Game Dinners

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MetroActive Dining | Game Dinners

Game Theory

Diners discover the wild side of the animal kingdom

By Marina Wolf

VENISON: it’s what’s for dinner. Rabbit: the other white meat. Now those are a couple of marketing slogans you’re never going to hear. Bambi and Thumper are way too ingrained in the public consciousness for game meat and birds to make the leap any time soon from specialty butcher item to Foster Farms family pack.

When chefs and caterers try to bridge the gap between exotica and everyday eats, they run into some of the same issues. For example, Munther Massarweh, chef at Bistro of Glen Ellen, says he has difficulty in keeping up with the demand for his trademark wild boar chili, which is gobbled up at a rate of 25 gallons a week. “I have found that the demand is going up,” says Massarweh.

At the same time, his waiters still field comments about the few wild items on the menu.

Michael Hirschberg, owner of Mistral in Santa Rosa, holds a game dinner every fall. This year’s sold-out dinner featured smoked trout, quail, and venison–not very risky, as far as game goes–but Hirschberg still feels that diners were ambivalent about the food. “Pinot noir was the big attraction at the game dinner,” he says wryly. “The game was tolerated to get to the Williams-Selyems.”

Bruce Reisman, owner and executive chef at Park Avenue Catering in Santa Rosa, recalls the game festival that he used to put together every year between 1986 and 1993 at Buono Sera in Petaluma. On the menu were such offerings as kangaroo, mouflon, rattlesnake, bear, and lion–all free-range from ranches with tens of thousands of acres.

Inside the restaurant, the response was great, says Reisman, but he recalls that for at least the first few years there were protests outside. “I took time to talk with the protesters,” says Reisman. “Maybe they understood a little where I was coming from, although we didn’t agree.”

Reisman and other chefs are puzzled by the slow growth in demand for game in the United States. They cite the agreeable flavor and generally lean flesh, not to mention the fact that the meat is antibiotic- and hormone-free, as reason enough to include it in a healthy diet.

Furthermore, says John Ash, culinary director at Fetzer Winery in Hopland and author of American Game Cooking, game is an important part of America’s culinary heritage. “People are beginning to look for their roots, for their heritage,” says Ash, who grew up eating game on a Colorado ranch. “And the fact is that many of us come from that background, where eating game was not a luxury, but actually a survival dish.”

Joey Altman agrees. The chef and owner of Menlo Park’s Wild Hare, where more than 60 percent of the menu is based on game meats and poultry, sees a distinct gap between younger, more tentative customers, and older folks, who tend to be much more open to eating game.

“Older people will talk about eating their father’s venison, and about growing up in middle America, where they ate rabbit and duck and all this other game,” says Altman. “Back then people were less picky.”

THE AMERICAN taste for game faded at the beginning of the 20th century, when increasing urbanization pulled people into cities and away from the source of food. At the same time, new developments and discoveries in food health and technology clamped down on the purity of sources and preparation. The result is a double-edged sword. All game served to the public in restaurants must be farm- or ranch-raised, tagged and inspected by the USDA as carefully as any cage-bred chicken. Although the various species remain wild, with distinct physical characteristics that distinguish them from their domestic kin, game in restaurants is never truly wild.

As a result, today’s game dishes are much less gamey than they used to be, which goes a long way toward soothing diners’ ambivalent feelings. Now that he’s in catering, Bruce Reisman finds that the milder offerings–ostrich, quail, and rabbit–get the most play. (Ostrich in particular is still coasting on a wave of mid-’90s popularity that has landed it a solid place in the meat cases of a few upscale grocery stores.) Meanwhile, Joey Altman says buffalo is a favorite at his restaurant precisely because it lacks that “distinctively gamey” flavor. It’s like beef, he says, only leaner. (Oddly, some beef producers are now turning their cattle out to free-range to develop a “wilder” flavor.)

But then there are chefs like Altman who think that game in all its glory still stands a chance with the finicky American public (or at least the part of it that goes out to eat). At Wild Hare, he offers innovative global cuisine featuring game–rabbit imperial rolls, ostrich satay, and venison stir-fry–as well as traditional preparations. The meats range from “normal” and mild (poultry or fish) to the really gamey preparations (wild hare is the strongest he offers).

At Manka’s, the restaurant attached to Inverness Lodge in Marin County, diners come specifically for the game, as they have for the past 20 years. Game meats and birds are well integrated into every menu, and the demand hasn’t changed much over the years, says assistant chef Daniel DeLong. “People just eat game here because it’s the right thing to do,” says DeLong. “We’re in the woods, it’s pretty rustic. It fits in with the sense of place.”

Joey Altman says that his clientele, like that of Manka’s, is self-selected to enjoy game, but argues that the general public just hasn’t had the chance to decide one way or the other. Game’s relative expense hinders many restaurants from serving it (at wholesale, bison filet mignon is $21 per pound, beef filet mignon is $6), and a lot of chefs just don’t want to take the time to educate their staff and their customers about the new game meats, says Altman.

“It’s not really put in their face to respond to, one way or the other,” he adds. “It’s like asking what they think about escolar [a deepwater fish of tropical and temperate seas]. ‘I don’t know,’ they’d say. ‘I don’t know what it is.’ So I wouldn’t say there’s a strong anti-game sentiment. The public just hasn’t been asked to choose.”

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

© Metro Publishing Inc.

Austin Lounge Lizards

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Lizards in Space

The Lone Star State’s genre-bending bluegrass band hits the highway

SPACE, AS THEY SAY, is the final frontier. For the Austin Lounge Lizards–the 20-year-old bluegrass band with a mind-boggling knack for socio-political satire (and whose rip-snorting sound is heard each week on NPR’s “Car Talk” radio show)–space may just be another stop in their already skyrocketing trajectory toward fame and fortune.

“Yeah. There’s this astronaut,” says founding Lizard Conrad Deisler, “her name is Pam Melroy and she lives in Houston. She and her husband come to our concerts a lot. She’s a big fan.” She’s also scheduled to blast off soon to help assemble the international Space Station–just as soon as the Russians are ready to launch something called the “Service Module.”

According to Deisler, “Pam came up to us after a show and told us she’d be taking a bunch of our CDs into space with her, and we think that’s nice. Our music will be up there in space with Gene Roddenberry’s ashes.” One can’t help but wonder what the Russians will think of such side-splitting romps as “Shallow End of the Gene Pool” or “Jesus Loves Me but He Can’t Stand You” or “Teenage Immigrant Welfare Mothers on Drugs.”

At any rate, the Lizards–featuring Deisler, Richard Bowden, Hank Card, Tom Pittman, and Boo Resnick have already been invited to Miami to watch the launch in person–whenever that might be.

“We’ll be there if we can,” Deisler says. “I hear those shuttle launches are real pretty.”

But first things first. Before the Austin Lounge Lizards go interstellar, they have a date in Sonoma County, where they’ll be performing at an upcoming benefit for local public radio station KRCB-FM, an event that will mark the Lizard’s first appearance in the county.

“We’re always happy to go play in a new area, especially when it’s so lovingly promoted,” says Deisler. He admits to a fondness for California–their first non-Texas gig, in 1987, was at Yosemite’s Strawberry Music Festival, followed by an appearance at a solar-powered Earth First reunion–and says the band is looking forward to using the Sebastopol Community Center gig to test out some brand-new songs they’ve been recording for an upcoming album.

“We’ve been in the studio, working hard, but we’ll take a break for the Sonoma County show. We’ll have finished eight cuts by then, and I’m sure we’ll be performing some of those, and trying out a few others we’re still thinking of putting on the album.”

Such as? “We’ll probably be doing a new, still-untitled song that I wrote with Hank, about an artistic collaboration between Richard Petty, the king of stock-car racing, and Luis Buñuel, the French surrealist filmmaker. It’s pretty weird.

“Then there’s a song called ‘Rasputin’s HMO,’ ” Deisler says, launching into a short history lesson about the bloody death of that infamous Russian cleric. “Rasputin was the walking wounded,” he laughs. “Those people went to great lengths to see that he was dead. So this song is about a grievously wounded Rasputin going to his HMO for medical treatment, but then they ask him for his card number and his deductible and make him take a number and sit and wait.

“It’s been going over pretty well when we sing it in public,” he says, laughing.

Hmmmm. Can’t wait to see what those cosmonauts think of that one. “Then there’s ‘Hillbillies in a Haunted House,’ which we’ve been performing for a while and just finished recording. It’s based on a bad movie by the same name, about 80 hillbillies who, for no particular reason, go into this haunted house, where they get killed off in small groups by different weird things–the Crawling Eye and the Sticky Black Goo.”

Deisler stops to laugh again. “it does make a good lizard song,” he admits.

And how, exactly, does one describe an Austin Lounge Lizard song?

“You can’t,” he says. “You have to hear us to believe us.” True. Packed with irreverent, satirical moxy, the Lizards’ one-of-a-kind musical sound is a mix of bluegrass, country, rock, and Cajun, while, lyrically speaking, they’re part Loudon Wainright III and part Weird Al Yankovic and part . . . whatever.

“After almost 20 years, we’ve stopped trying to define ourselves,” Deisler says. “We just keep pluggin’ along, having fun. That’s good enough for us.”

The Austin Lounge Lizards will perform Friday, Jan. 21, at the Sebastopol Community Center, at 8 p.m. Tickets are $16 in advance, $18 at the door. For details, call 585-8522.

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

© Metro Publishing Inc.

Exotic Fruit

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Strange Fruit

A taste of the exotic keeps the fruit bowl interesting

By Marina Wolf

IN A FIT OF DARING (and inspired by the looming deadline of this article), I recently headed into my local Asian grocery store and bought a durian. I had heard of it often–usually followed by the word stinks and the fact that one Southeast Asian country prohibits the carrying of this fruit on public transportation on the grounds that one broken durian on the floor could cause a stampede on the bus. But, they say, once you get past the smell–like very strong, moldy cheese–it’s supposed to taste delicious, like exotic fruit salad.

So in the spirit of exploration, I thought I’d finally give the fruit a try.

Unfortunately, I was so chicken about this tropical fruit that I never got to eat it: the first one, left out on the front porch because I was afraid to even bring it into the house, was overrun by ants (who obviously didn’t care about the smell), and the second one, sitting on the counter this time, smelled so strange that by the time I sucked up my guts to even look in the bag, it had developed a fine gray web of mold.

The moral of the story is: oranges are not the only fruit.

It’s challenging to keep up with changes in the produce aisle, as ethnic cuisines make inroads and gourmet menus demand increasingly obscure ingredients. In addition, the back- to-basics movement has done its share in bringing old-time ingredients–rhubarb, quinces, Damson plums–to consumers who at most may have read about quince jelly in a Jane Austen novel. Whether we’re looking back or moving forward, one thing is for sure: “How in the hell do you eat/cook this?” is not a put-down.

It’s a cry for help.

The first step toward solving the problem is admitting there is a problem. This holds true in fruit phobia as well. I’ve found that simply asking around will bring a flood of advice, family recipes, and handy mnemonic devices for remembering such complicated formulae about what the different varieties of persimmon are and when they’re ready to eat (Fuyu =Flat-ended, or, alternately, ‘eat when Firm’).

The durian: Sticky, stinky, strange

Photograph by Michael Amsler

SOMETIMES the fruit itself isn’t the mystery, only the way to extract it with the least mess or energy expended. I call this functional inscrutability, and cooking shows are the cure. Those TV cooks give away all kinds of tips on their programs, some admittedly beyond the reach of any cook without an ax and a three-person prep staff, but many very sensible.

It was one of these shows, maybe Martha Stewart, that taught me how to peel and prep pomegranates without getting bloodlike splatters on my nice white walls: do it under water.

Mangoes, too, cause problems in the pulp-removal department. So much good flesh, green in Asian salads and chutneys, ripe over ice cream or just eaten standing by the kitchen sink (Miss Manners advocates this as the preferred method of consumption). But if you’re determined to get the good stuff out on a plate, here’s a trick: Slice the flatter sides off the pit; score the cut sides down to but not through the skin, then press the outside of those pieces in. You get something that looks like the head of a scrub brush, with the scored side becoming a bristle of little cubes sticking out, ready to cut off.

THESE ARE the things you can watch or listen and learn. But there are other fruits that fall into the “what the hell” category. These are the ones that evoke strong reactions among those who have tried them, and utter trepidation among those who haven’t. Like my ill-fated durians. It’s not their fault that I lost the struggle with my apparently deep-seated food taboos. It’s my upbringing as a middle-class American that has led me to unconsciously check any new fruits for certain sets of characteristics.

For starters, any fruits that don’t fit right in the lunchbox are usually problematic. You have Mexican papayas on one end of the spectrum–actually, you’d need two lunchboxes to hold one–and on the other end you have the bitty fruits such as lychees and kumquats. (Of course, kumquats have their own name-brand problems, but candied they make an excellent end to a rich meal.) There’s also the issue of price. The usually high cost per pound of inscrutable fruits only adds to the mystique, and is a definite deterrent to trying something and possibly messing up your $10-per-pound purchase.

Then there’s the whole “It’s Alive” phenomenon. Like me, a lot of folks have strong first reactions to things that look like something that Captain Kirk might have had to pull off of Dr. Spock’s back. By this criterion, it’s amazing that kiwi fruits made the foothold that they did; other fruits have really had to struggle. Coconuts are oversized and hairy, with a little orangutan face. Durians not only smell bad, but are strangely prehistoric in appearance, like baby stegasauruses that might uncurl and waddle away if you left them out in a field on a warm summer night.

It’s hard to learn about these fruits. Sometimes the produce staff won’t even know. Mainstream produce encyclopedias and food dictionaries are silent on many exotic fruits, and it’s not usually something that you can call your mom about.

When in doubt, I go to the source: produce stockers, the ones with knives on their belts. Ask them for a taste, and they’ll almost always oblige. They really want to sell you a few pounds of that exotic Buddha’s hand citron (looks like Bart Simpson’s head, smells like lemon and berries). For obvious reasons I couldn’t do that with my durian, but every other piece of fruit is fair game.

And usually someone else wants to taste, which proves the saying: there is no such thing as a stupid question.

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Lakeside Cinemas

Moving Pictures

Independent views: Ian Price and Ky Boyd are transforming the aging Lakeside Cinema into a haven for films that run far outside the Hollywood mainstream. The theater reopens with fresh flicks on Jan. 14.

The new Lakeside Cinemas gears up to deliver indie flicks–but are we ready?

By Patrick Sullivan

WANT TO CATCH Arnold dueling with the devil in End of Days or Pierce Brosnan blasting his way through The World Is Not Enough? No problem: You can head for virtually any movie theater in Sonoma County and be confident that your Hollywood blockbuster of choice will be playing on at least one screen–and maybe two or three.

But if you’re searching for a film that’s unusual, challenging, offbeat–or, God forbid, foreign–you might run into a nasty little problem. It’s what local film buffs call the “Will it ever get here?” syndrome. Independent films that dazzle and delight audiences in San Francisco often march north at a snail’s pace, and despite the valiant efforts of a few local theater owners, many movies–films like Boys Don’t Cry or Perfect Blue–never reach Sonoma County at all.

That may be about to change. If Ian Price and Ky Boyd have their way, local film fans will find themselves sticking around home base a lot more often to get their dose of indie flicks.

On Jan. 14, the two men will swing open the doors on the newly renovated Rialto Cinemas Lakeside, boldly going where no Sonoma County theater owners have gone before by presenting the public with five screens dedicated to independent features, documentaries, classic movies, and . . . gasp . . . even foreign flicks.

Which leaves a lot of people asking one very big question: Are we ready for this?

“I think so,” Boyd replies with a cheerful briskness. “All of our research indicates that you are. I think it’s interesting because I think the people who most don’t think Santa Rosa is ready for it are the people in the mainstream movie business. The reactions of other people have just been amazing. So that’s really encouraging.”

Sitting side by side at a table in a local coffeehouse, the two partners seem an odd match. Boyd, 35, is slender, chatty, and prone to laughter, eagerly rattling off facts and figures to explain why Sonoma County is a ripe market for an art house. The stocky and reticent Price–who has more than a decade of experience in the theater business and often serves as a projectionist at the Telluride Film Festival–lets his partner do most of the talking, content to occasionally interject a brief anecdote or some quiet irony into the conversation.

But neither man stays silent when the subject turns to their love of independent films. For some 15 years, since they met and became friends at the University of Montana, Boyd and Price have shared the dream of opening a theater dedicated to films outside the mainstream Hollywood fare.

“Independent films are about life,” says the 37-year-old Price. “They’re very simply about life. Whereas a lot of the commercial films are about not very much. . . . It’s nice to see a film that makes you want to talk about it afterwards, as opposed to just forgetting it as soon as you walk out of the theater.”

Boyd first plunged off the cinematic beaten path as a college student, when he happened upon a screening of Diva, the stunningly stylish suspense film from French director Jean-Jacques Beineix about a young opera fan who accidentally becomes involved with the underworld.

“I had never seen anything like it,” Boyd explains. “In Great Falls where I grew up, we didn’t have a theater that showed independent or foreign films. I saw all the studio stuff. And this was just so different. I was just like, ‘Wow, that was really cool.’ ”

That’s exactly the response the two men hope to evoke from Santa Rosa filmgoers with the first month of movies at the new Lakeside. Just days after the old lease expired and the old management moved out, the posters advertising Toy Story 2 were replaced by new ones for Some Like It Hot (opening Jan. 14) and In Search of Kundun with Martin Scorsese (opening Jan. 21).

Also slated for the marquee are Edge of Seventeen, a film about growing up gay in the Midwest that opens on Jan. 28, and West Beirut, a stunning coming-of-age story about two young friends in war-torn Lebanon that opens Feb. 11. Even Perfect Blue–the acclaimed anime feature–is coming, opening on Feb. 18.

But fresh flicks are not the only change at the Lakeside. A serious physical renovation is also under way, and the price tag for the transformation of the old theater into a shiny new art house will eventually reach $100,000. Among the changes planned are new projection and audio systems and tons of fresh paint and new carpet. The ticket booth will be moved inside, and the video games will disappear to make way for tables and chairs for a cafe.

“The renovation is about creating a new identity for the theater,” Boyd explains. “We want to build a core audience of adventurous filmgoers who think anything playing at our theater is probably worth seeing.”

Of course, this new venture is hardly the only spot to catch indie flicks in the county. The Independent Film Series at Sebastopol Cinemas and in Petaluma’s Washington Square brings offbeat flicks to the screen every Wednesday and Thursday night, and the Sonoma Film Institute continues to provide adventurous programming on the weekends at Sonoma State University.

What will distinguish the new Lakeside is the theater’s commitment to relatively long runs of independent films. Movies will play for at least a week instead of a couple of days. But Boyd adds one caveat: not every film will be independent. The next Star Wars movie will not appear on the Lakeside’s marquee, but you might see something like Shakespeare in Love or Tea with Mussolini.

“I think it’s going to be a mix,” Boyd explains. “There are films that are released by the major studios, what I call Hollywood story films, that are not your traditional studio offering. It’s what they call prestige films. Those are films that we want to go after because they fit the demographic that we’re appealing to.”

Moreover, though both men say they were inspired by the example of the Rafael Theater in Marin, which often screens quirky films almost impossible to find anywhere else, they aren’t sure whether the Lakeside can afford to be quite so adventurous.

“It’s hard to say,” Boyd says. “I can’t tell you, ‘This is what Santa Rosans want to see.’ We have to experiment, see what works and what doesn’t.”

But some local observers wonder if even a modest attempt to emulate the Rafael can be successful in Sonoma County.

“I don’t know if that sort of thing is really commercially viable,” says Eleanor Nichols, director of the Sonoma Film Institute. “We have a hard enough time at SFI filling up the room that we have with art programming. But I certainly hope it works out. The more choices people have, the more opportunities they’re going to take to see different kinds of film.”

Price and Boyd seem eager to challenge such notions about local filmgoers. Among the eclectic possibilities for the future, the partners say, is that the theater will play host to traveling film festivals, perhaps screening a “best of” package from the Mill Valley Film Festival.

That may have to wait, however, until the Lakeside gets the equipment to run 16mm film and video projection–two formats that film festivals often require.

“There are a lot of things that we want to do,” Boyd says. “It’s a matter of making them all happen. The first six months, it’s basically getting all the pieces assembled. It’s not like you go, ‘Boom, instant theater.’ It’s going to take a little time. But we’re here for the long haul.”

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Missed by a Hair

Sounds of silence: No words, dirty or otherwise, were to be had from comedian George Carlin, who turned down Talking Pix’s request for an evening at the movies.

Looking back on a year of post-film discussions, a writer reflects on the ones that got away

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

THWUMP thwump thwump. The tinsel-bedecked chair jerks fluidly upward as my brand-new barber, tapping out a quick rhythm on the foot-pedal (almost in time to the festive, piped-in Christmas music playing in the background), raises me up to within snipping range of her dangerous blades and scissors. Close-cropped and quite muscular, the barber scrutinizes the top of my head. With a final thwump, she glides me to a stop and skillfully goes to work removing portions of my hair.

Regarded as one of the best barbers around–according to the fellows I’ve just recently been waiting with–she’s also rumored to have once cut hair for the U.S. Navy. They say she can do a hundred push-ups with one arm behind her back. “She’s real good,” remarked one young man, quietly filling me in, “as long as you do what she says and don’t make her mad.”

I’ll try to remember that.

“So what do you do?” she barks, scissors a-snipping. “You’re some kind of a movie critic or something, right?” Snip snip. Snip snip.

“Uh, yeah, more or less,” I reply (silently wondering if I shouldn’t be calling her “Sir”). “Basically, I take interesting people to interesting movies in my ongoing quest for the ultimate post-film conversation.”

“Geez, that’s a mouthful,” she whistles. “So, who’ve you taken to the movies this year?”

Obediently, I run down the list, leading with the names I surmise to be the most recognizable: Tommy Smothers, Jane Hirshfield, Dr. Demento, Walter Mosley, Christopher Radko, and Terry Brooks. I also mention a few biggies from years past: Joan Baez, Larry King, Jerry Mathers, Elvira–and spiritual counselor Ram Dass (“I hear he’s recovering pretty well from his stroke,” she says).

When I mention the colorful author Jesse Sheidlower, with whom I discussed the South Park movie, my barber stops cutting.

“The guy who wrote The F Word?” she exclaims. “I love that book! I suggested it for my women’s book group, but none of them would go for it. Too bad. Their loss.”

“It would have incited some interesting discussion,” I agree, as she sets down the scissors and brings out the electric razor. “So far I’ve only mentioned the people who agreed to go the movies with me. With an idea this weird, for every person who says yes, there are at least two or three who say no.”

“Not surprised,” she tosses back, as the razor hums pleasantly in my ear. “Who turned you down this year?”

I recite the list, starting with those who never even returned my calls and faxes: Sandra Bernhard, Andrei Condrescu, Whoopi Goldberg, Neil Simon, Francis Ford Coppola, Darryl Strawberry, Sister Souljah, Camille Paglia, Martin Cruz Smith, Gore Vidal, George Carlin, Naomi Wolf–and Marcel Marceau.

“Marcel Marceau?” the barber says, chuckling. “The mime? Hell. He wouldn’t have had anything to say anyway.”

“Yeah, that’s what I keep thinking,” I reply with a nod.

“Don’t move your head if you like your ears,” she snaps. I stop nodding.

Very carefully, I continue. “I got a nice rejection letter from Tom Lehrer. An old songwriter,” I explain. “He wrote ‘Poisoning Pigeons in the Park.'”

Lehrer wrote: “I think you’re on to a good idea with your column. I would not, however, be interested in participating.” He went on to explain that he never does interviews unless he’s “plugging something,” and added, “I know, I know, this is a conversation, not an interview. Well, for me it would be an interview.”

I was also turned down–after my seventh request–by John Gray.

“The Men Are from Mars guy?” she mutters, attacking my head with a stiff brush.

“That’s him,” I affirm. “His assistant called and left a message. ‘Dr. Gray does not want to do this. He will never want to do this. He never has any spare time whatsoever, and though he loves going to the movies, he never goes to movies that he has to think about.’ ”

“Figures. His books are stupid anyway,” she says. “Who else?” She now slathers my neck with warm lotion and pulls out the steaming straight razor.

“I also invited Matthew Fox to see The Mummy in May,” I tell her, referring to the famous defrocked priest, “but he was sort of offended at the idea.”

“A priest? Shoulda asked him to see Stigmata.”

“I tried that in October,” I mention. “He was offended all over again.” I mention that several people, including commentator Jim Hightower, biblical scholar Stephen Mitchell, and that spiritual debunker known as The Amazing Randi, have agreed to do a movie–when the right film comes along.”

There is no immediate reply. She appears to be thinking.

“Hey. Did you ever take a barber to a movie?” she asks, the straight razor resting menacingly against my neck. “We’re ‘interesting people,’ you know.”

“I never have,” I reply, being careful not to shake my head. “But I’ll certainly consider it in the future.”

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Wine

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Brat Pack

Primer cuts: Something for everyone in this new guide to wine.

Photograph by Michael Amsler

Wine Brats offer unsnobbish wine guide

By Bob Johnson

IT IS BOTH intriguing and annoying that people will spend their hard-earned money to buy books titled The Idiot’s Guide to (Whatever) or (This and That) for Dummies. Intriguing because purchasing such tomes instantly labels one as an idiot or a dummy. The plot thickens when one of these books is bought as a gift, the obvious inference being that the recipient–presumably a relative, friend, or business associate–is somehow lacking mentally or socially. Not since Don Rickles’ heyday has so much commerce been spawned by insults.

So much for the intrigue; we’ll get to the annoying part later.

The Dummies franchise has published several wine-themed books, including narrowly focused ones that deal with white wine and champagne, respectively. As primers, which they are meant to be, these books are quite concise, fairly clear, and refreshingly accurate.

But if one seeks both information and entertainment in their reading, I suggest dumping the Dummies and embracing the Brats. Regardless of one’s wine knowledge level, The Wine Brats’ Guide to Living, with Wine (St. Martin’s Griffin; $16) is sure to bring a smile.

Three men with Sonoma County wine-industry roots–Jeff Bundschu of Gundlach-Bundschu Winery, Jon Sebastiani of Viansa Winery, and Mike Sangiacomo of Sangiacomo Vineyards–are the ringleaders of this publishing enterprise, with chapters contributed by various members of the Wine Brats Coalition.

The Brats describe themselves as “an active group of adult wine enthusiasts who are mostly young in age but absolutely young at heart.” Their mission is to spread wine enjoyment among a new generation of imbibers by eschewing the somewhat elitist image foisted upon wine by an aging wine press and, in some cases, by their own parents.

The concept that wine is a beverage to be enjoyed, rather than feared, is promulgated by the anti-wine establishment verbiage contained in the book’s section and chapter titles, among them: “Real People, Real Wine”; “Adventures in the Wine Aisle, or A Taste of Wine Shopping Know-How”; “It’s My Party and I’ll Wine If I Want To, or Party Theme Ideas”; “Gettin’ Dirty with the Winemakers”; “In the Vineyard of Good and Evil, or Days in the Life of a Winemaker”; “Wine Mumbo Jumbo, or Wine Terms and Definitions.”

Beringer Vineyards tour guide and wine educator Kim Caffrey gets the anti-snob ball rolling with a chapter titled “The Nose Knows, or Tasting Versus Drinking.” Included is a sidebar, “Taste Like a Snob,” that includes the following advice:

“Pour a splash of wine in your glass and play along with me. Hold the glass by the stem–hence the name ‘stemware.’ Holding it by the bowl points you out as a beer drinker.

“If you want to look extremely affected,” Caffrey continues, “find something you can lean against so that you may shift your weight to one hip–and hold the glass by the base with your pinky extended.”

Three additional pomposity-busting suggestions are included, and Caffrey concludes the sidebar with these encouraging words: “That’s all there is to it! Now you’re ready to go wine tasting with Biff and Muffy!”

WHEN IT COMES to wine appreciation, a little bit of knowledge isn’t necessarily a dangerous thing, but it has been known to create Biffs and Muffys. Caffrey is right on target with her characterization of the overly affected; when it comes to prose, she’s a pro.

Sadly, the same can’t be said for Tim Hanni, described as “the most entertaining, down-to-earth Master of Wine walking the planet today.” Hanni is both entertaining and down to earth, and his chapter titled “Forget Everything You Know about Food and Wine Pairing (Self-Explanatory)” offers some sound advice and suggests a few fun experiments. (We tried them; they are fun.) But he does a disservice to the book’s target audience–newcomers to wine–by strongly promoting the “if you like it, it’s good” mantra currently popular among a growing legion of wine pundits (a majority of whom, not surprisingly, are in some way involved in the sale of wine).

By suggesting that there are no wrong answers when it comes to food-and-wine pairing, and pooh-poohing the “classic” combinations, he inadvertently causes more confusion than he alleviates.

Especially for a beginner, the tried-and-true “red wine with red meat, white wine with chicken and fish” guideline is much easier to understand than the flavor-focused system he recommends, which covers more than 10 pages of the book.

A primer, which the rest of this book is, should promote the basics–the “classics”–and save the more advanced theories, accurate though they may be, for an intermediate sequel.

Because this was a work both envisioned and written by committee, it lacks the cohesiveness that a single voice, or a more attentive editor, would have provided. It reads more like a mishmash of magazine articles than a well-organized, smoothly flowing book. These small criticisms aside, The Wine Brats’ Guide to Living, with Wine is enjoyable, enlightening, and thoroughly engrossing.

But it does share one annoying commonality with its “Idiots” and “Dummies” cousins: I wish that I had thought of the idea.

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Housing Crunch

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Gimme Shelter

Amid a boom in local population and jobs, Sonoma County is riding a go-go real estate market. Yet many remain locked out of home ownership.Do elected officials have the political will to address the need for affordable housing?

By Janet Wells

ARNOLD STERNBERG makes no bones about it–Sonoma County is in the midst of a housing crisis. And, in his view, the blame lies squarely on local government. “There’s a total lack of affordable housing and an unwillingness of local government officials to really face up to the problem and solve it,” says Sternberg, a 74-year-old attorney and former director of the non-profit Santa Rosa-based Bur-bank Housing Development Corp.

Sternberg’s gravelly voice tremor doesn’t hide his disgust for the housing situation, or the passion he puts into focusing attention on the lack of affordable housing.

In the mid-1970s, Sternberg served as then-Gov. Jerry Brown’s state director for housing and community development. Locally, Sternberg worked with Burbank Housing for 10 years, before moving to Fort Bragg two years ago. After more than 40 years in public service, he remains active behind the scenes as a housing advocate.

Sternberg places the responsibility for the housing crisis, not on the booming demand for wine country living, but on the lack of political backbone among elected officials.

Do the Numbers: Stats on Sonoma County housing prices.

A Success Story:Petaluma takes affordable housing seriously.

Searching South: Local movers and shakers turn to Silicon Valley for housing tips.

“First, they’ve got to make more land for high-density housing available,” he says of local and county officials. “Second, they have got to face up to the NIMBY [not in my backyard] problem and not cave in in the face of that kind of opposition.”

Anyone who has looked recently to rent, buy, or–even worse, find–subsidized housing in Sonoma County feels the pinch. These are teachers, janitors, lab technicians, students, cops, nurses, bank tellers. They earn decent wages, but not enough to pay for what has become the indecent cost of housing in the Bay Area.

By the numbers, Sonoma County’s housing situation looks grim–especially for those standing on the outside looking in. Countywide, home prices have ballooned an astounding 20 percent in one year. Rents are up, and vacancies hover in the 2 percent range–and even lower in Petaluma. A 5 percent vacancy rate is considered economically healthy.

The subsidized-housing situation is even more perilous. When the county opened its waiting list for the rental assistance program in March, 5,020 low-income households signed up in six weeks. Since then, only 600 families have found subsidized housing.

To further dampen the prognosis, Sonoma County must contend with multiple issues–population growth, agricultural preservation, gridlocked traffic, the high-tech boom, unfavorable local politics.

JUST BUILD more housing. Sounds simple. After all, there is a construction boom underway in the county, with new homes going up in almost every city. But most of those homes–“starter castles” with thousands of square feet, large yards, and garages–are far from affordable. For developers, it’s kind of a no-brainer. The more expensive the house, the bigger the profit. Local planning commissions and city councils give developers a boost by continuing to hand out permits for pricey single-family housing developments.

“Above-market-rate housing is where the money is for developers,” says Mark Green of Sonoma County Conservation Action. “Santa Rosa built 3 percent of its affordable-housing need, and is at several hundred percent of above-market housing need for the next 20 years. That’s entirely a function of having a majority on the City Council who really don’t care about affordable housing.”

Santa Rosa, like most jurisdictions, has a housing allocation plan designed to produce more affordable housing by requiring developers to earmark a portion of every new project for lower-income residents. That way affordable housing gets built and ensures that it will be spread out throughout a city rather than ghettoized in one low-rent district.

But developers have found a way out.

“The bottom line is that after a period of time trying to make it work and listening to the development community explain that it wasn’t feasible, there were a number of exemptions, so most developers ended up paying a fee instead of building according to the ordinance,” says Santa Rosa’s director of community development, Wayne Goldberg.

By allowing in-lieu fees, Green says, developers get away with building exclusive housing enclaves and spending less than their fair share on affordable housing.

While in-lieu fees from Santa Rosa’s housing allocation program, along with state and federal money, have totaled $3.9 million since 1992 to help subsidize construction of 254 units of affordable housing in Santa Rosa, it has hardly made a dent.

The Association of Bay Area Governments, which in 1990 projected housing needs for each city and county in the region, estimated that Santa Rosa would need 3,437 units of low- and very-low-income housing. By 1995, Santa Rosa had issued permits for 405 units in those categories. In the above-moderate category, however, the picture is much rosier–at least for developers and residents with a healthy bank account. ABAG’s projection in that category was 1,151 units, and the city issued permits for 3,041 units by 1995–nearly triple ABAG’s projections.

“The marketplace doesn’t provide housing in low- and very-low-income [brackets] because the people you’re trying to reach can’t afford to pay the prices necessary to pay for construction. It requires some subsidy expenditure,” Goldberg says. “It’s difficult to find money to provide that.

“We don’t have enough resources to meet the need that’s defined.”

SANTA ROSA is hardly alone in slacking on housing for its poorest residents. The state housing-element law requires every city and county to come up with a housing plan certified by the state. At least Santa Rosa has a certified plan for affordable housing, even if the city couldn’t manage to keep pace with the growing demand. As of 1997, Sebastopol, Cloverdale, Rohnert Park, and the county itself did not have certified housing elements, according to ABAG senior regional planner Alex Amoroso.

That has angered some local housing advocates.

The county is facing a lawsuit over its housing element–or lack thereof, as some people say. At the crux of the lawsuit is not whether the unincorporated area has enough affordable housing–there is no law that requires jurisdictions to actually meet ABAG’s housing projections–but whether the county has made a good-faith effort in planning for development of affordable housing.

“There’s lots of land. It could be zoned and used for affordable housing, but the county has just been very reluctant,” says Santa Rosa attorney David Grabill, who filed the 1998 lawsuit on behalf of the Sonoma County Housing Advocacy Group, as well as three plaintiffs who have been unsuccessful in finding affordable housing. One of the plaintiffs, seriously disabled veteran Peter Huot, committed suicide in February, after struggling to find a landlord who would accept his subsidized-housing voucher.

“Take a drive out around Penngrove and the outlying areas of Windsor,” Grabill says. “In the rural unincorporated areas they have built much more above-moderate-income housing than they are required to build to satisfy the ABAG numbers.”

Sonoma County Community Development Commission chair Janie Walsh counters that the county has “a lot of affordable housing,” and faxes various lists that show 2,398 units of affordable housing for seniors, families, disabled residents, and farm workers, with another 1,282 units of low- and very-low-income housing.

In 1990, ABAG projected the county’s need for low- and very-low-income housing at 2,879 units.

The county government isn’t the only jurisdiction on the hot seat. Grabill says the Housing Advocacy Group is “watching very carefully” to see how Santa Rosa’s upcoming general plan update addresses affordable housing. “There may be litigation at some point,” he says. “You kind of wish it weren’t necessary to sue to get these local governments to understand the need for housing. Everybody agrees there’s a huge need for affordable housing in this county. It’s one of the more expensive places to live in the U.S.A. But when it gets down to specifics like, ‘Where are we going to put this 40-unit development?,’ the government people, they get very cold feet.”

Compounding the lack of affordable housing in the county is a projected boom in population and jobs. Sonoma County is expected to gain 116,000 residents by the year 2020, with Santa Rosa named as the third-fastest growing city in the Bay Area, according to an ABAG study released in December. In addition, the study projected more than 95,000 new jobs for the county in the next 20 years.

“The population is booming, the economy is booming, the jobs are being created at a faster pace than ever before,” Sternberg says. “Everybody looks at the IPOs and the high-salary jobs, but a lot of working folks don’t make that kind of money. Somebody sweeps up, somebody takes care of the landscape, somebody does word processing. Those are not high-paying jobs.”

“Those people,” Grabill agrees, “have to have a place to live.”

The situation is especially noticeable in Petaluma, where a 24 percent growth in telecommunications jobs in five years has attracted thousands of new employees to the already more expensive southern end of the county. Housing prices are up 15 percent, and apartments are tough to find, which in turn drives rents up.

“We’re getting a lot of traffic on our website, with people moving here letting us know a month or two in advance,” says Jim Provost, CEO of Alliance Property Management in Santa Rosa. “When they arrive, they are still just shocked at the small number of properties available and at the rents.”

The only newcomers who think Sonoma County is cheap are Silicon Valley refugees. “I’ve had a number of people relocate here. Their pay is not quite what it was, but the rental rates are half to one third what they are down there,” Provost says.

Provost isn’t optimistic about the market changing in the near future. “With the influx of jobs in Sonoma County, construction just cannot keep up with demand,” he says. “I still see solid rents through 2000, and as far as [ownerships of] houses are concerned, I don’t see any relief.”

WHILE STERNBERG likens the county’s housing woes to a critically ill patient beyond cure, he says there still is no excuse for giving up and pulling the plug.

“It’s depressing as hell, but that doesn’t mean you just sit around,” he says. Sternberg’s first suggestion is to implement a jobs/housing impact fee, modeled after a program in Sacramento that has raised more than $22 million in 10 years. The city assesses a fee for all new commercial and industrial development based on the number of employees the new office, factory, warehouse, or winery will attract.

While Sacramento’s commercial builders weren’t too happy with the program–they sued unsuccessfully to repeal it–housing advocates are delighted at the outcome. “It has helped bring a balance to housing development so that as industrial and commercial development take place, the people who work in those industries have a place to live,” Grabill says.

Other ideas include raising the transient occupancy tax charged by hotels and putting the funds toward affordable housing. Or offering density bonuses, allowing low-income-housing developers to build more units on a parcel than is allowed by zoning laws. Or offering fee waivers for low-income projects. Each solution, of course, comes with its own set of problems, not the least of which is that, for some people, more housing–affordable or not–isn’t a positive step. More housing means more people for a county already feeling enormous pressure to curb growth–and one that four years ago became the first in the nation to adopt comprehensive urban growth boundaries.

Three Bay Area communities in Alameda and Contra Costa counties faced anti-sprawl ballot initiatives last fall that sought to require voter approval of even modest-sized developments. All three were rejected, but more are likely to be on next year’s ballot, a sign that housing needs and growth control may soon be in direct competition.

Some slow-growth folks might see Sonoma County’s failure to provide enough housing as a “good thing,” says Green. “But it’s not really. Sooner or later we’re going to be required to meet affordable-housing demand; then we’ll have to build those on top of the above-market-rate housing.

“There are a lot of strategies out there to make affordable hous-ing possible,” he adds. “If it were as high a priority for Santa Rosa as, for example, it was to pound the Geysers [wastewater] project through, it would get done.

“They should just stop issuing permits for above-market-rate projects and just build affordable housing.”

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Paul Dini and artist Alex Ross

Batman in the ‘Hood

Costume drama: Fighting crime leaves its marks in Batman: War on Crime.

Batman’s war on crime looks a little too much like the real war on drugs

By

GENTRIFIERS and drug peddlers alike feel the wrath of Batman in Batman: War on Crime by writer Paul Dini and artist Alex Ross (DC; $9.95). The album-sized comic is a follow-up to last year’s bestseller Superman: Peace on Earth. An artistic and financial success, Superman: Peace on Earth had sales of $7 million in the midst of the usual depressed market for comic books.

The art for Superman: Peace on Earth was auctioned off, raising $100,000 for charity. Likely, Ross’ artwork for Batman: War on Crime will raise a similar small fortune when it is auctioned off for its beneficiary, the John A. Reisenbach school in Harlem, the only non-profit charter school in New York. (Reisenbach was a young New York ad man murdered during a robbery nine years ago; after his death, a fund was set up in his name to finance education.)

The proceeds go to a good cause, then, and it is a book from two cartoonists who work well together. And yet I can’t recommend it without reservation.

In Batman: War on Crime, an African-American ghetto kid named Marcus is orphaned by a robbery. Marcus’ plight, of course, matches the story of Bruce Wayne–Wayne, whose parents were shot by robbers and who has been carrying out a masked mission of vengeance as Batman ever since.

Batman: War on Crime doesn’t really have a villain, except for a crony of Wayne’s named Randall Winters, a self-indulgent, conscienceless developer who has been hiring off-duty Gotham cops to rough up the gangstas in Marcus’ neighborhood. Winters is plotting to pave over the slum with expensive condos and malls. Wayne absorbs Winters’ redevelopment schemes with a few words that demonstrate our hero’s iciness: “Randall has always spoken of me as a close friend, presuming on the familiarity created by our social environment.”

Ross’ Batman looks beef-fed, jowly, and not a day under 40. Because of his size, his eyebrows, and his rectitude, he looks like a dark-haired Scandinavian, a Swede. He’s a huge and very cold fish. When he takes his shirt off, we see that his torso is crisscrossed with deep scars, as if he’d been flogged.

Ross handles the artistic problem of turning a cartoon real by highlighting the ordinariness of Gotham City. One scene is a rich party staged in the sterile glamour of a culture palace: it could be New York’s Lincoln Center, the Kennedy Center in Washington, D.C., or L.A.’s Dorothy Chandler Pavilion–all those auditoriums that sound so grand but turn out to look so tatty.

None of the grotesque Batman villains are shown, but we get glimpses of familiar characters: a man whose one enlarged eye tells us that he might be Two-Face; a figure whose kid gloves and string tie may tip us off that he’s the Joker. I wish Ross and Dini had turned to the more fanciful villains in Batman lore for this book, because when Batman goes up against the more mundane ‘hood dwellers, Batman: War on Crime takes a distressing turn.

ROSS’ SKILL as a representational artist lifts Batman out of where he belongs–in a fantasy world–and places him in the real one. But that’s the problem with Ross and Dini’s book: its realism. When Superman decided to give the world a Christmas dinner in Peace on Earth, there was charm to the fantasy. By contrast, Batman’s task is taming his city with violence.

In one scene, Batman attacks a drug lab, scattering a crowd of terrified black criminals. In the real world, yes, there are such things as all-black drug labs. In fiction, Batman might bust a drug lab up. But the unhappy collision of tragic reality and escapist fantasy makes for a racist image: a jackbooted Batman assaulting a room of studiously drawn panicking black men.

This scene of violence isn’t utter fantasy, as you can learn by reading reports on the paramilitary policing in the inner cities during our war on drugs. Christian Parenti’s book Lockdown America: Police and Prisons in an Age of Crisis (Verso) documents cops in SWAT teams already acting like masked vigilantes, attacking slum neighborhoods with their faces concealed under helmets and with badge numbers covered.

Dini is an artist and writer who has helped create the Batman animated series (Adventures of Batman, Adventures of Batman and Robin, and Batman Beyond) now running on the Warner Bros. network. Dini’s different versions of Gotham are color-blind, and maybe that colorblindness should have been continued here.

Probably the good that the sale of Ross’ art will do will outweigh the troubling images. Despite these few pages showing the raid, Batman isn’t a sadist. As always, he has his mystery. Here’s a detective who can’t solve the riddle of his own personality or ask himself if it’s really possible to be a terrorist for a good cause.

The hero’s endless turmoil is anticipated by a passage in Moby Dick. Fleece, the ship’s cook, lectures the sharks that follow the Pequod. Sharks are sharks, but if a shark could control itself, it would be an angel. For all angels are nothing but sharks well-governed.

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Nick Drake

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Ghost Dance

Resurrection: Late folksinger Nick Drake catches a ride to the limelight.

Dead folk hero makes brilliant return

By Greg Cahill

Fame is but a fruit tree So very unsound. It can never flourish Till its stalk is in the ground.

    –“Fruit Tree” by Nick Drake

THE NEW MILLENNIUM has raptured at least one long-lost soul. Nick Drake, the British cult folk hero who died in 1974 of an accidental overdose of antidepressants, is enjoying a newfound boost in record sales thanks to a TV ad. The use of his haunting song “Pink Moon” in a current Volkswagen commercial–which started airing in November–has exposed millions to his music, Entertainment Weekly recently reported, boosting sales of Drake’s 1972 album of the same name by nearly 400 percent.

Neither Drake nor the song’s title is identified in the ad, making it all the more incredible that music buffs are able to find the track. Drake’s ex-producer Joe Boyd (who also nurtured the early careers of Celtic folk-rocker Richard Thompson and Fairport Convention) told the magazine last week that he figures the newfound fans did “a little detective work,” perhaps visiting the VW website to learn the song’s origin.

“It’s mysterious, but gratifying,” Boyd noted. “Nick always wanted to reach a wide number of people.”

Indeed, Drake’s inability to connect with a broad audience weighed heavily on the sensitive Brit. He passed almost unnoticed during his brief lifetime, despite an impressive repertoire–songs of dark vision and somber beauty that often juxtaposed melancholy lyrics and uplifting melodies.

Yet Drake already was deeply troubled when, two years before his death, he recorded 1972’s starkly beautiful “Pink Moon,” later retreating to his parents’ house and disappearing from public view. At the time, underground FM stations in America had helped bolster the career of iconoclastic folk-singer Leonard Cohen without the aid of touring. But England lacked a radio outlet for a poetic folk act like Drake, who delivered wistful songs evoking 19th-century romanticism and bathed in an autumn or winter haze.

OVER THE YEARS, interest in Drake has continued to grow. The World Wide Web hosts several sites devoted to Drake and his music. Music magazines regularly run tributes. Avant-folk rocker Robyn Hitchcock and Celtic troubadour John Martyn, among others, have canonized Drake in song. The home of Drake’s parents (where his volumes of Chaucer and Flaubert and his coffee-stained desk blotter all were preserved for posterity before the home was sold two years ago), and even his grave, are destinations for pilgrimages. In 1997 his achingly sorrowful ballad “River Man” earned the lead-off spot on the soundtrack to the kooky suicide flick Dreams with the Fishes.

“The phone calls from people wanting to do a book or a film on Nick . . . used to come in about twice a year,” Boyd wrote in the liner notes to the stunning 1994 compilation Way to Blue: An Introduction to Nick Drake (Hannibal/Ryko). “Now it’s twice a month.

” . . . [H]is music seems more beautiful, more apt, more attuned than it did when it was first recorded.”

TWENTY-FIVE YEARS after his death, and despite his past obscurity, Drake’s complete catalog remains in print. Between the ages of 19 and 26, the shy and introverted singer/songwriter seldom performed in public but recorded four studio albums, one live LP, and a number of separate tracks, the best of which were issued posthumously on Time of No Reply (Hannibal), while the remaining demos constitute a rare (and poorly mastered) bootleg titled Tanworth-in-Arden.

A member of Fairport Convention–Thompson’s landmark Celtic folk ensemble–caught the Cambridge-educated Drake in concert in 1968 and recommended him to Boyd. After hearing a demo tape, Boyd signed the fledgling singer/songwriter to his Hannibal label.

Drake’s 1969 debut album, Five Leaves Left, featured a sparse folk-rock backing (Pentangle bassist and longtime Richard Thompson collaborator Danny Thompson plays on most of the cuts) and haunting songs flourished by occasional baroque string arrangements. Bryter Lyter, released the following year, was more upbeat, featuring members of Fairport Convention and lighter jazz arrangements.

As album sales lagged, Drake slipped into a deep depression and became a brooding loner. His third album, 1972’s Pink Moon, was a stark solo acoustic effort that the All Music Guide ranks as “one of the most naked and bleak statements in all of rock.”

But Drake’s emotional state continued to suffer. At one point, he was hospitalized for several weeks for psychiatric care. On Nov. 26, 1974, he died of an overdose of antidepressants at his parents’ home. Despite speculation that he committed suicide, Drake’s family and friends contended that his death was accidental.

A handful of final recordings and previously unreleased rarities were issued on 1986’s Time of No Reply. That same year, Boyd compiled all of Drake’s studio recordings in the four-CD box set Fruit Tree.

Today, his music has struck a chord both with neo-folk fans looking for something more substantive than the current chart-topping roster and with alternative rockers who share his sense of melancholy alienation.

“It’s hard to say exactly what it is that makes his music timeless,” Boyd wrote in the Way to Blue liner notes. “He was a quietly powerful person. He would have loved the attention and respect his music now commands, but listening to his lyrics, it begins to seem that he may have planned it all this way.”

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Sonoma Film Institute

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Kiss of the Spider

Down on the farm: Chiara Torelli plays an Italian farm girl torn between the love of a stranger and duty to her family in Pizzicata.

‘Pizzicata’ kicks off new year at SFI

By Patrick Sullivan

TWO FILMS WRESTLE with each other beneath the supple skin of Pizzicata. On the one hand, the 1996 movie from Italian director Edoardo Winspeare–which kicks off the Sonoma Film Institute’s 2000 season–is a carefully composed, beautifully photographed quasi-documentary, a fascinating exploration of life as it was lived by Italian peasants in the Salento region of southern Italy circa World War II.

But Pizzicata is also a love story, a tale of a stranger who plunges (literally) into the heart of a tight-knit rural community and then falls for the wrong girl with tragic results.

Of course, star-crossed lovers have haunted Italy since a certain Montague expressed his passion beneath a moon-lit balcony in fair Verona, but classic themes bear repeating, as long as the storyteller has something new to say about them. Unfortunately, in Pizzicata, passion often fights so hard with ethnology that neither emerges a clear winner.

Sonoma Film Institute Schedule

Fabio Frascaro plays an Italian-American fighter pilot named Tony whose plane is shot down over the Salentino peninsula–the heel of Italy’s “boot”–in 1943. After the wounded airman is discovered hanging in the branches of a tree by the youngest daughter of the Pantaleo family, the clan’s tough old patriarch, Carmine (played by Cosimo Cinieri, the only professional actor in the cast), makes the fateful decision to harbor the wounded American on the family farm.

Frascaro, who looks less as if he’s taken a nasty fall from a crashing airplane than as if he’s jumped off the lush cover of a fashion magazine, seems to fit seamlessly into his new home–at first. As an emigrant, he speaks the language, and he manages to impersonate a cousin of the Pantaleo family so that he can move freely around the village.

But a mutual and passionate attraction quickly develops between the pilot and the family’s middle daughter, Cosima, an independent-minded young woman played by the lovely Chiara Torelli, whose model’s cheekbones and beautiful smile make her seem a perfect match for the handsome Frascaro. Indeed, wartime food shortages and other hardships haven’t hurt the appearance of any of the many beautiful people who inhabit this film.

The problem is that Cosima’s hand has already been promised to the local rich kid, Pasquale (Paolo Massafra), whose father’s wealth and power have enabled him to dodge the draft that has otherwise virtually emptied the village of young men. Pasquale, the son of Don Pippi, is accustomed to getting what he wants, and he’s not about to let some stranger walk off with Cosima. Moreover, since Don Pippi’s money makes him the only olive buyer in town, Carmine is under financial pressure not to allow his daughter to marry the man she really desires.

So the stage is set for romance and conflict. Or is it? Alas, though Winspeare has all the right plot elements, he doesn’t seem to know how to make the puzzle of passion fit together.

The director, whose past accomplishments include six documentaries, spends so much time setting up his carefully framed shots that he doesn’t give any romantic sparks the chance to ignite. We know that Cosima and Tony are physically beautiful because the camera lingers long on their forms and faces, but we learn almost nothing about their personalities or why they’re so deeply attracted to each other. The film’s measured pace and elliptical style make the abrupt conclusion of this love triangle all the more jarring.

As a love story, then, Pizzicata falls short. But as a visually stimulating exploration of the rural culture of southern Italy–the dances, the church services, the hard work, the deep-seated sexism, and strong family ties–the film is often fascinating.

Indeed, Pizzicata is worth seeing simply for the director’s compelling exploration of the pizzicata tarantata (from which the film’s title is derived), a manic dance performed by women who fall into a hypnotic trance and thrash about frantically for days, supposedly because they’ve been bitten by a spider. The true cause of this strange malady, apparently, is a hysteria caused by the culture’s harsh sexism and deep-seated repression–themes that Winspeare was clearly trying to explore through fiction in the movie.

Unfortunately, as a storyteller, Winspeare makes a great documentarian. Next time out, perhaps he’ll leave the romance to Shakespeare.

Catch the North Bay premiere of ‘Pizzicata’ on Friday and Saturday, Jan. 7 and 8, at 7 p.m. at Sonoma State University’s Darwin Hall, 1801 E. Cotati Ave., Rohnert Park. Tickets are $4. For more information, call 664-2606.

From the January 6-12, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Game Dinners

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