the dawning light. I turn off my headlamp. More than an hour later, I am the last of 12 of Matthias’ group to arrive at the summit plateau.

“Problem? Pack too heavy?” asks Christian, a 19-year-old guide who has summited Kilimanjaro 15 times this year. I shake my head, and he smiles, pointing to a crowd of people up a small rise. “Five minutes,” he says, and it takes just about that long to shuffle the final few steps to the summit, where I am engulfed by group hugs.

THE RISING SUN CASTS a soft pink glow on glaciers that straddle the summit, shimmering icy and ethereal. Clouds and haze obscure the lush valleys far below, creating the impression that we’re floating.

The summit scene is like some kind of mountaineer’s rave. While the guides smoke cigarettes and nap, a hundred trekkers dressed in brightly hued parkas mill about taking photos and hugging. One trekker offers hits off an oxygen bottle. Panna and Scott toss a Frisbee. Tammy McMinn, a San Francisco computer consultant, pops open a bottle of $40 French champagne she lugged to the top. I take a swig, and it all goes up my nose.

I feel tipsy and hungover at the same time. It’s a thrill to be at the summit, but my head aches, and the nausea is getting worse. The temperature hovers just above zero, and by 7 a.m. I’m ready to head down.

On the way down Uhuru Peak, I see a trekker swathed in layers of colorful shirts, his dungarees fashionably baggy. A kaleidoscope-colored knit hat perches atop his waist-length dreadlocks. He’s black, but obviously not African. In my high-altitude daze, I stare. He dazzles me with a warm smile and good wishes for the new year.

Turns out the guy is from Sebastopol and apparently is on some kind of personal quest. People climb Kilimanjaro for many reasons, for spiritual fulfillment, to scatter the ashes of a loved one, for challenge and adventure.

I am envious of the obvious bliss shining from his face.

I think of Mark wheezing in the tent far below and wonder what I am seeking in the thin air.

Once we start down the Breach Wall, the descent turns into a 3000-foot booby trap. Five painstaking hours later, Panna, Tammy, and I are among the last to arrive back at base camp. I look at the tents just across Arrow Glacier, and I breathe a sigh of relief that everyone made it back safely.

I soon learn otherwise.

One of the porters hands me a cup of orange Tang, and a few minutes later Matthias’ father tells me that one of our group was hit by rock fall. I follow Panna behind the tents. Louis Rivara, a Central Valley vineyard owner, is lying on a sleeping pad. Blood is spurting from near his right temple into a bowl held by Matthias. Panna uses water boiled for our tea to wash the wound. I search for gauze pads. Tammy is holding his hand. Louis is moaning and writhing in pain, but clearly is conscious–a good sign.

Louis tells us that he was hit by a melon-sized rock just before he and his trekking buddy were nearing the top of the Breach Wall at sunrise. The force knocked him unconscious, and he came to as he slid several feet down the slope. Louis’ wool-knit cap is soaked with blood, streaks of red running down his face and onto his jacket. He has been waiting several hours for Panna to return from the summit.

Panna peels the hat off, and the jagged two-inch gash does not make her happy. Our trek organizer has provided no medical kit, and we have only basic first-aid supplies.

“This needs stitches,” she says, applying thin strips to close the wound. “You’re going to have a nasty scar.”

Panna wraps gauze around the wound and an Ace bandage to hold everything in place, then lays out the possibility–though remote–that the rock could have hit hard enough to cause swelling under the skull.

If left untreated, such a condition can be fatal.

We discuss ways of evacuating Louis. Other than a rudimentary stretcher two days back at the Shira camp, there is no rescue equipment or radio communication available on our route. Louis says he feels up to walking to the next camp, and there isn’t much other choice.

Lunch is ready, and I figure that after 12 hours of hiking to the summit and back, the watery fish broth is merely an appetizer. Wrong.

The few pieces of bread are snatched up before I get to the tarp, and when I ask for more, the porters tell me there is no more fuel or food.

WE PACK UP and start heading to Barranco camp 2,000 feet down the mountain, where I will reunite with Mark and the others in our group. The three-hour hike goes by in a blur of aching knees. Mark gives me a congratulatory hug. He says he’s feeling better, although his lungs are still rattling. I nap for an hour, then get up, hoping for an early dinner.

Everyone is gathered into small groups, obsessed by food fantasies. Matthias is going on about spinach and mushroom pizza. Someone else is waxing poetic about burritos, chips, and salsa. When dinner comes several hours later, the disappointment is palpable.

The soup is eerily reminiscent of dishwater, and the meager pieces of chicken are inedible.

OUR FINAL DAY of trekking is an eight-hour, 7,000-foot descent through the mud-slicked jungle. Louis is quite peppy–even though he was roused by his tent mate every 30 minutes during the night to check his level of consciousness. A rakish red kerchief covers his fresh bandage. We have all been revived by French toast for breakfast–miraculously there is enough for seconds.

News has traveled via the porter grapevine that two people died from altitude-related problems the day before. An American woman collapsed near the summit, and a German man died in his sleep at 14,000 feet. Another 33 reportedly were evacuated from the Coca-Cola route.

We arrive at the Umbwe route trailhead in the late afternoon and sip warm sodas as the porters mill around waiting for their hard-earned tips. I take off my boots and indulge in bare feet for the first time in a week.

That night, back at the Ashanti Lodge, Mark and Panna confront Jasper.

“Trucks got stuck, nothing I could do,” he responds to criticism about stranding us the first night.

We don’t want to punish the porters by stinting on tips, but Matthias makes sure that Jasper gets none of the cash we dole out.

The next day we leave Kilimanjaro behind, embarking on the safari leg of our vacation. Just as we settle into a life of Land Rovers, roaring lions, and long-lashed giraffes, the trek comes back to haunt us.

“Rocket-nozzle” diarrhea, as one person calls it, disables most of our group. Mark has the giardia parasite, Carl has some kind of tenacious bacteria, Alan’s got the trots, and Panna’s got it coming out both ends.

Scott and Matthias–who got food poisoning from drinking homemade banana beer before the trek–have escaped the consequences of Kilimanjaro’s Russian-roulette water, as have I.

But my luck doesn’t last: On the American Airlines flight from Paris, I wolf down a chicken lunch and spend the next three hours hunkered at the back of the plane by the bathroom, yorking furiously.

I have lots of time to indulge in a grumpy reverie about Kilimanjaro. The bad food. The surly head guide. Mark denied the summit. No rescue services. The incompetent organizer. The lousy weather. The snotty Brits.

I’m surprised when a silver lining starts to emerge: Christian, the patient, smiling guide. The perfect spiraled symmetry of a red-tipped lobelia plant. Bonding with 20 people, and the endless lifelong jokes this trip will provide. Lava Tower’s scarlet rock gleaming against the crisp blue dawn. Wispy tendrils of mist floating across Kilimanjaro’s massive flanks.

This is what the Sebastopol rasta-man was smiling about, I decide. Life doesn’t just happen at the summit, after all. Bliss is there, hidden all along the trail.

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

© Metro Publishing Inc.

1999 Wines

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The jury is still out on local ’99 bottlings

By Bob Johnson

MICHAEL J. FOX may be pulling the plug on his hit ABC sitcom Spin City, but the spirit of that irreverent series lives on in the hearts and minds of grape growers, and winemakers throughout the Golden State are putting the best spin on the results of last year’s unusually cool growing season.

As the 1999 harvest finally drew to a close, several weeks later than usual, one veteran North Coast vintner showed absolutely no sign of concern.

“Even though the crop was late, the quality was good,” he says. “Besides, regardless of the quality, we’re pretty much guaranteed of two straight outstanding vintages.”

It may sound as if the vintner was talking in circles, but he actually was making perfect sense–from a marketing perspective. You see, he figures bottles dated 1999 or 2000 will be big sellers based on their collectibility–last vintage of one millennium, first of another–even if the wine inside is below par.

Fortunately for those more concerned with the wine than the packaging, it appears the ’99 harvest will yield many wines of very good, if not outstanding, quality.

“The effects of La Niña created a long, cool growing season that produced normal to lighter yields per acre,” says John De Luca, president and CEO of the Wine Institute in Rohnert Park. “The longer hang time for the grapes concentrated the fruit flavors and deepened the colors–quality markers for an exceptional vintage.”

“Exceptional” may prove to be a bit of an exaggeration, since the expanding vineyard acreage up and down the state and the lateness of the harvest conspired to stack up picking crews.

Those who were able to harvest when their grapes’ sugar levels were optimum should be in good shape. Those who anticipated a labor shortage and hedged their bets by picking early, as well as those who lacked picking crews at the “right time” and thus were forced to harvest late, could see quality compromised.

“The cool ’99 growing season had all the makings of a great vintage like ’91,” he says. “The issue in this vintage was September’s lengthy coolness and the accompanying drizzle and overcast that never broke up all day long.”

Usually winemakers can count on a warm or even hot September to ripen grapes growing almost anywhere in Sonoma County.

“Finally, an October heat spike skyrocketed grape sugars in some vineyards to 27 or 28 degrees brix,” Bursick adds. “Wine growers who could pick in that optimal window between September drizzle and October heat blast will be tremendously pleased with the results.”

Cecil De Loach, president and winemaster of De Loach Vineyards in Santa Rosa, echoes Bursick’s assessment.

“Although we were concerned at the end of summer by the cool weather, the warm October temperatures were perfect,” De Loach says. “We got fantastic flavors and good yields as expected and within normal parameters.”

Yields were not uniformly “normal” across the county, however.

“Yields were almost normal for most varietals,” says Rick Sayre, vice president of winemaking for Rodney Strong Vineyards in Windsor. “However, cabernet sauvignon, sauvignon blanc, and zinfandel are down by about 20 percent.”

Sayre adds that grape quality, “in general, is very good.”

“I have high expectations for our wines,” says Bursick, “and other winemakers are making superlative comments, about this vintage, that I haven’t heard in years. Concentration, flavor, and color all seem to be outstanding.”

Nick Goldschmidt, winemaker at Simi Winery in Healdsburg, says that the extended hang time “delivered excellent tannin development. I’m seeing the softest tannins since 1992.

“The ’99 wines should be very elegant.”

Anne Moller-Racke, vineyard director for Buena Vista Winery in Sonoma, was equally upbeat. “The potential is high for spectacular cabernet sauvignon,” she says, “especially from Carneros.”

Other vintners from other regions of the state offered similarly hopeful reports, although few had experienced a harvest that both was so late and dragged on for so long.

Daniel Gehrs, a veteran Central Coast vintner, says more fruit in that region was harvested in November than in September and October combined. “I’ve never seen that happen before,” he adds.

What does that mean for wine quality?

“We’ll see,” he replies.

Artful spinning side, California’s 1999 vintage figures to be a mixed bag, producing wines that span the quality spectrum from slightly below average to outstanding–depending primarily on the sugar levels at which the grapes were picked. Quality is expected to be highly variable from region to region and varietal to varietal.

So when 1999 white wines begin to hit merchants’ shelves later this year, a good policy for consumers may be to purchase the ones they like in quantity. *

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

© Metro Publishing Inc.

Altan

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Altan recover after death of co-founder

By Alan Sculley

IN 1994, the members of Altan faced one of the most difficult moments a band can encounter. Flute player Frankie Kennedy, who had founded the Irish group in 1983 with his wife, singer/violinist Mairead Ni Mhaonaigh, succumbed to bone cancer. The loss of Kennedy, obviously, took a huge emotional toll on the group, and it also deprived Altan of the band member who, along with Ni Mhaonaigh, had been the creative catalyst for the group’s music.

But despite losing someone who had been such a formidable presence, Ni Mhaonaigh says the group never considered splitting up. In fact, she says the loss of her husband may have actually strengthened the band and helped Altan–who already were established as the world’s leading practitioners of the traditional Donegal style of Irish music–to further solidify their place in the music world.

“I remember when he died we just said we’ll continue. We didn’t mention a new flute player, not one person,” Ni Mhaonaigh says. “And we just felt we would have to get on with the void of no flute, which was a hard thing to do, but we realized afterwards that nobody could really replace him. And we all kind of . . . this is the strangest thing, I think–the band [members] are playing as good of music or better music than we did prior to his [passing] because everyone kind of tried harder.

“Everyone seems to just fly.”

Part of the inspiration for carrying Altan forward came from Kennedy himself. After he was diagnosed with cancer in 1992, he made it clear he didn’t want Altan to die with him. “We had to reach deeper inside to gain the strength, yeah,” Ni Mhaonaigh says. “And I feel his spirit is with us as well, which was very strong.”

Kennedy undoubtedly would be pleased with what Altan have accomplished over the past half-dozen years. But even before his death, the group had amassed achievements exceeded perhaps only by one other traditional Irish group–the Chieftains.

Altan were formed in 1983 as a duo by Kennedy and Ni Mhaonaigh with the sole purpose of playing the traditional music of the Donegal region of Ireland. Both Kennedy and Ni Mhaonaigh were teaching school in Dublin at the time, and there were no grand ambitions for a musical career. “There wasn’t this huge game plan at the beginning,” Ni Mhaonaigh says. “It was just to play music with all our hearts, and hopefully people would understand what we were about.”

THERE WERE GOOD REASONS for modest expectations. Located in the northernmost region of Ireland, Donegal had always been isolated from the rest of the country. The distinctive music that developed there–the Donegal style is defined by the quick, single-stroke bowing and staccato triplets of violins and a strong Scottish influence that occurred with the intermingling of musicians from Donegal and its neighbor to the northeast, Scotland–had never spread much into other parts of Ireland. So obviously bringing Donegal music to the world seemed pretty far-fetched when the music hadn’t even spread to other Irish counties.

Yet Kennedy and Ni Mhaonaigh made an impact almost immediately. They debuted as a duo in 1983 on the Irish label Gael-Linn Records with Songs from the North, an album of traditional dance tunes and songs sung in Gaelic by Ni Mhaonaigh. Live shows followed–including some short trips to the United States–and this compelled Kennedy and Ni Mhaonaigh to quit teaching and pursue music full time.

By 1987, they had landed a deal with Green Linnet Records, a label with worldwide distribution, and had brought in guitarist Mark Kelly and bouzouki player Ciaran Curran to play on a second album, which was titled Altan.

Soon afterward, Altan became a full-fledged band, with Curran, guitarist Daithi Sproule, and violinist Ciaran Tourish eventually joining as core members. Four more critically acclaimed albums were released between 1989 and 1993 on Green Linnet before Kennedy fell victim to cancer.

Despite this devastating blow, Altan’s career moved forward, as the group, with Dermot Byrne joining on accordion, landed a major label record deal with Virgin. Two CDs for that label, Blackwater (1996) and Runaway Sunday (1997), considerably expanded the group’s worldwide following and set the stage for the release this spring of a new studio CD, Another Sky, which will be released soon on Narada Records.

TODAY, Altan have become firmly established as the premier practitioners of the Donegal style, and in addition to garnering a worldwide following, they’ve also seen a rewarding change in their Irish homeland. “The Donegal style was very much ignored in Ireland for years or not known about,” Ni Mhaonaigh says. “And now–well for a few years now–it’s been the ‘in’ thing to do. It’s a nice way to be, because this music that was played only in little pockets all over Donegal and very isolated areas is now being played all over Dublin and Cork and Galway. It’s a nice change.”

With the highly appealing Another Sky, Ni Mhaonaigh explains she and the other members of Altan are making a conscious attempt to reach more music fans who may never have heard the Donegal style of Irish music. Like the band’s other CDs, Another Sky includes its share of fast-paced jigs and reels, but it also focuses on ballads that could appeal to people who don’t consider themselves Irish music fans.

“Our aspiration is to play good music, and we just love what we play and it’s what we know best,” she said. “We’re not on any huge crusade. We do love the Gaelic language. We do love the music, and if people like it, then we’re totally pleased.”

Altan perform Friday, Feb. 11, at 8 p.m., at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. $20-$24.50. 546-3600.

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

© Metro Publishing Inc.

Senior Housing

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One of the lucky ones: With the help of the Petaluma Ecumenical Project, 72-year-old Arlene Morgan has found a one-bedroom apartment that costs just 30 percent of her gross annual income in rent.

(Not So) Golden

How the local housing market shortchanges seniors

By Yosha Bourgea

ARLENE MORGAN is one of the lucky ones, as she herself is the first to admit. Although her only source of income is a monthly Social Security check averaging $800, the 72-year-old grandmother and former university professor is still able to afford a roof over her head with enough left over for food, clothing, and an occasional trip to the Shodakai Casino north of Ukiah.

In Sonoma County, that’s no small trick.

With the help of the Petaluma Ecumenical Project, a nonprofit organization that provides affordable housing for the elderly, Morgan was able to obtain a one-bedroom apartment in a complex located a few blocks from Highway 101.

For the last three years she has paid 30 percent of her gross annual income in rent, and despite the close quarters she’s happy with where she lives.

“Senior low-income housing, a place like this, is ideal for people who don’t have many things,” she says, glancing around her simply furnished living room. “It’s a very small space.”

Fortunately, Morgan is used to packing light. In the 1970s, she left Mountain View to teach psychology at the University of Queensland in Brisbane, Australia. She returned to California in 1993, after her grandchildren were born, and discovered that housing costs had risen dramatically while she’d been away.

“When I was in Australia, I wasn’t thinking about getting a backlog of funds. That has never interested me,” Morgan says.

“I had no investments, no real estate.

“I was just staggered when I came here. It was going to take all of my Social Security just to pay the rent! I took one look at the cities [in the lower Bay Area] and I knew that wasn’t an option.”

While she looked for a place to live, Morgan stayed with her daughter-in-law in Tomales. It was clear that the only affordable long-term option was subsidized housing. “I might have been able to afford to rent if I didn’t live too long, ” she says dryly, “but you can’t count on that.”

When Morgan discovered PEP, the waiting list for apartments was more than 200 names long. Managers told her it would be two or three years before she could expect to hear anything. She signed up anyway.

Then came a stroke of luck. An opportunity arose to return to Brisbane to teach for a few more years, and she took it. While her name inched up the waiting list in Petaluma, Morgan was traveling around Australia doing research for a book on the status of aborigines in prison. When she returned to California in April of 1996, PEP officials told her the wait was down to about half a year.

Though it took all the money she had, Morgan rented for two months while she waited. Then she got lucky again. An unusually high turnover rate led to several vacancies, and that June, with nothing more than a couple of suitcases, Morgan finally moved into a PEP apartment. And for the foreseeable future, that’s where she plans to stay. “I’m very fortunate,” she says. “There’s a real spirit of community here in Petaluma.

“I don’t know how we’ve been able to maintain it.”

Is Help on the Way? Yes, if President Bill Clinton’s proposal to provide 120,000 affordable-housing units is approved by Congress.

THE POPULATION of Sonoma County, like that of the rest of the country, is growing older as it grows larger. A recent report from the U.S. Department of Health and Human Services’ Administration on Aging shows that over the next 30 years, as an escalating population in general and the baby-boom generation in particular reaps the benefits of advances in medical science, the number of elderly people nationwide is projected to double.

“The rapid growth of the elderly represents in part a triumph of the efforts to extend human life,” says Jacob Siegel of the Administration on Aging, “but these age groups also require a disproportionately large share of special services and public support. There will be large increases by 2030 in the numbers requiring special services in housing.”

The 1999 annual report from the Association of Bay Area Governments brings the numbers closer to home. According to the report, in the next 20 years the number of people in the Bay Area over age 65 will increase by 719,000, or 90 percent, to a total of more than 1.5 million.

And in Sonoma County, seniors searching for a place to live are up against a housing market that a study by the National Association of Home Builders says is the fourth least affordable in the country.

There are now more than 11,000 seniors in the county who, like Arlene Morgan, are living on Social Security or low fixed incomes: think $700 a month, or less. With low-income housing already scarce and waiting lists for the Department of Housing and Urban Development’s Section 8 subsidy program often as long as two years, the elderly in Sonoma County are caught in the middle of a housing crisis that is just beginning to get a lot worse.

“Seniors are coming to us on an almost weekly basis with evictions,” says Shirlee Zane, executive director of the Council on Aging. “It’s very typical to see a client [who has] a reduction in their SSI, their utilities are going to be turned off, and they simply can’t meet their rent.”

Pam Wallace, director of the Interfaith Shelter Network, estimates that 12 to 15 percent of her clients are seniors, though not always in the legal sense. The Department of Housing and Urban Development defines a senior as anyone past the age of 62, but Wallace sets the bar considerably lower.

“Our generation, the baby boomers, are coming up on 50,” Wallace says. “Many of the people we see who are over 50 are really frail and at risk. The other factor is that many of the men are Vietnam veterans, and we see a large percentage of them who are homeless. Rather than waiting until people decompensate even more, we think that establishing a lower age for seniors is a good idea.”

Susan*, a 53-year-old woman who had been living out of her truck following an eviction, found not only a room but employment through IFSN. She works part-time as an administrative assistant at the transitional housing facility where she now lives.

“I can set my own hours,” Susan says. “Pam trusts me to get the job done. Nobody’s had that kind of faith in me, or me in myself, for a long time.”

Still, both the job and the living space–which she shares with a roommate–are temporary. Tenants at the housing facility take part in a six- to 12-month program that includes regular meetings with a credit counselor. When the program is over, they are expected to make way for others.

Susan is feeling hopeful for the first time in a long time, but she knows that her financial difficulties are far from over. “Resources for people between 50 and 62 are real limited,” she says.

“[Advocacy] groups tend to focus on families with kids. The potential for gainful employment is limited when you’re my age. I have no retirement, nothing in savings. It’s scary.”

AT A TIME when the need for low-income housing is greater than ever, many landlords are opting out of renewing their subsidized-housing contracts with HUD. And in Santa Rosa, tax-exempt mortgage revenue bonds issued by the city in the 1980s are reaching the end of their 10-year affordability requirement.

Landlords who have paid off the bonds are no longer required to maintain low-income rental units. Many are now charging market rates, effectively displacing residents who cannot afford to pay more.

At Apple Creek Apartments on Third Street and Dutton Avenue, one of the properties to take advantage of the city’s bond agreement, the units that for more than a decade were affordable to low-income families are now priced at the market rate.

Some 48 residents, many of whom are senior citizens, have had to find housing elsewhere.

Property manager Martha Jared didn’t want to force her low-income tenants to move; in fact, she voluntarily extended the agreement for two years to help them. But with the market skyrocketing, she was losing money. For a one-bedroom apartment, Section 8 funds have a cap of $684 per month. The market rate for that apartment now starts at $925. Apple Creek’s loss on its low-income apartments thus ran close to $14,000 a month, or $168,000 a year.

JARED IS PROUD that she has been able to help all her former tenants find new residences. When she heard through a contact in the housing department that a new complex was about to open up, she leaked the information to her residents before it went on the market. “When a new place opens up, it gets filled up so quickly,” Jared says.

Few developers are now willing to take a chance on low-income housing. John Lowry, executive director of Burbank Housing Development Corp., points out that a development marketed at $500 a month per apartment would lose money on every unit.

“There’s quite a bit of market-rate senior housing [being] developed by private developers,” Lowry observes.

“But the closer you get to market rate, the less demand there is. As far as we can see, the demand for subsidized senior housing is huge out there, because they all fill up.”

Gale Brownell of the Santa Rosa Housing Authority says that 270 low-income housing units in the city were converted to market rate between 1990 and 1998. During the same period, she says, 843 low-income housing units were conserved.

“Santa Rosa has more affordable housing now than at any time in the 1990s,” Brownell says. “I think the city is doing a good job in a very difficult market.”

Not everyone is convinced of that. Affordable-housing advocates such as Shirlee Zane say that the city discourages high-density, low-income housing with fees, restrictive building codes, and a convoluted permit process.

“Builders of affordable housing have to jump through these hoops and obstacles that the city gives them, and they can’t profit,” Zane says.

“If you’re a developer, you have to profit.”

Profitability may be the bottom line, but it’s not the end of the story. As landlords, developers, advocacy groups, and government officials struggle with the logistics of our housing crisis, the number of elderly, low-income people in Sonoma County continues to climb.

These are real people, housing advocates say, not statistics or dollar signs. And they’re not going away.

* Not her real name.

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

© Metro Publishing Inc.

Usual Suspects

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Sutter Medical Center spurns quake retrofits, seeks new location

By Janet Wells

WHEN SUTTER Medical Center of Santa Rosa made the surprise admission last week that hospital officials are looking for a new site to replace the seismically substandard building on Chanate Road, perhaps they were hoping it would curtail a pesky lawsuit looming on the horizon. The hospital’s board of trustees apparently approved the recommendation of chief executive officer Cliff Coates to build a new facility rather than spend a minimum of $11 million to bring the current building into compliance with strict statewide seismic standards by 2008.

Hospital watchdog Dorothy Hansen is well versed in Sutter’s earthquake preparedness issues. Last June she filed a lawsuit charging that Sutter failed to fulfill its promise to use millions of dollars for seismic safety upgrades, using the money instead to purchase furniture, automobiles, computers, and cafe air conditioning. The county, which leases the building to Sutter, declined to be a co-plaintiff in the suit, but Hansen is pursuing her charges that the hospital made false claims by trying to pass off $4 million in capital improvements as seismic safety changes.

According to published reports, the Sacramento-based nonprofit health-care corporation–which sits directly on the Rogers Creek fault–is searching for an appropriate Santa Rosa location, and apparently plans on moving into a new facility in 2006. It is unclear what will happen to the county-owned building if the move goes through.

“[Sutter] contracted with the county to make millions in retrofits and they simply didn’t do it,” says Hansen’s attorney Daniel Robert Bartley. “The county should be fairly compensated. . . . They will have a building that’s worth $4 million less than it should be. Sutter should pay the county in cash if not in seismic improvements.”

Deputy County Counsel Sally McGough said earlier that the county decided not to join the lawsuit because Hansen “misread the lease,” and that the required capital improvements can be in the form of movable equipment. “It seems really clear on its face that money was to go for seismic capital improvements, and it doesn’t take a rocket scientist to figure it out,” Bartley counters. “The county needs to give the public an answer for not taking a stronger stand against Sutter.”

Diocese Debt

HIGH-ROLLER investment schemes may have pushed the Diocese of Santa Rosa’s financial losses to $30 million–more than twice the original estimates, according to recently published reports.

Monsignor John Brenkle, the diocese’s acting financial officer, amended a December report that former diocese leaders ignored auditors’ warnings and exhausted $16 million in parish funds through fraudulent investments, reparations for sexual abuse misconduct, and overspending during the tenure of fallen Bishop Patrick Ziemann and former financial officer Thomas Keys.

This week Brenkle addressed a somber crowd at St. Bernard Church during the first of a weeklong series of meetings about the diocese’s deepening financial crisis, and described the recent discovery of a European-based foundation that apparently was using the diocese’s non-profit status as a cover for a high-yield investment scheme that was akin to a pyramid scheme.

“It could take $30 million by the time we eliminate all of our debt and cover the losses,” Brenkle noted.

On Tuesday, an angry crowd of parishioners at St. Mary’s of the Angels Church in Ukiah called for Ziemann and his former chief financial aide to be jailed. “It’s very inappropriate to call for the bishop to go to jail,” San Francisco Archbishop William Levada told the crowd. “I don’t applaud that.”

Levada further chastised parishioners for equating mismanagement and malfeasance with theft. “You should not make rash judgments.” he said.

But the nearly capacity crowd of 550 faithful, led by the dissident nun, Sister Jane Kelley, who first exposed the bishop’s behavior, walked out of the meeting after accusing Levada of failing to address the church’s moral crisis.

Ziemann resigned in July after admitting to a two-year sexual relationship with the Rev. Jorge Hume Salas, a former Ukiah priest who confessed to stealing money from St. Mary of the Angels Church.

Greg Cahill contributed to this article.

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

© Metro Publishing Inc.

San Jose Taiko

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Big Beat

San Jose Taiko performers pound out the sound

OVER THE YEARS, Roy Hirabayashi has answered a lot of odd questions. As the co-founder and artistic director of San Jose Taiko–a successful and distinctly innovative performance troupe that has toured the United States many times in its 27-year history–Hirabayashi is often asked, for example, to explain the difference between taiko drumming and Kodo drumming.

It’s a question that makes him chuckle.

“I get that one a lot,” he says. Patiently and gently he explains, “Well, the big difference is that Kodo is the name of a famous drumming company from Japan, and taiko is the Japanese word for the Japanese drum, the same instruments that the Kodo troupe uses. All the drums are taiko, but our company’s name also happens to be Taiko.”

Hirabayashi, in truth, doesn’t really mind the question.

“People become confused,” he says, “and they say, ‘Oh, I saw those people from Japan playing Kodo drums.’ But there’s no such thing as a Kodo drum. That’s a little like saying, ‘Oh, I saw someone playing a San Francisco Symphony string instrument’ when what they saw was a violin.”

That doesn’t mean there aren’t a few important differences between the musical styles of groups like Kodo and San Jose Taiko–or any of the other Japanese drum groups that have made successful careers in the wake of the current world-music boom.

In fact, just like modern rock bands or string ensembles such as the Kronos Quartet, every drumming company comes to develop its own unique sound, style, and sense of visual flair. That’s definitely true for San Jose Taiko.

“We very much have a style of our own, different than Kodo or a lot of the other groups coming from Japan, different from other Japanese-American troupes,” Hirabayashi says. “We approach our performances with a unique style that is reflective of us.”

Local ears will get a chance to hear that unique sound on Sunday, Feb. 6, when San Jose Taiko makes its first-ever appearance in Sonoma County, at the Luther Burbank Center.

“In our hands, taiko is very much a Japanese-American art form,” Hira-bayashi continues. “Growing up in the United States, my own musical background is not traditional Japanese. I grew up listening to rock and roll, Latin, jazz, soul music, R&B, whatever. With members made up of third- and fourth-generation Japanese-Americans, and even a number of non-Asians, our music really reflects a wide cultural experience.”

By writing their own musical pieces, the San Jose drummers are free to draw on a full spectrum of musical influences, incorporating everything from rock and roll to various African and Cuban rhythms in a one-of-a-kind blend of powerful sounds and hyperkinetic choreography to reflect their experience as Japanese, as Americans, as inhabitants of the planet Earth.

Using a variety of Japanese drums, ranging in size from the handheld josuke to the large drums the size of wine barrels, the expert drummers are able to coax a breathtaking array of sounds and percussive melodies from their instruments onstage, often leaving audiences revved up and cheering for more.

WHEN SAN JOSE Taiko first began, they were only the third such ensemble in America; the other two were based in San Francisco and Los Angeles. Now there are over 100 taiko drumming organizations. Through the years, Hirabayashi–along with his wife, cofounder P. J. Hirabayashi–has overseen the troupe’s progress as the performers embarked on a series of international tours, began a popular training program for adults and youth, and collected countless awards.

Asked if such longevity and success were expected or dreamed of in the early days of San Jose Taiko, Hirabayashi laughs.

“By no means, no,” he exclaims. “At the very beginning we were just doing it for fun, as a kind of hobby.”

In fact, when the group first started drumming in a Buddhist temple in San Jose, it was intended as a local cultural activity, “something for the youth group to become involved with that was musical and cultural at the same time,” says Hirabayashi.

“It turned out that there were many people from the local Japanese-American community who became interested in participating also, and it sort of grew from there,” he adds.

Hirabayashi explains that he was drawn to taiko drumming as a young adult, while looking for musical forms that were related to his cultural heritage and background.

“When I first saw taiko,” he recalls, “it was a very moving experience for me. It was at my local community Buddhist center, at the summer festival, what we call the Obon Festival, and there was this one man there who always came to play taiko for the dancing that happened at the festival. I was very moved to discover an art form that was intrinsically Japanese, but that could be translated into a distinctly American cultural thing at the same time.”

Having trained over a thousand drummers in the last quarter century, Hirabayashi feels fortunate to have shared his love of taiko with increasingly eager generations of musicians.

“The performance of taiko is a very special experience,” he says. “It’s a combination of many different things, the physical part of playing, the spiritual part, the musical part, combined with the whole ensemble attitude of playing taiko in a group. All of that is what draws a lot of people to playing taiko.”

Not to mention that it’s a first-rate aerobic workout for the performers.

“Drumming can be very physical,” Hirabayashi agrees. “Especially the way we do it.”

In the standard performance, there is about as much running about, with drummers sprinting from drum to drum, as there is actual drumming. And the players are seldom silent, erupting into frequent cries and synchronized shouts as they segue from one piece to another.

“It’s a real flow of music,” Hirabayashi says proudly. “There are interconnected pieces joined by calmer interludes and other activities that take place in between the songs. The whole event is like one big opera of sorts, one musical production, and so it’s really different, a very different onstage environment than you are likely to see with any other drumming company.

“It’s not just a lot of loud power drumming,” he adds.

Best of all, according to Hirabayashi, the audience at a live performance “will actually feel the music, will feel the sound in their bodies, that physical experience of the drum.

“There is,” he says, “nothing like it on the planet.

San Jose Taiko performs on Sunday, Feb. 6, at 7 p.m. at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Tickets are $22.50; or $52.50 with preshow dinner. For details, call 546-3600.

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

© Metro Publishing Inc.

Reduced Shakespeare Company

Small Talk

Reduced Shakespeare takes on a millennium’s worth of history

REED MARTIN is pregnant. To be accurate, it’s Martin’s wife, Jane, who is technically with child–the Sonoma couple’s second carbon-based life form–but the local actor-vaudevillian is certainly pregnant in spirit.

After several months of touring with his world-famous Reduced Shakespeare Company–the infamously high- and low-brow comedy troupe that has frequently toured the planet with its outrageous condensations of Shakespeare, the Bible, and American and world history–Martin is now gearing up for a few months of much-anticipated “paternity leave.”

It officially begins right after this weekend’s five-show run at the Marin Center of RSC’s latest production, The Complete Millennium Musical, which basically reduces 1,000 years of history to 100 minutes of bawdy, fast-faced tomfoolery–with singing.

“Though some dare not call it singing,” Martin warns. “We also dance, and I can honestly say that as a dancer, I’m a pretty good comedian.”

Having just ended a successful five-week run at the Seattle Repertory Theater, Martin is back home and in high spirits, in spite of a few phenomenally bad reviews in Seattle.

“One reviewer said something like ‘This is possibly the most amateurish, and certainly the least amusing, show I have ever had the displeasure to see on a Seattle stage,’ ” Martin reveals, as he rumbles into a warm gale of good-natured laughter. “Ouch! That’s not a review, that’s hate mail.”

He has good reason to laugh at such nasty jibes. The troupe’s Seattle run went on to sell out every show, becoming the third most successful event in the 35-year history of the Seattle Rep. In all fairness, a number of critics liked the show. The Seattle Times even called it “the most enjoyable history lesson you’ll ever have.'”

“I think we should do what Tom Lehrer did,” Martin says, in reference to the satirical songwriter who, after a critic remarked that a Tom Lehrer concert added up to an evening wasted, gleefully used An Evening Wasted as the title of his next album.

“I’m serious,” Martin says, laughing. “I think we should start using ‘The most amateurish and least amusing show in history’ in all of our advertising.”

Begun as a pass-the-hat group performing wildly irreverent versions of Hamlet at the Renaissance Pleasure Faire, the troupe has transformed itself many times.

With the Complete Millennium Musical, Martin and company–the current troupe also features Taylor Young and John Pohlhammer–break history down into six ages, from the Dark Ages to the Information Age.

“We cover every important historical and literary event from Beowulf to Baywatch,” Martin explains, “with 25 original songs, including stuff like ‘The Four Norsemen of the Apocalypse’ and one called ‘Heavenly Bodies,'” the latter being an innuendo-filled Barry White-like disco song, sung by Martin as Galileo.

“We wanted to do something different this time,” he says, “to stretch ourselves–and we really stretch on this one. I’m quite proud of the show.”

With a chuckle he adds, “All hate mail aside.

‘The Complete Millennium Musical’ plays Feb. 3-6, with shows at 8 p.m. on Thursday and Friday, at 6 and 9 p.m. on Saturday, and at 7 p.m. on Sunday at the Marin Center’s Showcase Theater, Avenue of the Flags, San Rafael. $35-$45. 415/472-3500.

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

© Metro Publishing Inc.

Spins

0

Mixed Bag

A bit of blues, a splash of psychobilly

Patricia Barber Companion (Blue Note/Premonition)

DIANE KRALL got a heap of attention in all of those tedious year-end top-pick lists. The only trouble is that the jazz pianist and singer comes across like a lounge act with a damn good p.r. agent–her song selections bottomed out last year when Krall covered Michael Franks’ insipid ode to cuddly companions “Popsicle Toes.” Unfortunately, the media machine for the most part ran over the excellent release by Chicago native Patricia Barber. She basically does the same shtick as Krall, but Barber has a gritty barroom sensibility that resonates in this live date recorded at the legendary Green Mill, an internationally known Chicago club that helped spawn the whole nouveau hipster scene. The originals are engaging, the covers of Sonny Bono’s “The Beat Goes On” and Bill Withers’ “Use me” are modern-cool classics. Hailed as both the No. 1 talent deserving of wider recognition (1999 Downbeat International Critics’ Poll) and the jazz musician most likely to reject success, Barber is a real winner. This is a companion you should, ah hum, Krall to with open arms. Greg Cahill

The Hellacopters Payin’ the Dues (Sub-Pop)

THE CHUCK BERRY family tree runs through the Rolling Stones and the MC5 and branches out to Black Sabbath, the Sex Pistols, and every piece of hard rock that’s come since. Sweden’s the Hellacopters aren’t just a link in that chain, but a reminder that the line between punk and metal is historically thin. Style differences between the genres always funnel into the louder/faster/harder ethos, and the Hellacopters use that ethos to blitz past their influences. “Hey!” uncorks the Clash’s second album, “Looking at Me” sounds like a lost Lynyrd Skynyrd hit, and “Twist Action” is flaming psychobilly, while “Like No Other Man” spits out the riff from Kiss’ “Deuce” at 78 rpm. Payin’ the Dues is only $10 and has a bonus live disc that’s longer (and heavier and nastier) than the actual album. And these guys play some monstrous Chuck Berry licks. Karl Byrn

Various Artists Fire and Skill: The Songs of the Jam (Epic)

DURING THE GREAT and glorious punk heyday (circa 1977), the Jam were almost universally dismissed as mod revivalists, a fact owing to the band’s earlier roots in the British rock and soul scene. Headed by Beatles fan Paul Weller, the band racked up nine Top 10 hits on U.K. pop singles charts before disbanding in 1982. But the band’s high-energy pop and adventurous sonic experiments earned plenty of fans over the years. Some of them have come together on this 11-song tribute, including Liam Gallagher of Oasis and Steve Cradock of Ocean Color Scene (who team up on a cover of “Carnation”), the Beastie Boys, Garbage, Buffalo Tom, Ben Harper, and Everything But the Girl. Oasis songwriter Noel Gallagher closes out the set with a rendering of “To Be Someone,” Weller’s tender commentary on the ephemeral nature of fame. You could write this off as much ado about nothing, but bear in mind that Pete Townshend, everyone’s favorite proto punk, once extolled the Jam as representing “everything that is vitally important in rock.”

G.C.

Terry Evans Walk That Walk (Telarc Blues)

PRAISE THE LORD! Singer and guitarist Terry Evans returns with his gospel-tinged R&B backed by a crack band that features guitarist Ry Cooder, drummer Jim Keltner, and background singer Willie Green Jr. Pure heaven. As one half of a vocal duo that once included West Coast soulman Bobby King, Evans has performed over the years with John Fogerty, John Hiatt, Cooder, and a slew of other cats who know something special when they hear it. The Evans/King duo recorded a few well-received albums during the late ’80s and early ’90s before parting ways. This third solo CD finds Evans soaring, moving easily through a soulful set of gospel stomps, blues shuffles, and R&B ballads. With roots steeped in the Mississippi tradition of his youth and one foot still in the choir box, Evans is an R&B tour de force. G.C.

The Supersuckers The Evil Powers of Rock ‘n’ Roll (Koch)

THE SUPERSUCKERS are the type of super-basic, super-hyper bar band that sounds pretty damn good if you’re sober and pretty friggin’ awesome after four beers. Hailing from Tucson, these ferocious focused cowpunks form a link between the Ramones and Merle Haggard (sounding like the former while covering the latter on “I Can’t Hold Myself in Line”). After a failed major-label deal gave them a bad taste of so-called success, they’ve joyously returned to the grungy, speedy sound of their Sub-Pop roots. It’s a disc that you don’t need for musical news, but you do need for, well, the evil powers of rock ‘n’ roll. It’s a two-ton shooting star, so belly up to the bar and make a wish while you can.

K.B.

Various Artists Music of Indonesia: Indonesian Guitars (Smithsonian/Folkways)

THE MUSIC of Indonesia–a far-flung nation where 300 ethnic groups inhabit 3,000 islands–usually brings to mind the ancient art of gamelan, which consists largely of gongs and other metallophones. So these 12 tracks of mostly acoustic guitar-based music are something of a revelation for Western ears. The often simple, graceful melodies–played behind a variety of vocals–sometimes recall the sound of the Appalachian hills, a world away. At other times, the tracks evoke crude classical styles, Hawaiian slack-key guitar, or even hybridized pop/jazz. Fascinating stuff. Easily one of the most intriguing world-music CDs to come along in months.

G.C.

From the January 27-February 2, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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