Pilates Fitness

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Pilates-based fitness center works to connect

INSIDE the nondescript, easy-to-miss Santa Rosa building that houses Monica Anderson’s Tone fitness center, three brand-new students lie sprawled on the floor, softly gasping with effort. Carefully balanced on long foam half-tubes that run the length of the spine, the concentrating trio perform various abdominal exercises and stretches as Anderson coaches them through their first introduction to the increasingly popular training method known as Pilates.

Based on the work of the late German-born fitness champion Joseph Pilates (pronounced Puh-lot-tees), this yoga-like exercise method employs a series of techniques that Pilates developed in New York in the 1920s, when he was asked to train the dancers working under George Balanchine and Martha Graham. Because dancers require a way to strengthen their bodies without adding bulk, the Pilates method–incorporating floor exercises designed to develop and balance the body while educating the dancer’s mind about the body’s limits, and a series of highly focused routines performed on Pilates-designed machines–was ideal for the injury-prone world of ballet.

Now Pilates-based exercise programs and Pilates equipment can be found in gyms and physical therapy offices across the country–and now in Sonoma County. According to Anderson, the recently opened Tone is the only fitness center in the county to offer a Pilates-based exercise program.

Catering to those who want an alternative to the large, chain fitness centers, as well as to people on the mend from back injuries and the like, Anderson’s small, highly individualized program has been building its clientele steadily since opening day last October.

“The Pilates method is about wellness and balance and healing,” she explains, as the class ends and the new students enthusiastically bound to their feet. “This is deep work, but Pilates is a subtle method. It’s not as harsh on your body as some other training methods.”

THE PILATES MACHINES, with names like the Reformer and the Trapeze Table, are unlike anything you’d expect to find at most fitness clubs. Employing an adjustable series of springs for resistance, the Reformer–which Anderson spryly demonstrates to the class–looks something like a horizontal springboard, with which the subject uses his or her legs to trampoline back and forth, rather than up and down.

This, according to Anderson, is a popular exercise for dancers and skaters, as it is much safer than actually leaping into the air, yet it helps build a sense of balance while developing the body strength necessary for actual leaps and spins on the ice or on the dance stage. In fact, since opening its doors, Tone has become a popular training spot for local ice skaters, offering classes for skaters of all ages and experience levels.

As important as physical exercise and body development are, according to Tone manager Alyson Dobbert, the Pilates method stresses the mental aspects of physical training as well. This, she says, is where Pilates gets its reputation for being so similar to yoga.

“Our clients learn to think about their bodies, to understand their muscles and the way the whole body works in harmony to itself,” she explains. “It’s a thinking person’s exercise, connecting body and mind.

“Training,” she adds, “imparts understanding.”

Pleased by the modest success that Tone has already experienced, Anderson and company are expecting greater results as word of mouth spreads around the county. “This is a great thing. I definitely believe we fill a need that exists in Sonoma County,” Anderson says.

“This is not your basic hot body gym,” adds Dobbert with a laugh. “It’s a place you can relax and learn about your body, and, if you’ve been injured, where you can get the tools you need to heal.”

The Tone Fitness center is located at 850 Fourth St., Santa Rosa. For details, call 526-3100.

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

© Metro Publishing Inc.

Housing Crunch

Michael Amsler

Growing Pains

High-density housing goes hand in hand with urban growth boundaries. So why isn’t anyone willing to talk about it?

By Janet Wells

HIGH-DENSITY affordable housing sure has a lousy reputation: monolithic facades, postage-stamp yards, slovenly upkeep, breeding ground for crime. No one wants that kind of a project in the neighborhood, right? Since the bulk of home construction in the county continues to be the politically palatable suburban ranch house, most Sonoma County residents haven’t had to grapple with the issue.

But with the onslaught of urban growth boundaries in Sonoma County, coupled with the region’s ongoing population boom, the key to the future may be high-density housing.

“Higher density. Not high density,” Sonoma County Conservation Action’s Mark Green corrects, with an edge of frustration. “We’re not talking 12-story apartment blocks. We’re talking eight units to the acre.

“There’s a disconnect between the mental picture of what people see high density meaning and what it really means,” Green adds. “You have to deal with neighborhood organizations who think that affordable housing means crack housing, which is absurd. Neighbors get all in a twist at the idea of low-income housing. Affordable-housing [residents] in Sonoma County–you’re talking about dentists.”

Sonoma County, with its rolling hills and open pastureland, seems to invite endless development. Cookie-cutter subdivisions with bucolic-sounding names abound. But the supply of land isn’t endless, and voters have made it clear that they want to curb growth and contain sprawl. In 1996, Sonoma County became the first in the nation to establish comprehensive growth boundaries by voter approval. Santa Rosa, Sebastopol, and Healdsburg adopted boundaries, followed two years later by Cotati, Petaluma, and Windsor.

Rohnert Park is revisiting its four-year boundary, and Sonoma is considering jumping on the bandwagon. And Sonoma County is hardly alone. Urban growth boundaries have been approved in a dozen cities around the Bay Area.

A growing number of environmentalists and urban planners say that the easy part is adopting growth limits. The tough part is getting people to live within them–which means letting go of a keystone of the American Dream: the spacious home with white picket fence, mammoth yard, detached garage. It’s too soon to determine the impact of Sonoma County’s newly inducted growth boundaries. But one thing is clear: development will eventually bump up against the boundaries. The question is how to accommodate the county’s projected 116,000 jump in population over the next 20 years–without pushing the boundaries out.

The answer lies in clustering smaller, more densely compacted homes near mass transit and jobs, and leaving open space–well, open, rather than covered with sprawling ranchettes.

In Silicon Valley, where a building boom has cut the residential land inventory in half in less than five years, a report by Strategic Economics in Berkeley calculated that communities there could provide for up to 99 percent of the growing workforce by embracing higher-density housing. Sonoma County affordable-housing advocates say the same is true for the North Bay area.

“We can’t go out. We have to go up,” says Petaluma housing director Bonne Gaebler. When the Petaluma City Council recently approved an 88-unit development on four acres, its only question was why the project didn’t go up three or four stories.

“And it’s in a residential neighborhood,” Gaebler says. “Our council is trying to walk the talk.”

But in Sonoma County, Petaluma seems to be somewhat of an exception. So far, local planning efforts have done little to slow the pace of single-family home construction.

In the Bay Area, there were 11,748 permits issued for single-family homes in 1995, and 16,823 in 1998, a 43 percent increase, according to the Real Estate Research Council of Northern California.

In Santa Rosa, the percentage of single-family homes compared to multifamily units has ballooned precipitously since the mid-1980s, when half of the homes built were multifamily. In 1997, just 2 percent of the homes built were multifamily. And the single-family homes aren’t exactly winning praise from environmentalists or affordable-housing advocates. “People are calling them McMansions,” says Chris Brown of Greenbelt Alliance. “It’s a retiree with a 3,000-square-foot home with four bathrooms. One for the wife, one for the husband, one for the dog. It’s people with too much house.

“People should be able to buy whatever they want. At the same time there are lots of people who can’t buy anything because there is so much land being taken up by huge expensive houses,” Brown adds.

“We are going to have to make a choice,” Green says, “between paving everything we love about this place and living at higher densities. Thus far, most of the city councils have just failed to stand up to developers who just want to do the same old turn-the-crank subdivision out of lack of vision or unwillingness to take a chance.”

Tim Coyle, senior vice president with the California Building Industry Association, puts the onus on “political opposition” as the barrier to higher-density development.

“To say theoretically that home ownership will take the form of stacked housing is to mistake what the public is demanding. Most Americans prefer a detached single-family home,” Coyle says. “If the market suddenly changes so that they suddenly want higher-density multifamily housing, then we’ll build it.”

Poppycock, Green says. People need to be educated about housing options. And if developers came up with innovative, well-designed projects, the demand would be high.

“Three stories, with shops below, a real mix of residential, commercial, and offices, so that you have a village-style community again,” Green muses. “Where those things get built, they are incredibly desirable. The transit-oriented housing in Portland, Oregon, is the most valuable rental property on a square-foot basis in the area. It’s a great place to be.”

On the front lines: Attorney David Grabill is representing plaintiffs in a housing suit against the county. Construction of multifamily housing has less to do with politics and market demand and more to do with financing and vacancy rates, says Santa Rosa’s Community Development Director Wayne Goldberg. The climate for multifamily housing clearly is getting rosier: In 1998, the city issued permits for 600 units of multifamily housing, compared to a paltry 12 units the year before.

“The city doesn’t build housing, developers build housing, and they have to get loans and financing. There are a lot of people involved in those decisions,” Goldberg says. “When the vacancy rates are higher, people are not going to build apartments in that market. When they get as low as they have recently, a number of units are coming on line.”

Housing density is one of the crucial issues in a lawsuit against Sonoma County. The lawsuit charges the county with failing to comply with state housing laws that require jurisdictions to facilitate the development of affordable housing.

“There has been a very, very strong resistance in county government to high-density housing where the need is very great,” says Santa Rosa attorney David Grabill, who filed the lawsuit on behalf of the Sonoma County Housing Advocacy Group, as well as three plaintiffs who have been unable to find affordable housing. “It’s just a battle every step of the way.”

In an attempt to settle the lawsuit, the county recently hired a consultant to search for housing sites for low- and very-low-income residents. “We’re hoping that the survey will identify some land the county could rezone for high-density affordable housing,” Grabill says. “We’re not optimistic that they’re going to do it voluntarily. We expect that it’s going to end up having to be decided by a judge.”

If Grabill wins, he says, it could mean that the county would be barred from issuing any construction permits as long as the housing element remains out of compliance. “But the county can appeal, we can appeal,” Grabill says. “It doesn’t mean we’re going to get any houses built.”

Sonoma County Supervisor Mike Reilly counters that unincorporated county lands are the wrong place for high-density housing. “The thrust of our general plan since 1979 has been to try to protect the agricultural and rural areas from a lot of development and try to direct most of the development into the incorporated areas along the 101 corridor,” he says. “People in the cities have told us, through the urban growth boundaries, that that’s what they want.”

Urbanized, high-density development belongs in the cities, Reilly adds. “The county gets responsible for everything else. We’ve got the big regional parks, farmland. You don’t want the same level of urbanization in those areas. It’s not good planning.”

STILL, REILLY CONCEDES, the issue of affordable housing is at a critical juncture. “I think there needs to be a real dialogue between the environmental community and the people concerned about affordable housing. We need to see if there is common ground there. The market clearly has taken everything out of reach.

“My brother moved out from Maryland and wanted to live in Sonoma County,” Reilly says. “He was catatonic with sticker shock at the housing prices. He’s now living in Vacaville.”

Many folks are in a similar position. And it looks as though the exodus of people settling for housing in outlying areas may continue, since few planners predict a high-density housing boom just over the horizon.

“Everyone likes these good ideas until they come next door,” says Greg Carr, Sonoma County’s manager for comprehensive planning. “That’s what’s difficult. In an area like Bennett Valley where the housing is well maintained, in a homogenous neighborhood, you’re unlikely to have anyone interested in higher density. . . . You have to wrestle with how it fits in the neighborhood.

“Cities aren’t going to rush in and start adopting 30- to 40-units-an-acre housing projects just because of urban growth boundaries,” Carr adds. “I wouldn’t expect to see those types of changes until they started doing updates and started running out of land.” *

Schmutz and Schmaltz

Making high density palatable

OAKLAND ARCHITECT Mike Pyatok’s professional goal is to make affordable housing welcome in a community. How does he do it? By paying attention to schmutz and schmaltz.

“Rental housing is often disliked by the homeowner communities because the amount of design that goes into it is often minimal,” Pyatok says. “We need to be sensitive to the cultural preferences of homeowners.”

Pyatok uses updated interpretations of Craftsman, Mission, Victorian styles–the schmaltz–to give affordable housing the look and feel of something well crafted and more expensive. Schmaltz, he says, helps the permit-approval process along, as well as fostering neighborhood acceptance.

“Part of it is to be a good neighbor and to fit in so the people can live there without being stigmatized,” says Pyatok, whose firm designs about 80 percent of its projects for non-profit affordable-housing corporations.

The Pyatok-designed Tower Apartments in Rohnert Park have won several awards, and the development is a far cry from the typical stacked flats housing six families around a common stairwell. The project has 25 units an acre with two- to three-story buildings sharing large courtyards. In addition, all the units have back patios or terraces–which is where the schmutz comes in.

“Schmutz is the messy, dirty side of life,” he says. “Everybody’s house has a front, sides, and back. The back is where you can let your hair down and relax. Multifamily housing should have the same opportunity.”

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

© Metro Publishing Inc.

Hess Collection Winery

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Crowd scene: Art is on the march at the Hess Collection Winery in Napa, which houses some of the most compelling art in the North Bay, including Crowd, by Polish sculptor Magdalena Abakanowicz.

Pour on the Art

Napa’s Hess Collection boasts more than wine

By Paula Harris

STARTLING. That’s the only way to describe it. You unsuspectingly round a corner inside the airy, elegant art gallery at Napa’s Hess Collection Winery, and suddenly there they are . . . about 18 life-size, headless figures that seem to be advancing toward you from one corner of the room.

Quite a jolt. But the piece, which resembles an eerie army on the march, is just one of many vivid and thought-provoking surprises awaiting visitors at the winery’s permanent exhibition of contemporary art, which Art in America magazine calls one of the top 200 collections in the world.

The piece, titled Crowd and fashioned from resin and burlap by Polish sculptor Magdalena Abakanowicz, sometimes even spooks the Hess staff, as employees laughingly admit during a tour of the facility.

Wealthy Swiss entrepreneur and winery founder Donald Hess, 62, reportedly believes Crowd symbolizes the mindlessness of living in a totalitarian state. Not that Hess himself is around to comment, mind you. The elusive art collector, winery creator, and mineral-water magnate lives in London and jets in to check on the Napa winery and art gallery every couple of months.

A dedicated cadre of staffers keeps the facility running like clockwork between his visits. They’re eager to talk about their multifaceted boss, who has successfully blended and showcased his two passions–art and wine–under one sophisticated roof.

According to Roberto Ceballos, supervisor of the Hess Collection Visitors’ Center, Donald Hess started collecting art in the 1930s. “It was a certain rebellious move, since [Hess’] father believed walls should be left white,” says Ceballos, adding that Hess essentially taught himself about the world of art. “In the beginning, he bought a print and didn’t realize for a long time that it was an original Picasso!” he says with a laugh.

The fascination bloomed, and these days Hess owns art collections in Switzerland and England, and keeps some works in storage, in addition to the permanent exhibition in the Napa facility. After decades of careful purchases, he has assembled the most important art collection in the wine country, according to Gay Shelton, director of the Sonoma Museum of Visual Art in Santa Rosa.

“The Hess Collection showcases artists who’ve made history around the world with their work–they’ve all had some impact in the formation of culture,” Shelton says. “It’s like something you’d see at a major museum.”

YOU REACH the property by wending your way up the twisty Alpine-like road of Mount Veeder. The grounds boast terraced gardens and a reflecting pool that in the summer is filled with water lilies.

The two ivy-covered limestone buildings of the original winery (formerly the Christian Brothers’ Mont La Salle), which date back to 1903, have been carefully restored. One of the historic structures now houses the art.

This personal collection consists of about 140 pieces on two main floors of gallery space, including works by such internationally acclaimed artists as Francis Bacon, Robert Motherwell, Frank Stella, Magdalena Abakano- wicz, Gerhard Richter, and many more.

“[Hess] doesn’t try to collect from a particular country. He just has to feel passionate about the piece,” says Ceballos, himself an artist.

Hess has amassed his collection in painstaking stages, getting to know each artist as he goes. The winery founder says that before he purchases art he must be so haunted by a piece that he wakes up thinking about it.

“[Hess] always has to walk away, then be drawn back later before he’ll buy a piece,” Ceballos explains.

The gallery is spacious, airy, and minimalist, with a soaring entryway. It’s all crisp white walls and ceilings, subdued lighting, and huge stretches of bleached oak floor, as polished and expansive as an ice rink. Shafts of weak winter sun slant down from window skylights that offer idyllic views of the terraced vineyards on the steep volcanic slopes of Mount Veeder.

The whole effect is calm and glacial, with lots of white space. It’s perfect for contemplating the stunning diversity of art in the collection.

Super Wall Flower by American artist Alan Rath is an electronic swirl of aluminum, ropelike cables, and large speakers all entwined on one wall. The piece, which is motion-sensitive, seems to come alive as you pass by. Another piece by Rath, called Clock II, makes use of cathode-ray tubes and garish green and yellow LED screens to depict human hands.

Things aren’t always what they seem. A bronze sculpture by Dutch artist Armando that appears to be a flag could just as easily be a hatchet. And what looks like errant infantile scribbling by American artist Bruce Robbins is actually the intricate depiction of an aerial view of the path forged by migrating elephants through long grasslands. The piece, titled Elephant Crossing, was created using oil and encaustic on canvas.

Two works by the Scottish Boyle Family are studies in stark reality. White Cliffs of Dover is a realistic craggy crevice complete with sprouting vegetation and a trickle of red-brown rust, while Lorry Park with Concrete Kerb looks like a massive chunk of mud decorated with tire tracks, footprints, and crushed Coke cans.

One painting, Flight by Gilbert and George, deals with wine drinking–and hints at Hess’ sense of humor. A flock of airborne people soars above two figures holding wine glasses. At the bottom of the picture, the flyers’ heads are strewn about on the ground. The obvious interpretation is that wine guzzling can make you fly high, but later you crash with an almighty headache.

The most recent additions to the collection are several works by Robert Rauschenberg, an artist who believes everything has a use after it’s been discarded and who is a master of creating poetic pieces out of garbage.

The Rauschenberg works–which are temporarily filling in for several pieces now on loan in England–have previously graced the Guggenheim Museum and London’s Tate Gallery. Four pieces are on display for the first time ever in California–which underscores the fact that North Bay residents don’t have to go far to encounter landmark works of contemporary art.

“If you’re interested in getting a taste of contemporary art, [Hess] is a great primer locally,” Shelton says. “It’s a world-class collection.”

The Hess Collection , at 4411 Redwood Road, off Highway 29 in Napa, is open 10 a.m. to 4 p.m. daily for winetasting (minimal charge) and free self-guided art tours. No appointment is necessary to view the art. 255-1144.

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

© Metro Publishing Inc.

Celadon

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Neighborhood treat: Celadon owner/chef Gary Cole has created an intimate restaurant that caters to locals.

Best-Kept Secret

Napa creekside restaurant a hidden gem

By Paula Harris

UNLESS you’re in the know, it can be a challenge trying to find Celadon, an intimate Napa creekside bistro tucked away behind Main Street. The place is hidden behind the Main Street Exchange building–you have to walk out back to locate it.

That’s little glitch No. 1. Little glitch No. 2 is that the restaurant (although small) does not take reservations. A sign on the window informs customers that “Celadon is first and foremost a neighborhood restaurant–reservations are not needed or accepted.”

But once you get over the little glitches, a meal at Celadon, which is quite moderately priced and specializes in global comfort food, is a rewarding experience.

Celadon has a tile patio area next to the water (it’s where the Napa River and Napa Creek converge) that would make a choice al fresco dining spot during the warm months.

Inside there’s an unusual triangular-shaped dining room that’s casually comfortable, with original stone walls, warm wood, and touches of gray-green celadon color as the main decorating themes.

Friendly touches include overflowing platters of tomatoes and of green apples, a big bowl of wine corks, and vases of creamy lilies and baby’s breath.

Celadon is obviously not afraid to tout other restaurants since four posters advertising Berkeley’s acclaimed eatery Chez Panisse adorn the walls. Our server tells us the Panisse posters are on display because their colors (yes, there’s a little celadon in there) blend so well with the dining room decor.

The completely open little kitchen has a cozy feel as chef-owner Greg Cole and his helpers chop, pour, and garnish. Yet the noise level is low and kitchen vibes are relaxed and easygoing.

The tables are set with smooth brown paper rather than starchy white linens. There’s a steady stream of customers, and within an hour of opening, the midweek lunch crowd, a totally mixed clientele that seems to consist of mostly locals, has occupied every seat, including at the counter.

THE MENU is divided into clever categories of small plates (appetizers), green plates (innovative salads), sandwich plates, and big plates (entrées).

A generous plate of calamari ($8) is flash-fried so that the squid are perfectly tender–not at all overcooked and rubbery. The accompanying chipolte chili-ginger glaze is a sweet and spicy counterpoint to the warm, lightly battered calamari, and the delicate pickled ginger slices are the crowning touch. One of the most exciting calamari dishes we’ve had in ages.

Grilled polenta ($7.50) is cooked with three cheeses (Parmesan, mozzarella, and provolone), mushrooms, and winter greens in a balsamic glaze. Two rounds of crisp grilled polenta are stacked with layers of melting cheese in an oversized bowl. There is a tasty selection of mushrooms, tomatoes, and chard around the edges. The dish manages to be rich and luscious without overtaxing the waistband.

The steamed mussels ($8) are enormous suckers! The dark shells are two inches long and almost as wide and are arranged on the plate like shiny black petals. The orange flesh is thick and meaty, with a salty bite that comes not from the ocean, but from the ingenious addition of applewood smoked bacon. The mussels are served in a garlic, tomato, and white wine broth with garlicky grilled bread on the side.

We would have preferred a lighter version of the pan-roasted half chicken ($13.50) than is served. The bird is flavorful and moist enough, but the pan juices seemed rather oily. They serve the chicken with french fries at lunch, truffled mashed potatoes at dinner. The fries were all right, but we think the mashed potatoes would have been a better partner. And the accompanying watercress would have been better without the creamy vinaigrette dressing that fought with the pan juices.

The steamy, nutritious udon noodle bowl ($12.50) makes a healthful, exciting lunch. Shiitake mushrooms, tofu, carrots, green beans, baby sweetcorn, onions, fresh ginger, bean sprouts, and slivers of seaweed float amiably together in an ocean-scented mushroom broth. Quite a treat for vegetarians.

Bittersweet chocolate paté with zinfandel and berries ($5) consists of thickly halved strawberries decorated with powdered sugar and strawberry purée with great slabs of smooth chocolate resting on top. Ver-r-y good.

With it’s unusual blend of world cuisines, superior wine list featuring many Californian selections plus some good offerings (five-ounce pour) by the glass, and friendly professional service by waitstaff in white aprons–Celadon is a fine destination for lunch or dinner.

Just be sure to leave extra time to locate the place and procure a table.

Celadon 500 Main St., Suite G, Napa. 707.254.9690 Hours: Lunch, Monday-Friday, 11:30 a.m. to 2 p.m.; dinner, Monday-Saturday, 5 to 9 p.m. Food: Global comfort food Service: Friendly but very professional Ambiance: Casual sophistication in intimate bistro setting Price: Moderate Wine list: Very good selection (mainly Californian wines) Overall: 3 stars (out of 4)

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

© Metro Publishing Inc.

Calistoga Spa Hot Springs

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Michael Amsler

Night Sweats

Soaking up the evening allure of Calistoga Spa Hot Springs

By Paula Harris

IT ALL STARTED with my friend Julia’s bathtub. The unforgiving, undersized fixture allows her to draw a measly six inches of lukewarm water (thanks to an iffy water heater) before it all drains out through an ill-placed overflow. Pretty useless for a “bath person” like Julia Whitty, who cursed the fixture and promptly dubbed it her “torture tub.”

So last winter she began searching for a better way to chill out and vanquish the winter shivers.

Her quest ended with the discovery of the Calistoga Spa Hot Springs, a resort/motel off Calistoga’s main street, that opens its four outdoor naturally heated mineral pools and steam room to the public each day between 7 and 9 p.m.–and at a bargain price.

For seven bucks, you can float, steam, and soak to your heart’s content. Part of the thrill is that you’re in the open air, under the moon, stars, clouds, mist, or fragrant smoke wafting over from the barbecue joint nearby.

The air is cold and invigorating and the lighted water is as steamy-hot and bubbly as a giant Jacuzzi. Bliss.

“It was an immediate addiction,” says Julia of the night-time visits.

She’s been known to spend a couple of hours there each week, out in all weather, alternating between the outdoor mineral pools of varying temperatures, the aromatic steam room, and the cool swimming pool. And she swears the Native American-inspired regimen of heating and cooling the body five times keeps her healthy.

“It feels like clicking down through your gears until you reach a point of total relaxation,” she says. “The goal is to achieve a state as close to a jelly- fish as possible, where you feel as if you have no bones and no brain.”

EAGER TO BECOME spineless and brainless, I accompany Julia on her next evening visit to the outdoor mineral pools.

The attendant hands us locker keys and we go change into our swimwear. In the locker room, a woman with dripping hair and gooseflesh advises us to get into the hot water as briskly as possible, since it’s “bloody freezing out there.”

We swathe ourselves in towels and scamper outside barefoot. It’s cold, though not “bloody freezing.” Still, we quickly shuck off our towels and ease into the hottest pool of all.

The covered octagonal jet pool is a stress-melting 105 degrees. The steamy pale-green water reaches chin level as we stand there motionless, our bodies adjusting to the sudden temperature change.

It doesn’t take too long before we begin to boil. I look over at a group of people steeping themselves in the water across from me. I see sweaty faces becoming a deep rosy-red in the half-light, and I begin to feel a bit breathless myself.

Julia suggests we move on to the large, palm tree-lined soaking pool, which retains a mellow 100 degrees. Perfect temperature and perfect depth. This is where you could spend an entire lifetime.

Now, if only someone could invent a waterproof laptop, we muse.

Others, too, have discovered this sodden respite. We notice a group has placed a picnic basket poolside, and slack-faced folks are pouring bubbly into plastic flutes to guzzle down as they soak under the stars.

Finally, Julia says she’s ready for the steam room. By now we’re staggering a little from all the relaxation. We collapse into the small (and totally dark) steam room, where we must call out to make sure we don’t step or sit on anyone. But we can’t endure the scalding vapor very long.

Next, Julia plunges into the chilly 80-degree lap pool, while I wimpily join a bunch of toddlers in the more tolerable 90-degree wading pool.

I already feel lollopy, but Julia is ready to go through the whole sequence again. “It feels like a mini-vacation,” she sighs. “A holiday for an evening.”

She even forgives her torture tub.

Calistoga Spa Hot Springs, 1006 Washington St., Calistoga, is open to the public between 8:30 a.m. and 9 p.m. on Mondays-Fridays at $10 per person, and on Saturdays-Sundays at $15. There are $7 bargain rates between 7 and 9 p.m. daily on a first-come, first-served basis. For details, call 942-6269).

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

© Metro Publishing Inc.

Bad Hair

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Can you trust a candidate with bad hair?

By John F. Murphy

SHALL I PART my hair behind? Do I dare to eat a peach? As a college student, I didn’t quite know what J. Alfred Prufrock was talking about. In my 30s, I figured it out–but that didn’t stop me from making fun of men who grew their hair long on the side and swept it all across their otherwise shiny domes. The ones with weaves, hairpieces, even the ones who dyed their hair–when I was young, I made fun of all of them. Didn’t they realize how obvious they were?

During the Clinton impeachment hearings, Jeff Greenfield wrote a whimsical column directed at Kenneth Starr. He suggested that the appropriate thing to do with some of the congressmen on the panel was to make wise-ass remarks about their toupees. A few weeks ago, on Hannity and Combs, one of the panelists–who, if memory serves, was a guest from the right-wing pool–got off a parting shot about how bad he thought his left-wing opponent’s toupee was. Even Hannity was embarrassed.

This got me thinking: Should wearing a hairpiece in public make someone fair game? Does the public deserve to know about follicular fraud? Should television commentators like Sam Donaldson be compelled to voice what every viewer in America is thinking, i.e.: “How do you expect us to take you seriously when you’re wearing that God-awful rug?”

Before you conclude that this would be crass, hear me out: If a congressman cannot be honest about what is happening on his very own roof, then how can we trust him to be honest about Medicare or Social Security? Also, how can we trust a person who clearly lacks the kind of friends or advisers who’d dare tell him the truth? (“George–the rug sucks.”) Do we want people who are so out of touch running the country?

I left my 30s behind long ago, and sadly, I now find myself doing the same thing with my hair that I used to laugh at.

I’ve become pretty adept at it–shower, blow dry, fluff up, and over it goes. So I’m sort of an expert. I’ve become quite good at spotting the various hairpieces, weaves, transplants, and dye jobs that are inflicted upon us on a daily basis over the years.

LET’S BEGIN with our president. Some days it looks like he’s pulling a Bob Barker on The Price Is Right by allowing it to go white. Most of the time, though, he looks as if he’s gotten into grandma’s blue-hair rinse. My suspicion is that he’s trying to make the transition gradually and avoid the mistake Hubert Humphrey made in ’68 when he was running for president (in January his hair was white; in August, it was black). But Clinton has been president for almost seven years. How gradual can you get?

Now to Congress. Availing myself of pictures I found on the Internet, I conducted my own survey of all the toupees, transplants, weaves, and hairpieces in the United States Senate.

Out of our current 99 senators, I found 97, and took away for statistical purposes the nine women (to whom we’ll return when we revisit the dye issue) as well as Ben Nighthorse Campbell (who enjoys a hair surplus). That left me with a base of 87, from which I’ve concluded that there are two transplants, eight hairpieces, and the possibility of 12 additional variations on hair augmentation or enhancement in the Senate.

Sens. Joseph Biden, D-Del., and Strom Thurmond, R-S.C., are the transplant leaders. Thurmond, who was born in 1902, is at 97, probably entitled to all the plugs and brown hair and cosmetic surgery his heart desires. Just keep him away from foreign policy. William Roth, R-Del., has what must be the most egregious wig in the Senate, but you have to give him credit for at least going with gray, in keeping with his 78 years. Sen. Bob Smith, R-N.H., with his rugged movie star looks (well, he kind of looks like Wallace Beery), has the second-worst toupee; although Sen. Daniel Akaka, D-Hawaii, looks as if his is the one that covers the most territory.

Statistically, what the numbers mean is that 10 to 22 percent of all our male senators have engaged in some sort of cover-up.

Trent Lott came up as a questionable. (On this one issue, he received my wife Johanna’s vote for the very first time, but I have my doubts.) Even if whatever’s on his head is neither a weave nor a hairpiece, a fair and impartial assessment of his head would lead most to conclude that Lott’s barber is trying to exact some weird kind of revenge–and succeeding admirably.

How has this singular fact, this explosion of artifice, gone unnoticed on Sunday after Sunday of punditry? Does Sam Donaldson carry that much weight? Shouldn’t our media watchdogs at least notice that, at this critical stage of our history, one out of every six or seven senators is a member of the Hair Club for Men?

Unfortunately, I didn’t have the time to analyze all 435 members of U.S. House, but I thought I’d mention that John Mica, R-Fla., who’s been on C-Span around the clock for the past several weeks, is pretty close to the top of my ugly list.

As I said before, my own hair experiments have made me an expert in recognizing the hair deceptions of others. For example, after dyeing my hair, blow-drying it, and sweeping it across my pate, I notice a “half-eyebrow” effect caused by wayward dye. What happens is that the dye rolls off the dome and comes to rest at the peak of each eyebrow, which is then darkened. Thus, the half-eyebrow effect–which I’ve spotted on Warren Beatty, Larry King, former President George Bush, and Bill Bradley.

By my rough count, 38 senators, including women, dye their hair. I can’t tell you the ADA ratings and the Chamber of Commerce ratings of the ones who have changed colors, or the ones who are wearing rugs or have had weaves, for that matter. But wouldn’t it be exciting to see an in-depth article on this burning issue? Spice it up with before-and-after shots, as they do on makeover shows.

Timely? A few weeks ago, Charlton Heston made yet another appearance before Congress as president of the NRA to argue–with his resonant voice and terrible toupee–that handguns are harmless. That same day, George W. Bush came up short when asked to name the leaders of Chechnya, Pakistan, India and Taiwan. While the jury is still out on whether he was ambushed, what really caught my eye was the God-awful wig on the reporter who asked him the questions.

Will no one address this national epidemic? Better still: If Naomi Wolf was getting $15,000 a month to tell Al Gore how to dress, shouldn’t every serious candidate get someone to tell him the truth about his hair?

I’m available. I’ll be out walking upon the beach. I have heard the mermaids talking, each to each. I do not think that they will talk to me.

This story first appeared on Salon, an online magazine at www.salon.com.

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

© Metro Publishing Inc.

Game Dinners

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

0

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

0

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.

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