Usual Suspects

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GMO man: Jim Winston opposes the Healdsburg City Council measure.

Photograph by Michael Amsler

Growth Spurt

Healdsburg gets dueling growth measures on November ballot

By Greg Cahill

A LOCAL ACTIVIST who once said he was willing to compromise is blasting a city-backed growth-control initiative approved on Monday by the Healdsburg City Council, calling it a sham. The measure, which will rival a similar ballot initiative supported by a grassroots group, could derail efforts to curb development in one of the county’s fastest growing regions while providing affordable housing.

The council’s action comes just weeks after Jim Winston, a tenacious land-use activist whose tactics alienated even some of his allies, surprised the council by making doubly good on a threat to take the issue of managing Healdsburg’s growth to the voters. Over eight days in March, Winston led a petition drive collecting nearly 900 signatures–almost twice as many as needed–qualifying his version of a growth-management ordinance, or GMO, for the November ballot.

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

The Winston-backed measure would allow 30 new homes a year. The council’s calls for 25 new homes a year but has a liberal exemption clause that could significantly increase that figure by permitting small subdivisions of three or four homes, in-law units, live-work arrangements, and other types of housing.

Healdsburg is the second-fastest- growing community in Sonoma County. While the town constructed few new homes in the past decade, Healdsburg recently annexed 230 acres, mostly on the north end of town, and approved 500 new homes.

Winston, who just last month said he could live with the city’s version of the growth limits, now says the council measure is “a sham” because it is fraught with loopholes.

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

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

Neither of the initiatives on November’s ballot will affect the nearly 500 new homes already approved for eventual construction in the annexed area.

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

Under public pressure, the council lowered that number first to 50, then 45, but balked when Winston, citing revised figures from the city’s Planning Department, proposed a new limit of 30 units a year.

The council dug in, and Winston decided to go after an initiative.

The next step: the ballot box.

Jeremy A. Hay contributed to this article.

From the June 8-14, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Michelle Shocked

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American story: Michelle Shocked, left, and friend.

Shocked Treatment

Folk-rocker Michelle Shocked makes fighting comeback

By Alan Sculley

MICHELLE SHOCKED may not be a star or a household name in the music business, especially after a lengthy hiatus from the recording studio, but she is one artist who has truly declared and gained her independence. Her biggest battle occurred about six years ago when she was forced to pay for recording a CD, Kind Hearted Woman, and finance a tour herself because she was locked in a bitter contract dispute with Mercury Records, the label that had released her three critically acclaimed previous studio records–1988’s Short, Sharp, Shocked; 1989’s Captain Swing; and 1992’s Arkansas Traveler.

The label had refused to fund studio time for two proposed albums–one with a working title of Prayers and a version of Kind Hearted Woman–saying both records were stylistically inconsistent. What Shocked later discovered was that Mercury’s decision was based less on artistic merit than on a desire to rework her record deal.

As rarely happens in the music business, Shocked, 38, had negotiated ownership of her master tapes, and at the conclusion of her contract would control the release rights and royalties for her records. Mercury wanted to regain ownership. Shocked wouldn’t surrender. When Mercury refused to let her record for another label, the two parties went to war.

“I at first internalized a lot of rejection,” Shocked says, explaining her initial reaction to Mercury’s decisions. “I thought there was something wrong with me. And then as it went on down the road, I felt like they were behaving with an imperiousness, a high-handedness.

“It brought out the anger that comes from–if you know a little bit about my background as a runaway–the abused-child syndrome,” says Shocked (born Michelle Johnston), who at 16 ran away from home and soon after was briefly committed to a mental institution by her mother.

SO SHOCKED decided to circumvent Mercury altogether, recording a solo guitar version of Kind Hearted Woman in a friend’s garage. Armed with her CD, she then recruited two members of the Irish band Hothouse Flowers–Fiachna O’Braonain and Peter O’Toole (and on some shows, drummer Cedric Anderson)–and went on tour, selling her homemade discs at her shows.

The tour and CD sales raised enough money to keep Shocked on the road for two years and enabled her to return to the studio to re-record Kind Hearted Woman, with O’Braonain, O’Toole, and Anderson fleshing out songs.

In the meantime, she settled her dispute with Mercury and gained her freedom from the label. As part of the settlement, Mercury released a Shocked anthology CD, Mercury Poise. The new version of Kind Hearted Woman, meanwhile, was released four years ago on the Private Music label.

The CD stands as a significant departure for the eclectic singer-songwriter. Her first three records, which Shocked views as a trilogy, showed three distinct sides to her music. Short, Sharp, Shocked was a singer-songwriter record full of bluesy, folk-rock tunes. Captain Swing was a swinging horn-filled record. Arkansas Traveler–which featured bluegrass legend Doc Watson and gospel great Pops Staples–explored Shocked’s musical roots, with a collection of folk and blues songs she had learned while growing up, as well as some original material.

By contrast, Kind Hearted Woman remains Shocked’s most stark and emotionally charged record. It presents a series of stories about struggle, despair, and ultimately redemption, told by characters battling personal and professional setbacks while living in rural America.

“What I’ve been experiencing is that on a superficial listen, the material does end up being perceived as very . . . someone used the word barebones,” she says. “If you listen to it all, it does take you down into the depths, but before the journey’s over, it’s lifted you into, I don’t know, this mood of acceptance or tolerance. I define it as redemption, myself, but most people have at least managed to capture a sense, a mood of something a little lighter than the despair.”

LOOKING BACK on her battle with Mercury, Shocked hopes she has helped trigger some improvements in how the record industry treats its artists. She has continued to follow a highly independent path over the past few years, hitting a creative high point and touring each year.

She finished out 1999 with a special five-night stand at New York’s Bottom Line, performing 30 songs she had written in 30 days with O’Braonain.

“Well, I’m looking at it from a generational point of view. It’s now the baby boomers who are running the labels,” Shocked says. “But when they were coming up, they really received a lot of indulgence and nurturing from the record men, the guys who understood they were in the business of culture. And in the ’80s corporate environment, as that generation came into power running the labels, they started giving the power to the bottom liners, the accountants, the lawyers; and as a result, even the good record men that remained were driven out.

“It became seen as a negative to indulge the creative, the talent. And they really went back to a feudal system, like in the ’50s, of one-hit wonders and producers writing the songs and double-dipping by producing the albums and getting the publishing and all that.

“So from my generation, I just cannot go down without a fight,” she adds. “You do not have to, if you’re in the system, take a bunch of drugs and numb out, just be a loser or a slacker. You can be positive. You can have your wits about you, you can actually improve things. . . . I would like to see much more of a united front of artists who are exploited primarily because they allow themselves to be divided and conquered.

“So if I can represent a generational shift and paradigm from ‘we work inside the system and therefore we’re already defeated’ to ‘we work inside the system and we’re making it better for everybody,’ I’ll make the sacrifice of four years of standing up to a label like Mercury.”

Michelle Shocked performs Monday, June 12, at 8 p.m., at the Inn of the Beginning, 8201 Old Redwood Hwy., Cotati. Tickets are $15 in advance (available at the Last Record Store, Santa Rosa, and Backdoor Disc & Tape, Cotati), $18 at the door, 664-1522.

From the June 8-14, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Liza Dalby

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Novel Idea

‘The Tale of Murasaki’ re-creates the life of the world’s first novelist

By Patrick Sullivan

“MANY PEOPLE have this experience when they’re a teenager,” says author Liza Dalby. “You read a great deal, and then you find something that just blows you away, and you truly realize the power of literature to put you in a completely ºdifferent world. For me that happened in reading the classic Arthur Waley translation of The Tale of Genji.”

What Dalby doesn’t add is that most of us eventually put our mind-blowing literary discovery aside, with only subtle consequences on the rest of our lives. For Dalby, it was different. Her father’s gift to her at age 16 of The Tale of Genji–possibly the world’s first novel–helped trigger a lifelong interest in all things Japanese.

Dalby went on to become a trained anthropologist specializing in Japanese culture. As research for her Ph.D., she went so far as to actually become a geisha–the only Westerner ever to do so. Dalby was a consultant on Arthur Golden’s Memoirs of a Geisha, and she’ll do the same job on Steven Spielberg’s upcoming film adaptation of the bestselling novel.

But the author, now 49, never forgot her experience with The Tale of Genji. Nor did she forget Lady Murasaki Shikibu, who wrote the epic novel in the 11th century, beating Cervantes’ Don Quixote by about 600 years.

“She was a prodigious talent,” says Dalby, speaking by phone from her home in Berkeley. “The initial impetus for me was just wondering how she could have done this, invented this genre single-handedly. . . . I think it’s something of a miracle.”

For 10 years, Dalby worked to craft a literary tribute to Murasaki, who is a revered household name in Japan but less well known in the United States. In a project Dalby calls “literary archaeology,” she used the existing fragments of Murasaki’s diary to create a novelistic reconstruction of the woman’s life. The result is the newly published The Tale of Murasaki (Doubleday; $24.95).

Moving at a measured pace, the book employs rich descriptions to bring Murasaki and her aristocratic society to life. The daughter of a well-educated government official, Murasaki led an unusual life for a Japanese woman of her time. Determined to retain her independence, she married late and quickly found herself a widow. A talented poet and dedicated journal writer, Murasaki invented Prince Genji as an antidote to loneliness.

Her hero was a complex figure: a sensitive lover whose exploits thrilled everyone who picked up Murasaki’s writing. The stories became wildly popular, eventually capturing the imagination of the regent of the Imperial Court, who appointed the author to tutor his daughter.

Of course, the sources Dalby draws on to create The Tale of Murasaki are fragmentary. The gaps are filled in by her knowledge of Japanese culture and her imagination.

“The diary that she left is like a bright spotlight shining on about three or four years of her life while she was at court,” Dalby says. “We don’t know a lot about the rest of her life, so my version of the end of her life is conjecture.”

Better supported by the facts, Dalby says, is her book’s portrayal of Murasaki’s intimate relationships with various women. Not only was the world’s first novelist a Japanese woman, but Dalby–joined by other scholars–contends that she was also bisexual, a conclusion based on Murasaki’s love poems to female friends. “It would be kind of weird, given those poems, to say that she didn’t have those kind of relationships,” Dalby says.

No one seems upset by such assertions, even the Japanese, to whom Murasaki is a kind of literary goddess. The book will soon be published there, and other foreign language rights are selling like hotcakes. Indeed, it’s not impossible that The Tale of Murasaki may ignite the kind of popular interest in Prince Genji and his creator that Arthur Golden’s novel did for the world of the geisha. And, to hear Dalby tell it, anyone who does pick up The Tale of Genji will not be disappointed.

“I think what’s so appealing about [the book] is that it’s set in a world ruled by aesthetics, where poetry matters,” Dalby says. “Sensitivity to beauty was the most important thing about a person.”

Liza Dalby speaks on Friday, June 9, at 7:30 p.m. at Readers’ Books, 130 E. Napa St., Sonoma. For details, call 939-1779.

From the June 8-14, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Panty Raider CD-ROM

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Racy new CD-ROM game draws the ire of feminist critics

By Lucy Maher

IF YOU THOUGHT panty raids struck only sorority row, think again. A new CD-ROM game called Panty Raider targeted at young men will let players strip models down to their underwear to satisfy aliens threatening Earth. But critics say the game sends a bad message and humiliates girls and women.

Parents’ and women’s groups have sent numerous e-mails to New York publisher Simon & Schuster to try [to] halt the release of the game later this month.

“These gender stereotypes are really corrosive and harming both our daughters and our sons,” says Joe Kelly, executive director of Daughters and Dads, an advocacy group that started the e-mail campaign.

“The notion that women are just there to be objectified is dangerously unhealthy.

“It’s the repeated message that how a girl looks is more important than what she is capable of doing.”

However, Simon & Schuster Interactive says the game is just entertainment.

” ‘Panty Raider: From Here to Immaturity’ is a humorous game, and like all comedy might offend some people while amusing others,” the company said in a statement. “The over-the-top nature of its humor is a clear indicator that it is not meant to be taken seriously. Its intention is to make light of the many pervasive stereotypes that permeate our culture.”

In addition to stripping models of their clothes, players can pop in breath mints, flash credit cards, and deliver “cheesy pick-up lines to lure models out of the woods.”

“No self-respecting supermodel can resist these items,” Simon and Schuster said in its press release.

While some may think the game is fun, others say it goes too far.

“It’s the bottom of the barrel in terms of imagination,” says Corless Smith, a San Francisco State University professor, who recently discussed the game in her “Women and the Media” class. “It’s supposed to be ironic and over-the-top, but why is it that women are always victims in over-the-topness?”

Simon & Schuster says the game is targeted at “age-appropriate groups”–and the Entertainment Software Rating Board, an independent organization that rates games, says the game is appropriate for players aged 18 and older.

Industry experts say teenagers will be drawn to the game, but don’t think it’s cause for concern.

“It’s pretty unusual,” says Amer Ajami, preview editor at www.gamespot.com.

“I don’t think there’s been another game where you get a teenager who gets to decide how to dress naked models. It’s something that needs to be taken lightly by grown-ups. It’s just a game, and it’s clearly comical.”

Still, parents like Kelly say they don’t get the joke.

“For them to say that it is [aimed at men] is a silly response,” he says. “If this was a game for adults, it wouldn’t be stripping the supermodels down only to their underwear.”

This article originally appeared on Chickclick’s news channel, Shewire.

From the June 8-14, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Cop Watch

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Activists protest police-involved deaths

By Greg Cahill

JUST DAYS after the official release of the long-overdue U.S. Commission on Civil Rights report criticizing local law enforcement agencies for a spate of police-involved deaths between 1996 and 1998, a group of local activists staged a mock funeral to call attention to what they say are the latest in an “epidemic” of similar incidents.

That federal report recommends the formation of independent civilian-police review boards. At press time, the Purple Berets and Santa Rosa Copwatch were scheduled to hold the funeral in downtown Santa Rosa before a planned march to the Press Democrat building to protest the paper’s coverage of the deaths.

The daily has repeatedly rejected the notion that civilian review boards are needed and has frequently mocked those who call for them.

During the past five months, five people have died, either in police- involved shootings or while in custody. On May 4, two Santa Rosa police officers and an unnamed SRJC officer shot Todd Dieterle after he pointed a toy gun at them. The police had responded to a 911 call in response to an armed robbery. The store owner had repeatedly told the 911 dispatcher that he believed the gun used in the holdup was a fake.

That same day, Robert Francisco Camacho was shot fatally five times by Rohnert Park police responding to reports of gunfire at a local mobile home park.

Last week, Santa Rosa Police Chief Michael Dunbaugh held a public meeting of the department’s controversial citizens’ advisory board to discuss the most recent shooting. After a small turnout, Dunbaugh concluded that the department has widespread public support, saying the Dieterle shooting was the latest in a series of “suicides by cop.”

He said the lack of protests was a clear sign that the public places no blame on the police for the incidents.

Activists disagree.

“That board is appointed by Dunbaugh, and people are aware of that,” says Ben Saari of Santa Rosa Copwatch. “It doesn’t have any [independent] authority–it’s a group of Mike Dunbaugh’s friends who will back him any way he wants.”

The meeting wasn’t announced until the same day, Saari says, and it was held at 5:30 p.m., when most people are still at work or commuting.

Three other police-involved deaths were the subject of the protest as well. On May 10, two Windsor police officers shot and killed Erin McDonald in her home after she made a 911 call summoning police. McDonald reportedly had a fake gun. The shooting was called “suicide by cop.”

On March 19, James Curran died while in custody after sheriff’s deputies handcuffed him. Two months earlier, Phillip Tony Medina died several hours after he was transferred to a local hospital after complaining of illness.

THE FEDERAL REPORT, approved last month by the U.S. Commission on Civil Rights and leaked April 21 to the local daily (weeks before its scheduled release), noted that panel members are “appalled” by the police-involved deaths of eight people over the 25-month period leading up to the commission’s February 1998 public hearing.

“The Advisory Committee agrees with community spokespersons who said that the number of events should be cause for alarm for all citizens of the county,” the report states.

The civil rights panel recommends that the Sonoma County Board of Supervisors and the Santa Rosa and Rohnert Park city councils create independent civilian-review boards with the power to, among other things, investigate police-involved shootings or alleged misconduct; promote improved procedures for filing a citizen complaint; encourage increased ethnic, gender, and language diversity in law enforcement ranks; and support better training in cultural diversity and the handling of domestic violence cases and of suspects experiencing psychiatric and drug- or alcohol-induced episodes.

“It is the right and responsibility of citizens to protest police practices they view as unwarranted, unnecessary, or a gross abuse of discretionary authority,” the report continues. “We provide police officers with the responsibility to enforce the laws and protect individuals and property.

“We do not grant them authority to be arrogant or to abuse this trust.

“For a law enforcement department to view citizen concerns about police practices as a threat makes a mockery of this trust, and the consequences are community fear, ineffective policing, and deteriorating police-community relations.”

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From the June 1-7, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Four rock legends release new discs with mixed results

By Karl Byrn

One advantage of being a pop music icon is that even though your best work is behind you, the test of time demands that critics and fans give your current release a serious nod. In a pop music landscape that’s alive with hip-hop, Kid Rock, and Dixie Chicks, what do ’70s folk and punk icons like Neil Young, Patti Smith, Lou Reed, and Joni Mitchell have to offer? Where are they at, and what are they telling their middle-age audiences?

The current discs from these four legends offer the expected maturity–nostalgia for romance and revolution, a search for simplicity, admonitions to young idealists, music that isn’t risky, less confessional upheaval and more personal reflection (except for Smith, they all avoid topical issues). But it’s not as simple as autumnal artists making September-of-my-years statements; they’ve already examined death–Young as early as 1975’s Tonight’s the Night (about band member Danny Whitten) and as recently as 1994’s Sleeps With Angels (Kurt Cobain), Reed on 1992’s Magic and Loss (various friends), Smith on 1996’s Gone Again (brother Todd and husband Fred), Mitchellincidentally on 1979’s Mingus (a tribute to then-dying jazz great Charles Mingus).

Having already faced mortality, they’re now pursuing post-tragic normalcy.

Not surprisingly, they find this in their own well-known devices. After 1995’s grunge-rocking Mirror Ball, Young again flips his style coin and becomes Acoustic Neil on Silver & Gold (Reprise). Reed hates his lover and is thrilled by sex-and-drugs street life on Ecstasy (Reprise). Smith issues a mystical call to arms on Gung Ho (Arista), while Mitchell delivers a misty set of jazz standards on Both Sides Now (Warner).

Mitchell is the least relevant. Both Sides Now teams her with the London Symphony Orchestra for a soggy “exploration” of romantic love that unwisely includes two of her own classics paired with such standards as “At Last” and “Stormy Weather.” The rhythms of her own material are misplaced, but it’s not just the unbalanced arrangements or her grasp for credible vocal color that defeats the project; it’s the fact that the trend of pop-rockers covering war-era torch songs passed a half dozen years ago. This is a vile idea of what a middle-age audience needs, and given Mitchell’s contemptuous attacks on current pop, it’s further proof that she’s out of touch.

While Mitchell asks her audience to conceptually dumb themselves down, Smith isn’t afraid to seem silly while warning her audience “We got to get off/Our ass or get burned.” Gung Ho‘s expansive rock (delivered with sturdiness by her original band) doesn’t make clear what future she envisions or how she plans to get there, partly because her poetic visions aren’t nearly as provocative as they once were. But it’s telling that in the above lyric (from the not-so-unclear “New Party”) she refers to “our ass” as a singular thing. Her insistence on a universal spirit is the disc’s strength, from the opening Asian-flavored power-pop of “One Voice” to the closing title cut, a bizarre tribute to the late North Vietnamese leader Ho Chi Minh and the idea of revolution for it’s own sake.

Gung Ho needs clarity, but after the dark solemnity of Gone Again and 1997’s Peace and Noise, it’s inspiring that Smith feels her listeners need social change more than reflection.

Reed feels his audience just need good old ironically-distanced Lou. Ecstasy gives plenty, as the disc’s title is at odds with its theme of failed marraiges. Too many cuts don’t follow this theme, but such unedited indiscretion is vintage Reed as well. Despite the irony and excess, his acceptance of inadequacy is amusing. On “Baton Rouge”, Reed casts himself as a regular guy with a regular tale of divorce, while “Modern Dance” finds the regular guy fantasizing about bohemianism. But finally, his mature, straight-forward musings on couples are too much pressure, so he returns to the filthy streets for the 18-minute two-chord crawl of “Like A Possum”, where images of condoms, crack, and masochism make him feel alive. Swept over by the impulse to be wild again, Reed shakes out of his usual montone to whimper that he’s finally “Calm! Calm!”.

Young has a genuine calmness that, unlike Reed’s focus on failed couples, is based on faith in true love. While Mirror Ball was lengthy and thematically complex, the sentimental Silver & Gold, with its short, simple folk tunes, is Young’s easiest, least challenging work ever. But there’s always more to Young than meets the eye. Though the disc starts with the plain-spoken, happy-go-lucky comforts of middle-age–the warmth of homecoming, admiration for aging parents, fondness for youth’s pals–by the end he’s wrestling with incompleteness and finality, “trying to find something I can’t find yet.”

On Mirror Ball, Young remarked that “People my age/They don’t do the things I do.” He wasn’t just noting his work with hip acts like Pearl Jam, but was summoning the self-awareness that Smith, Reed, and Mitchell miss–a yin/yang tug of sadness and satisfaction that on Silver & Gold replaces the mere need to accept (or resist) growing old gracefully.

For middle-age music fans, that’s a comforting notion.

From the June 1-7, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Abusive Priests

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Abuse Accuser: Terrie Light, who was raped by a priest at age 7, has formed the statewide Survivors Network of Those Abused by Priests. Despite recent apologies, like the one delivered last week by newly installed Diocese of Santa Rosa Bishop Daniel Walsh, Light and other victims say the church has a long way to go to make amends.

Prey Tell

Bay Area dioceses are ready to talk about priests, power, and pedophilia. Survivors just hope they are ready to listen, too.

By Mary Spicuzza

FOR MOST ROMAN Catholics the period of Lent is a time of healing. Each spring the 40-day period from Ash Wednesday to Easter emphasizes penitence, encouraging the faithful to face their sins and be accountable for past wrongs. It is part of the festival of Easter, meant to celebrate rebirth and the resurrection of Jesus Christ.

But Terrie Light usually just gets ticked off. “I got to be so pissed off every Lent,” says Light, a licensed therapist and West Coast director of Survivors Network of Those Abused by Priests. “The church talks about turning away from sin, but it hasn’t been doing that itself. As an institution, it has been abusing people who go to the church to get healed.”

Light was 7 years old when she was raped by her Hayward Roman Catholic congregation’s priest. She didn’t talk to anyone about it for years, until she was in therapy in her 30s and finally found the courage to report the rape to the Roman Catholic Diocese of Oakland. Rather than receiving spiritual healing, Light found herself feeling as if she’d been violated again because the priest taking the report didn’t seem to believe her.

Light was correct in her observation. The priest who took her report told her as much and apologized for his insensitive behavior when they met again last month at a unique reconciliation between victims of clergy abuse and the Diocese of Oakland. During the service, survivors spoke of their experiences and feelings of betrayal, and church leaders apologized for a history of denial in dealing with sexual abuse.

The priest who had taken her report “came up to me after the ceremony and said, ‘I didn’t believe you. I couldn’t believe someone could do that to a child. But I believe you now.’ ” Light relates. Her normally therapist-calm voice cracks as she swallows back tears.

“That’s the change I’m working for in the church. People with good hearts getting out of that denial.”

Sins of the Fathers

HOW CAN YOU say to your brother, ‘Let me take the speck out of your eye’ when there is a log in your own eye? You hypocrite, first take the log out of your own eye, and then you will see clearly to take the speck out of your brother’s eye” (Matthew 7:4-5, Ignatius Catholic Edition).

Jesus’ words, spoken to his apostles during one of his earliest sermons, have long been considered gospel by the Catholic Church. But Sister Barbara Flannery, chancellor of the Diocese of Oakland, says that the church, while trying to help people in need, has for too long ignored those hurt by its own. Flannery began working with survivors of clergy abuse five years ago, so when Pope John Paul II encouraged dioceses to celebrate Jubilee 2000 by apologizing for past faults, the diocese decided to focus on clergy sexual abuse. She and Light gathered a group of survivors of sexual abuse to plan the reconciliation with Father Dan Danielson and spent eight months creating a dialogue of healing.

“We had not a clue of the media frenzy to follow,” Flannery says. “We just sort of thought that everybody was having their own apology services.”

Instead, newspapers around the country ran stories about the event, and dioceses from Florida to Oregon are seeking advice to set up similar events. Perhaps that’s because until now the church has been so hesitant to talk about priests and sexual abuse, despite ongoing reports of high-profile problems.

According to the Boston Globe, 1,000 priests in the United States have been identified as pedophiles over the past 20 years. The church has paid more than $1 billion to settle cases with victims of sexual abuse. Tom Economus, executive director of the Linkup, a national organization for victims of clergy sexual abuse, estimates that the number of pedophile priests is closer to 3,000, and that’s not even counting Protestant pastors.

“The Christian clergy ends up being a safe dating service for pedophiles,” Economus writes.

Light, Economus, and others say that the problems have endured because, in the past, pedophile priests have simply been quietly reassigned to different dioceses. For example, the Rev. Brendan O’Donoghue, a Massachusetts priest accused of multiple cases of child molestation during the mid-’90s, was reassigned 12 times during his first 15 years in the priesthood. During that time his superiors sent him to a secluded abbey to pray and make a confession, as well as checking him into the House of Affirmation, a treatment facility for priests. The center, which was run by the Rev. Thomas Kane, closed down in 1989 amid allegations of mismanagement. Kane was later sued by a man alleging that he had molested him as a child.

In Northern California, the Diocese of Santa Rosa has suffered a 10-year string of sex scandals involving five different priests, with complaints including child molestation, sexual harassment, and financial mismanagement. During that time the 14,000-member diocese paid out $6 million in claims and counseling, bringing the diocese on the brink of bankruptcy and last year toppling Bishop Patrick Ziemann after he admitted to an affair with a Ukiah priest.

Last week, the newly installed Bishop Daniel F. Walsh apologized for the “deep and painful” wound caused by the sexual misconduct. “I acknowledge the hurt, pain, and anger of many and apologize to all victims who suffered because of these failings,” he said. “I assure you that together we will strive to see that such cannot and will not happen again.”

Forgive Me, Father

THOMAS PLANTE, a professor of psychiatry at Stanford University School of Medicine, has worked with 40 to 50 priests facing problems with pedophilia and sexual abuse. Plante, who edited the 1999 book Bless Me Father for I Have Sinned: Perspectives on Sexual Abuse Committed by Roman Catholic Priests, says that despite the high degree of publicity, Catholic priests are no more guilty of sex crimes statistically than clergy in other faiths, including Jewish rabbis and Protestant pastors.

“There are 60,000 Catholic priests in the United States. Anytime you get that kind of group, there’s going to be trouble. But the Catholic clergy is a juicy target because the celibacy and hierarchy are weird to people outside of the faith.”

During his 12 years working with men of the cloth, he has treated priests suspected of being pedophiles, alcoholics, and drug addicts. He also works with depressed clergy and does routine psychological evaluations for different dioceses.

Plante says that 90 percent of the sexual abuse occurring within the church involves adolescent boys. Sometimes he treats the priests alone, and other times they are sent to inpatient services at St. Luke’s Hospital in Maryland. He believes the popular press fixates on the sex crimes of priests, but admits that the church has had a troubled past plagued by secrecy and denial.

He stresses the need for good screening, good training, and addressing troubles as soon as they emerge.

“Some people have risk factors. They were abused themselves, have poor boundaries or a history of inappropriate behavior,” Plante says. “These are risk factors.

“Historically, there was a lot of denial and repression in the Catholic Church,” he adds. “But I think that’s changing a lot. If somebody is accused, they immediately go into treatment these days–although it’s an individual thing and varies from diocese to diocese.”

The Diocese of San Jose has developed what it calls a “sensitive incidents team” to take reports and investigate complaints. According to Father Francis Cilia, the vicar for clergy, the team reviews the report to determine if it is grounded. If it is and involves a child, the case is turned over to police. If it involves an adult, the case is treated as an ethical breach and is usually handled internally.

“I’ve only been through that once, thanks be to God. Not for me, but for another priest,” Cilia says. “Our lawyer is part of that, because we don’t just talk in terms of church law. We have a very definite policy. Both clergy and volunteers have to sign it, go through orientations. We are supposed to be friends of those who are hurting, not victimize them further.”

Rituals of Passage

TERRIE LIGHT says that getting her long-awaited apology during Lent fulfilled a dream for her. But she and Sister Flannery agree that it’s only the beginning of a dialogue that is long overdue. They hope that the national frenzy over Oakland’s reconciliation service leads to more services, but ones that don’t lose the focus on mutual healing.

“What is most important is the dialogue that goes on,” Flannery says. “We need to listen to survivors, because we don’t have a clue about how destructive this experience can be.”

Survivors like Light repeatedly talk about the violation not only in physical, emotional, and sexual terms, but in spiritual terms as well.

“It deeply affected my relationship with God. I had no hope,” says Rita, another survivor, who was abused by her Protestant pastor. Rita received $8,500 for counseling in an out-of-court settlement with the pastor.

Light says that other services have failed to take the needs of survivors into account. For example, the Archdiocese of San Francisco hosted its service to apologize for general abuse at what is the scene of the crime for many: a church.

“Some survivors get horrible post-traumatic stress syndrome when they are surrounded by crucifixes, stained glass, Roman collars,” Light says. “It signals danger.”

Light applauds the diocese for taking a more direct stance, establishing clear rules and sending priests into therapy. But she also wants to bring the issue out of quiet talk among “sensitive incidents teams” and into the public eye. She says that she would like to see the names of problem priests published on the Web, a kind of Megan’s Law for clergy.

She says that while the Pope has recently apologized to those the church failed to help, she’s still waiting for him to apologize for the sins of the fathers.

“I cannot tell you how many survivors have written to the Pope–not only survivors, but mothers whose children have committed suicide after being molested,” Light says. “And I don’t know of anyone who’s gotten a reply.”

From the June 1-7, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Emile’s Creekside Bistro/Hank’s Creekside Cafe

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Nighttime is the right time: Chef Emile Waldteufel holds court.

Night & Day

Creekside serves all-American breakfasts and French bistro suppers

By Paula Harris

DRIVING PAST the unassuming little Santa Rosa eatery sandwiched between a couple of stores on Highway 12 across from the Flamingo Hotel, you’d be forgiven for being a tad confused. Competing signs on the front (one printed on the awning, one glowing in the window) announce “Hank’s Creekside” and “Emile’s Creekside.”

Now, even non-Francophiles can work out that “Hank” is not the Gallic translation of “Emile.” So what gives?

This is actually a schizophrenic restaurant with an unlikely double life. By day, the sunny place awakens as the wildly popular all-American Hank’s Creekside Cafe, where they flip a short stack of fresh blueberry pancakes and dish out sizzlin’ Cajun sausages and warm homemade biscuits, with lashings of strong, hot coffee to wash it all down. Hank’s also does lunch.

But at night, they bring out the long-stemmed wine glasses and the floral plates, and the place morphs into its second incarnation as Emile’s–a charming little country French bistro, bien sûr, where coq au vin, candles, and crême brûlée rule the night as the moon rises lethargically outside the window.

Over the past three years, restaurateurs Hank Vance and Emile Waldteufel have hit on a novel way to bring in clientele: share the space and operate two distinct eateries in one locale. The concept has caught on, and diners frequent both completely different Creeksides.

We begin our Creekside experiences at Emile’s on a Friday night. It’s about 8:30 p.m., so many customers have left. Still, the host/server is charming, and he insists that we not feel rushed. The place is fairly rustic, with plain wooden tables, chairs, and benches. Candlelight and fresh miniature carnations spruce up the intimate dining room. The walls are dappled ochre with stenciled ivy details, and there’s recorded blues music on the sound system.

The smoked salmon with baby spinach and asparagus with caper vinaigrette ($7.50) is a pretty presentation, with four slices of salmon rolled up into rosettes, a pile of spinach in a creamy dressing, and a fan of chilled asparagus. Our gripe, though, is the heavy-handed creamy dressing, which seems at odds with the tart oiliness of the salmon. The cloying quality leaves us longing for a hit of citrus.

In addition, the house caesar salad ($6), although it has an excellent fresh crunchy texture, is once again let down by the dressing, which this time is rather vinegary.

Things get back on track with the soup of the day (included with the entrées). This night we are served an unusual warm cantaloupe soup. The melon is combined with potato, butter, and lemon zest and puréed into a smooth, deep-gold cream. It tastes good, but not at all fruity, more like a hybrid of cream of tomato and butternut squash.

The chalk boards act as menus, and the dishes rotate. Emile’s traditional bistro entrées include confit of duck with baby spinach salad ($14.94), filet mignon with red wine sauce and gorgonzola ($18.50), tenderloin of pork with cognac demi-glaze and gratin potatoes ($13.95), and classic coq au vin ($13.95).

Hard to decide. However, when the server assures us the beef bourguignon ($14.50) “flies out of here as fast as Hank’s pancakes,” we have to try it. Chef Waldteufel, who previously operated Remillard’s in Larkspur, does a fine job with this dish. The beef is fork-tender in a substantial red wine sauce and is accompanied by mushrooms, roasted red potatoes, and sugar snap peas.

It is dark, lush comfort food.

Desserts continue the bistro theme. Chocolate mousse cake ($6.50) is dense and sweet and served with fresh strawberry slices. But we prefer the crême brûlée ($6.50). What makes it so good is the generous addition of lime zest, which imparts a wonderful refreshing flavor. A thin layer of caramelized sugar and the good-sized portion are other pluses.

Emile’s is a comfortable, casual romantic retreat–like a little French bistro hidden away in the Rhône countryside.

Comforts of home: Chef/owner Hank Vance (right) keeps the grill hot and ready.

RETURN to Creekside in the morning and you’re back in the bustling USA. All that seems constant is the lazy creek out back. Hank’s has the feel of a B&B dining room full of folks kick-starting their day with a power breakfast or kicking back to linger over the morning newspaper. The buzz of conversation correlates with the buzz from the java. It’s a real neighborhood place–casual, homey, cheerful–with great gardenlike views of leafy greenery and the creek from the picture windows.

Traditional breakfast is topnotch here. Take your pick of sausages: chicken apple, chicken turkey with artichoke, chicken turkey with sun-dried tomatoes, Cajun, or British banger. All $6.95 with a choice of eggs, hash browns or cottage fries, and toast, English muffin, or biscuits. The extra-plump succulent banger is terrific, with a sneaky spicy after-bite. I order it served with a perfect poached egg, lightly crisped cottage fries incorporating sliced fried onion, and warm homemade biscuits.

Don’t miss the biscuits.

There are lots of pancake choices, or fancier fare like crab-cake benedict ($8.95). If you’re short on cash, the hearty half bowl of oatmeal ($1.95) with a choice of fixin’s–raisins, cinnamon, or walnuts–is a good nourishing bet. Another winner is the veggie omelet crammed with chunky avocado, zucchini, mushrooms, onion, and tomato ($6.95).

For purists: plain puffy French toast ($3.95), dusted with powdered sugar and made with Texas toast–thick spongy slices of white bread perfect for sopping up the egg batter. Add pure maple syrup for 50 cents more. A very efficient young woman keeps the fresh coffee coming and thoughtfully covers your plates to keep the food warm.

For lunch there’s a selection of sandwiches, burgers, homemade chili, and salads. The service is great.

Even devout nonbreakfasters would be tempted.

Emile’s Creekside Bistro 2800 Fourth St., Santa Rosa; 575-8839 Hours: Dinner, Wednesday- Sunday, 5:30 a.m. to 9 p.m. Food: French Service: Very attentive Ambiance: Intimate bistro Price: Moderate Wine list: Midsize selection, including by the glass Overall: 2 1/2 stars (out of 4)

Hank’s Creekside Cafe 2800 Fourth St., Santa Rosa; 575-8839 Hours: Breakfast and lunch, Sunday-Friday, 6 a.m. to 2 p.m.; Saturday, 6 a.m. to 1 p.m. Food: American Service: Cheerful and professional Ambiance: Casual and homey Price: Inexpensive Overall: 3 1/2 stars (out of 4 )

From the June 1-7, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Croupier’

Croupier.

House of Games

Gambling is metaphor in ‘Croupier’

Richard von Busack

By

JACK (CLIVE OWEN), the hero of the British film Croupier, is an unsuccessful novelist who is urged by his moneyed thug of an editor (Nick Reding) to come up with an underworld novel. Circumstances force Jack into a job as a card dealer and croupier at a London casino. It’s a life Jack knows well from his youth; his father was a dodgy professional gambler at the South African resort Sun City.

As Jack settles into the croupier’s routine, he begins to drift out of his dispassionate relationship with his live-in girlfriend, Marion (Gina McKee), a former cop. While Jack tends the roulette wheel, he begins to imagine himself as “Jake,” the emotionless croupier who is the hero of his unwritten novel. Jack dyes his hair black and sweeps it back in a James Bond cut and starts wearing the old-time tuxedo and bow ties Sean Connery’s Bond used to wear. Soon, Jack is approached by a sharp-featured, hard-luck girl who also works at the casino (Kate Hardie). Later, Jani (Alex Kingston), a customer with a gambling problem, corners Jack after work with a proposition. She asks the croupier if he’d like to be involved in a robbery.

Croupier offers what is supposed to be an insider’s look at gaming, as in the warning Jack gets against stealing from the till: “It’s easier to take one million pounds from a bank than to take a penny from us.” But Croupier has the same problem as every too heavily narrated film–you’re being told as you’re being shown, and there’s no room to form your own opinion on how much Jack is fictionalizing his experiences.

About 30 years ago, Croupier‘s director, Mike Hodges, stropped the young Michael Caine to a razor’s edge in the film Get Carter. (The film is currently being renovated for a Sylvester Stallone remake.) Hodges followed up with Pulp, starring Caine in an equally memorable satire of the genre and a junk writer’s life.

After the way Pulp laughed at the pretensions of pulp fiction, it’s strange to see the same kind of quick-read philosophizing being treated as if it were profound. The theme of gambling as a metaphor for life has been worked over thoroughly; it’s an idea that’s a mile wide and an inch deep.

Still, Croupier works well as B material. Hodges and his screenwriter, Paul Mayersberg (who co-wrote The Man Who Fell to Earth), have made the film fast and sleek. It’s an engrossing story, and Owen may well underact his way into stardom. Vocally, he is a ringer for Sean Connery. At first passing glances, he looks like the real thing, a budding great star.

It’s on closer examination that you can see there’s little behind the self-confidence and self-possession; Owen doesn’t have that flicker of bemusement hiding under the superficial cold bastardry of Connery. When Jack tells Marion, “I’m not an enigma, I’m just a contradiction,” he’s exaggerating. Neither Owen the star nor Croupier the film has enough complexity to make room for a contradiction.

Croupier opens Friday, June 2, at UA Movies 5, 547 Mendocino Ave., Santa Rosa. For details, see Movie Times, page 36, or call 528-7200.

From the June 1-7, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Kate Clinton

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A date with Kate: Comedian Kate Clinton delivers faux innocence and big laughs in her stand-up performances.

Out and About

Comedian Kate Clinton heads up LBC’s gay comedy night

By Paula Harris

“I COULD NEVER really look like a big, hearty lesbian,” remarks gay stand-up comic Kate Clinton in her slightly amused, soft-spoken voice, talking about her onstage persona by phone from her New York City apartment.

“I’ve always looked like some babe from the suburbs, and no matter what I’ve tried to do, I’ve always looked very wholesome,” she continues. “I always look like the Campbell’s soup kid.”

It’s hard to argue with her there. Clinton, who will headline the upcoming Gay and Lesbian Comedy Night at the Luther Burbank Center, possesses a fresh-faced, spiky-haired, Peter Pan-like quality that’s reflective rather than raucous.

Yet she’s never been shy about being a lesbian, a “recovering Catholic,” a former high school English teacher, and the sister of several siblings, two of whom are named (strange, but true) Bill and Monica.

The former instructor learned how to “work a room” during her eight years teaching English to 11th- and 12th-graders in upstate New York. “But they were a tough audience because they came back every day,” she quips.

Still, it wasn’t always so amusing at the time. During her final year as a teacher, Clinton began to come to terms with her own sexuality. She had to grapple with the scary dilemma of exiting the closet while working for a school district.

“This was 20 years ago,” she says. “I have every ounce of admiration for educators who come out [today], but it’s definitely easier now than it was then.”

Clinton, now known as the Unimpeachable Madame President of Queer Comedy, first entered the comedy circuit on a lark. Unbeknown to her, a friend booked her to perform a stand-up routine in a local club. “She said, ‘You’re on in a month’–and that’s how it started,” Clinton explains.

But tickling the funny bone was a knack Clinton had already mastered. At a very young age, she learned all about the sweetly persuasive power of comedy.

“I have three brothers, and I felt if I could make them laugh I could kind of disarm them and we wouldn’t have these terrible towel-snapping fights after dinner,” she says with a chuckle. “So I learned early that making people laugh was a good thing.”

At the beginning of her career as a humorist, Clinton’s material was completely gay-inspired.

“I was fascinated by the gay and lesbian movement,” she remembers. “It was a lesbian separatist movement that I came out into, and there I was this high school English teacher. A lot of people thought I was a spy. I suppose ignorance is bliss. I talked about what I was going through coming out. And no one ever stole my lines!”

Still, her career did hit some major bumps along the way. Operators of the Comedy Store club in Los Angeles routinely told Clinton she couldn’t say certain things or prohibited her from telling gay jokes. It’s ironic, she says, because these days people are disappointed if she doesn’t do gay material.

Back then, she also billed herself as a feminist humorist, but she says some critics balked at the idea that those two things could go together.

“I guess it was really a great gimmick, because I got a lot of radio interviews,” she says. “It was generally guys who wanted to see this little gal who claimed to be a feminist and a humorist.

“One of the largest insults you can level against someone is to say that they have no sense of humor,” she continues. “You do that if you’re really trying to keep somebody in their place and keep them down. But I think we women have been laughing our heads off for a very long time.”

But condescension was far from the only danger back then. More blatant hostility often reared its ugly head.

“It was 1981, before Ellen [DeGeneres] and all that. I had police escorts at some small colleges, and there were bomb threats in the beginning,” she recalls, “although the bomb threats always built a great sense of solidarity and community. People were like, ‘Goddammit, now I’m going to come see this!’ ”

Over the years, though, Clinton says, the mainstream has overflowed its banks, and the gay and lesbian world has been swept right into the flow.

“It’s clear in my act that I’m a lesbian and I talk about that, but really I think the world has opened up, and I talk about the economy, race issues, sports–from a gay perspective, certainly, but I don’t always talk about things gay,” she explains. “I think we’ve become quite blended. Now I’m sort of like the daily paper. You get the opinion, you get the sports news.”

SHE GETS much of her inspiration from current events and from listening to conversations. “I’m the person at dinner who, if anyone says anything funny, immediately asks, ‘Can I have that?’ ” she says. “And I’m always taking notes on things, certainly in the political arena, and some things write themselves. And I think that from my years in teaching I always have kind of a lesson plan for a show.”

Clinton’s tough observations and skewering comments, usually delivered in deadpan faux innocence, often get the biggest laughs. “Is Janet Reno a lesbian?” Clinton is often asked. Her reply? “I don’t know, but her hair is.”

Last year, Clinton completed a successful off-Broadway one-woman show titled Correct Me If I’m Right. In addition, Clinton writes humorous pieces for publications such as the New York Times and The Progressive, where she takes on topics like Viagra and Alan Greenspan worship.

She already has one book under her belt–Don’t Get Me Started, which was published in 1998. She’s currently working on more book proposals and a screenplay, as well as a new CD–which she hopes to record at the end of this summer. Her newest show, titled Y2K8 (pronounced “Y2 Kate”), tours this year.

Clinton is also working on material about families and aging boomers.

“It’s very interesting. I’ve been working on fighting homophobia for so long I kind of forgot about ageism,” she says. “And if you thought talking about being gay was a no-no, whoa–talking about being older is really taboo.”

Indeed, for the record, Clinton staunchly declines to reveal her real age. “I’m 84 and I’m doing well,” she replies impishly when asked. “Which is surprising, considering how much I’ve flown.”

Kate Clinton performs with Scott Silverman at the sixth annual Lesbian and Gay Comedy Night on Saturday, June 3, at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. The event partially benefits the Sonoma County Pride Committee. Tickets are $15-$18. 546-3600.

From the June 1-7, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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