Underworld

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Champs du Jour

Trainspotting success.

Underworld’s downward nobility

By Hobey Echlin

KARL HYDE, the 40-ish poet laureate of the U.K. dance-cum-rock outfit Underworld wants to talk. Which is good, considering his band’s new album, Beaucoup Fish, has been co-opted by the U.S. dance music press as a next-big-thing. The hype has landed the incongruous trio of Hyde (lyricist and onetime Blondie guitarist), programmer Rick Smith, and DJ Darren Emerson on magazine covers usually reserved for more obvious pop stars.

Not that the attention is unwarranted. After all, as electronic acts go, the Undies were on their way to stardom when their 1996 Born Slippy (Nuxx) crossed over from the dance floor to become the Trainspotting soundtrack’s bona fide hit.

And at least for the next few months–until the Chemical Brothers’ issue their new record and likely reclaim the title–Underworld are uncomfortable stand-ins for the “electronic-rock stars for the new millennium.”

So you can’t really blame them for just wanting the dance floor instead. Beaucoup Fish‘s 11 tracks careen from vocoder-voiced breezy house to icy 4/4 trance; from pulsing, opaque pop that recalls mid-’80s Wire to drum-free ambiance around dark narratives. Given Hyde’s rich vocals, his rhythmic delivery and by-whatever-beat’s-necessary grooves, Beaucoup Fish has much in common with such long-forgotten U.K. cult acts as David Sylvian’s Rain Tree Crow and the Fall. Even the record’s straight-up dance beats are more anonymous club fare than crossover fodder. Though public radio fans can find a lot of moody melody and vocals–a rarity in DJ music–there’s not a Born Slippy (Nuxx) in this bunch.

To which Hyde offers a resounding “Thank God for that!” Though fighting the flu, Hyde, on the phone from the London, perks up now.

“Repeating ourselves would be life as a cartoon, like us becoming an idea of ourselves,” he says bluntly.

“We went through that in the ’80s,” he explains, referring to Underworld’s first pop incarnation, which at one point found Hyde and company playing arenas as opening act for the Eurythmics.

“Back then, we had very little money. Then somebody comes along and offers us money, and says, ‘If you just change this and that . . . ‘ Pretty soon, you’ve become an extension of a marketing idea.” That was the mistake in the first two incarnations of the band. “The third time, we said, ‘Let’s just make music because we want to.'”

As he was attracted to the late ’80s U.K. acid house scene, Hyde met up with knob twiddler Rick Smith and DJ Darren Emerson. While acts like New Order and Happy Mondays made rock music you could dance to, the post-Eurythmics version of Underworld took it the other way.

“From square one, when we were performing in the DJ box at [respected U.K. techno club] Ministry of Sound, our goal was to build on what the DJ had created, like ‘Can we play so that no one notices it’s a band and not a DJ?'”

But success brought what Hyde calls “the industry thing”: “People were saying, ‘You could be the band that takes dance to stadiums.’ And we were horrified. There was no idea to get in line to become the next Dire Straits, for God’s sake.

“It came down to people saying, ‘You could be God if you made that record–Born Slippy (Nuxx)–again.’ And with this record, we said, ‘No, really, we’re really just human beings.'”

Hyde addressed his mortality privately when he overcame a drinking problem last year, and has since settled into East London life as a new parent. Publicly, however, all Beaucoup Fish really reveals is him and his musical accomplices returning to the spies-in-the-house-of-dance fascination that fueled their early singles. They want their music judged by what it is, “not what it’s hyped to be.”

“We’ve always said no when we’d get offered some ‘British Invasion of Electronica’ bollocks,” he adds. “Besides all that hype kind of stuff is so ’80s.”

He’d know.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Actors’ Theater’s Poetry Grand Slam

Free Verse

Sitting pretty: The first anniversary of the Poetry Slam in Santa Rosa finds organizer David Amador (left) with a steady and appreciative audience.

Poetry Slam keeps up the good word at Santa Rosa’s Actors’ Theatre

By Patrick Sullivan

MAYBE IT’S a miracle. Or maybe it’s just the happy result of talent and passion showing up in the right place at the right time. In any case, the Poetry Slam at Actors’ Theatre has just marked one full year of making the air crackle with the electric power of the spoken word.

Ask slam founder David Amador if he ever expected to get this far, and he doesn’t mince words.

“Can I just laugh as an answer?” Amador says. “No, I had no idea. I’d attended other poetry readings and seen how badly they went, despite the best intentions, because of the venues they were held in. I had no idea that [this event] would last a year.”

In poetry circles across the country, the slam has become a well-known way to jazz up live performances by pitting poet against poet in friendly competition for small prizes. It doesn’t always work, of course, but it seems to have succeeded in Santa Rosa, where crowds averaging approximately 50 people file into the theater on the second Monday of every month to hear and be heard. That’s no mean feat in Sonoma County: There are other flourishing local poetry events, such as the open-mike at Copperfield’s Cafe in Petaluma, but the area has also been witness to some dramatic (but poetic) failures.

To celebrate the Santa Rosa slam’s first birthday, a Grand Slam will be held on May 10. The event will offer a grand prize of $100 to the best of the best and will feature as many past winners as Amador can round up.

“Poets are notoriously difficult to keep in one place for very long,” Amador explains. “Some of the phone numbers I have for people aren’t good anymore. But I do have commitments from eight previous winners.”

The 36-year-old Amador, who has a Ph.D. in religious studies and works a day job in the health-care industry, admits that he didn’t have a lot of relevant experience before the first slam last April. But the event’s combination of an open-mike period and the slam competition has built a loyal following of repeat attendees and attracted a regular stream of newcomers.

One of the most popular portions of the night comes at the quirky climax of the competition, when the final two contestants square off by making poetry with word magnets on a refrigerator door that was scrounged from Amador’s garage.

When asked to explain his event’s staying power, Amador gives ample credit to the theater space.

“Part of it is just being able to dedicate a place and time to the performance of the written and spoken word,” Amador says. “There’s no eating, no sound of coffee grinding, no diners moving around.”

Another key factor is the guest poets who are featured every month. Including such local notables as Julie Reed, these guests attract their friends and fans to the Santa Rosa slam.

“People come, they witness the total event, and then they’re ours,” Amador says. “They love it. That’s what keeps this thing going.”

The upcoming Grand Slam will highlight what is perhaps the event’s most remarkable feature–its diversity. The people who step up to the microphone have ranged in age from 10 to 70, and they come with work in a wide variety of styles, from limericks to guitar poetry to postmodern stream of consciousness to prose and dramatic monologues. Experience also varies: There are many old hands, but it’s not uncommon for newcomers to preface their work by explaining that this is the first time they’ve ever read in public.

“It’s all them,” Amador says. “I have nothing to do with it. It’s their stunning ability to create brand-new worlds with their words that makes us a success. Sonoma County is lucky to have them.”

One mark of the event’s success is that it has been featured in several national poetry magazines, such as Poetry Flash. Moreover, the Wine Country Film Festival recently approached Amador about undertaking a partnership to create a slam event at the festival.

But Amador seems to be most impressed by the growing sense of community among the event’s participants. That cohesion can lead to some interesting results. For instance, Amador doesn’t consciously set out to create themed nights. But he says that, somehow, they seem to happen anyway. One winter evening featured dark poetry about such deeply personal topics as rape and incest. At last month’s slam, which took place soon after the United States began bombing Serbia, the poets focused on war.

“These aren’t things that people think about consciously,” Amador says. “It just happens in a great act of synchronicity. That tells me that this is something that is growing beyond a mere event. It’s taking on a life of its own.”

The Grand Slam will take place on Monday, May 10, at 7 p.m. at Actors’ Theatre, Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Admission is $4-$6. For details, call 523-4185.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Love Bites

Toothsome Tale

By Patrick Sullivan

IN A CINEMATIC world dominated by bloated Hollywood blockbusters, 12 minutes sounds less like the length of a film and more like the punch line to a tasteless joke about an aspiring starlet and a casting couch. But think again. In the time it takes some movies to roll their credits out past Best Boy and Key Grip, short films often manage to blow their full-length counterparts out of the water by offering unique perspectives delivered with refreshing brevity.

Or so partisans of the genre will tell you. And sometimes it’s even true. Take the case of Love Bites, a 12-minute film co-directed by Santa Rosa native Michael Horowitz that begins playing locally for the first time on Friday, May 7, at the Sebastiani Theater.

One searches in vain for a tidy way to describe this unusual short, which tells the story of a jealous boyfriend who thinks he knows exactly what his girlfriend is up to, but couldn’t be more wrong. “Quirky” and “offbeat” seem both condescending and inadequate. “Bizarre” and “disturbing” go too far in the other direction.

Whatever the appropriate label, Love Bites recently managed the difficult feat of catching the attention of the folks at the Sundance Film Festival. Indeed, the judges passed over thousands of competing submissions to select the film for screening last January at Robert Redford’s world-famous Utah festival of independent cinema.

Attending the event with his friend and co-director Colbern Tseng was, of course, a heady experience for Horowitz, who just turned 24. He’s made the trip several times before, both as a film fan and as a journalist, but presenter status makes all the difference.

“It was great,” the young director says, speaking from his office in Los Angeles, where he works for Showtime Networks. “It’s just a rush to be introduced as a filmmaker. We even got to take the bus out to Redford’s ranch. We ate lunch and he was there with his entourage of like 10 guys, shaking hands with everybody. It was like the president coming out to touch people.”

Love Bites received something of a mixed reception in Utah. The sophisticated crowd at the main screening in Park City–the festival’s main base–ate Horowitz’s work right up. But the more mainstream moviegoers who saw the film at a multiplex in Salt Lake City weren’t quite as sure.

“They laughed really hard at first,” Horowitz explains. “Then there was that scene. You know the one I’m talking about. After that, there was a lot of ‘Oh my god’ and that kind of stuff.”

The problem with talking and writing about Love Bites is that it is a film with a secret. It wouldn’t be sporting to give too much away, so suffice it to say that people in the movies, just as in real life, are not always what they seem. That immutable uncertainty is a point of paranoia for the film’s main character, a jealous young man played with twitchy intensity by up-and-coming indie star Kevin Corrigan, who starred in The Slums of Beverly Hills and Buffalo 66. (Casting Corrigan was a major coup for Horowitz, who met Corrigan by doing an interview with him for an Orange County film magazine.)

IN THE OPENING scene of Love Bites, Corrigan is all rolling eyes, bared teeth, and farcical belligerence as he bolts down lunch and unloads his troubled mind on a skeptical friend. Our hero, it turns out, believes that his girlfriend is cheating on him, a theory that rests on the fact that he found a half-eaten hamburger on the kitchen counter of her apartment. (She is a vegetarian.) So he hatches a scheme to reveal her infidelity by sending in a ringer.

That means unleashing his other buddy, a strutting ladies’ man played by Josh Hutchison (who, in a remarkable coincidence, grew up in Sonoma just down the street from the Sebastiani Theater). The resulting encounter between the witty girlfriend (played by Jennifer Bransford) and the obnoxious would-be Romeo is the comedic highlight of the film. From there on, things get stranger and darker.

The production values on Love Bites are high, a fact that’s reflected in the film’s $10,000 price tag. That might sound like a lot for 12 minutes of film, but it would have been far more if Corrigan had charged his going rate. In fact, Horowitz says the indie star was remarkably down to earth in general, though his working method was a bit nerve-racking for a cash-strapped director. Corrigan, as Horowitz discovered, pours most of his effort into the actual on-camera performance, rather than showing off at rehearsals.

“He doesn’t believe in shooting his wad, as he likes to put it,” Horowitz explains. “He only gives about 5 percent in rehearsal, which is pretty scary when you’re only going to be able to shoot a scene twice. But obviously he delivered.”

So what’s next for Horowitz? He says he ultimately wants to direct a feature film, but for now he’s planning two new shorts, including one that he wants to shoot in Santa Rosa this summer.

“It’s about a janitor who saves the day at a school assembly gone haywire,” Horowitz says. “You’ll laugh, you’ll cry . . . OK, maybe you won’t cry. Basically, it’s the cool PG-rated movie that Love Bites isn’t. It’s the movie that will make my mom happy, not that I’m doing it for that reason.

“If I can do a short that wins an Academy Award,” he concludes with a laugh, “this is it.”

Love Bites screens May 7-13 before the feature film Lock, Stock, and Two Smoking Barrels at the Sebastiani Theater, on the Plaza in Sonoma. Horowitz will introduce the film on May 7. For information, call 996-2020.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Vagina Monologues

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Eve Ensler’s ‘The Vagina Monologues’

The Vagina Monologues.

Local Production

AUDIENCES in Sonoma County will get a chance to see The Vagina Monologues onstage in a special production Saturday, May 8, at the Luther Burbank Center. The reading, which benefits Women Against Rape, is a production of the Owl Eagle Women’s Lodge, a local women’s group.

The organization first became interested in Eve Ensler’s award-winning performance piece when one member, who is a friend of the mother of actress Winona Ryder, was invited to attend the high-profile, celebrity-laden production last year in New York City. She brought the book version back to her friends, who read it and were deeply impressed by Ensler’s deft use of humor and raw honesty to discuss a taboo topic.

“It was extremely moving for all of us,” says Marjorie Clark, a member of Owl Eagle Women’s Lodge. “We just thought, ‘This has to get out to more people because it has such a deep impact.'”

Six lodge members will do the reading, repeating a performance they gave six months ago in Sebastopol. None of the women are professional actresses, but their previous production was well received by the audience in Sebastopol, according to Clark.

“I don’t think [the narrator] Alexandra had said more than a few words before we all felt that the audience was completely with us,” she says.

The Vagina Monologues begins at 7:30 p.m. in the Merlo Theater, LBC, 50 Mark West Springs Road, Santa Rosa. The music of the a cappella group Copper Wimmin opens the show. Tickets are $10 in advance (from Copperfield’s Books and the Sensuality Shop in Sebastopol), $12 at the door. For details, call 829-8586.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Santa Rosa Wastewater Plan

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Pipe Dream

Road block up ahead: Mary Hafner and Tim Barnard are fighting a plan to run a Santa Rosa wastewater pipeline under a country lane in Healdsburg. An alternative plan faces equal opposition from other forces.

Opposition mounts over Santa Rosa wastewater plan

By Janet Wells

BILL KRECK took out his calculator one day recently and started punching in numbers involving 11 million gallons of water–the amount of wastewater Santa Rosa generates every day and has a heck of time getting rid of. “That water would fill a 99-mile-long fish tank, three feet high, one foot wide. Or take a fully loaded 747 airplane: It weighs about 830,000 pounds. One hundred and eight of those planes equal one day of wastewater in weight,” Kreck figures.

“That’s so much water it’s hard for people to understand. And to me [the city] is just pumping it down a gopher hole.”

After more than 15 years of debate and millions of dollars in studies, the Santa Rosa City Council voted last year to send its highly treated–practically potable, in fact–wastewater to the Geysers, a steam field high in the Mayacamas Mountains 12 miles northeast of Healdsburg. The decision to spend $88.5 million on a 41-mile pipeline to deliver water and turn it into steam-generated electricity has sparked lawsuits and intense criticism from farmers, residents, and environmentalists.

On May 6, the City Council will host the next in a series of public hearings to discuss the environmental effects of the plan.

“We look at [the pipeline] as an absolute waste of a valuable natural resource,” says Kreck, an Alexander Valley resident whose home is near one of two proposed pipeline routes. “The water is treated to a [high] level; it’s not just toilet water. It’s good usable water.”

Kreck is a member of the Alexander Valley Association, which has sued the city over the project, charging that the environmental report was flawed in analyzing the impact of the pipeline as it snakes through the steep vineyard-studded hills of the valley. The lawsuit, however, has little to do with the environment or even the pipeline. Alexander Valley residents and growers aren’t NIMBYs–far from it. They would be delighted to have the pipeline in their backyards as long as it deposits the water in their backyards as well.

“The travesty is that the city is spending millions of dollars of ratepayers’ money to treat water to a tertiary level, then put it in a hole in the ground instead of using it for the main industry in the county, which is agriculture,” says Tim Barnard, an artist and president of the Alexander Valley Association.

The city also is facing a lawsuit from the National Audubon Society, which objects to the pipeline slicing through the organization’s 1,400-acre Mayacamas Mountain Sanctuary.

WASTEWATER is the Pandora’s box of Santa Rosa. Open the lid and a plethora of acrimony, dissatisfaction, and litigation pours out. In 1985, after a series of accidental discharges of sewage into the Russian River, state water-quality officials ordered the city to find a long-term solution to its wastewater woes. In the interim, the city continued–and continues to this day–to dump treated wastewater into the river. Seven years after the state order, a Superior Court judge ruled inadequate a $4 million study that resulted in the city selecting an unpopular west county agricultural irrigation project.

The city started all over again with a $15 million study that proffered several options, ranging from the increased dumping of treated wastewater into the river, to using it for agriculture, to sending it to the Geysers.

“Sending it up to the Geysers, that was one that was so ridiculous that almost nobody paid attention to it,” Kreck says.

But, speculates Barnard, then-Rep. Frank Riggs, R-Windsor, found an opportunity to score points in Washington by pursuing a green-energy source and securing a $350,000 federal grant to study ways to reduce the cost of reusing the water at the Geysers.

Assistant Santa Rosa City Manager Ed Brauner says that the city also did cost-reduction studies on agricultural reuse, but that cost estimates still “came in much higher than the Geysers, in the $200 million range and up.

“The Geysers’ operators came forward with a proposal to pay for a significant portion of the cost, and we didn’t get that from the agricultural community,” Brauner says, adding that, at least initially, the agricultural community was reluctant to commit to handling all of the city’s wastewater.

“I think that commitment would have come, but when we were going through the process, there wasn’t a large group saying they wanted to use it.”

Currently the city uses wastewater to irrigate about 6,000 acres of land, including 1,200 acres of city-owned recreation- and ag-related property. The city encourages farmers to use as much water as they can, Brauner says, “because we have a need to get rid of it.”

All that will change with the water going to the Geysers utility consortium, which wants all 11 million gallons a day to create the steam that generates electricity. The only time there will be enough water left over for ag uses is during winter, when it is least needed by farmers. In an effort to appease the ag contingent, the city budgeted $30 million to pay for infrastructure to deliver water to farmers. But growers would have to pay for the pipeline and facilities to store water for use during the growing season.

Many growers, however, aren’t mollified by the compromise. “I’m not satisfied that the Geysers should steal that water. We want year-round water for agriculture,” says environmental leader Bill Kortum, a Penngrove resident and retired dairy veterinarian who has been a longtime proponent of reusing the water for south county agriculture.

“You get all the advantages of open space that the public is proud to see because they are helping deliver water to it.

“Anytime [the city] wants to come to south county, we’ll take all of the water,” he adds. “We can probably do a project much cheaper than the Geysers.”

Santa Rosa City Councilwoman Noreen Evans, one of two dissenting votes on the Geysers contract, agrees that agriculture is a better use for wastewater.

“I don’t think [the Geysers] is a bad thing to do. I just think that there are better and more reliable ways to deal with the water,” she says. “There have been a lot of political battles on many fronts. When the Geysers came along, I think a lot of people breathed a sigh of relief that it was over.”

ACCORDING to Kreck, the real problem with the Geysers is one of future water shortages. “Right now you have more water in the [Russian] River than legal rights to the river. But when they start cutting back on Eel River diversions, the remaining water is going to fall below the cumulative rights of people who have access to the water.

“That’s when the knife fights are going to start,” he adds. “When people turn on the pumps and start sucking air, that’s when the lawsuits come. When that times comes, I would not want to be sitting on the Santa Rosa City Council. It’s going to be pointed out, Why did you send all this water to the Geysers and now everyone’s suing each other?”

Kreck hopes that the Alexander Valley Association’s lawsuit will give the City Council “a real out.”

“The city can’t renege on the Geysers contract, but they can lose the lawsuit,” he says. “It opens the door. That’s where the growers are coming in.”

Although the ink on the Geysers contract is long dry, and the city is busy conducting a series of public meetings on the exact pipeline route, it’s clear that agricultural interests are far from giving up.

“We’re not through with the Geysers yet,” Kortum says. “They haven’t dug any dirt.”

The Santa Rosa City Council will hold a public hearing Thursday, May 6, at 4 p.m. on the draft supplemental EIR on the Geysers southern section, at the City Council chambers, 100 Santa Rosa Ave. Additional Geysers meetings are scheduled for May 20 and June 17. For details, call the city Community Development Dept. at 543-3181.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Bluegrass Breakdown

By Greg Cahill

Various Artists Bluegrass Mandolin Extravaganza Acoustic Disc

BLUEGRASS mandolinist Ronnie McCoury–son of the legendary guitarist and bandleader Del McCoury, whose latest recording has teamed him with Nashville renegade Steve Earl–dreamed up this project while thinking about all the great country mandolinists he’s played with through the years. It’s no wonder that thought led him to mondo mando man David Grisman, a Mill Valley resident and label chief, who helped make McCoury’s dream a reeling, rollicking reality. McCoury and Grisman form the basis for this two-CD set that features the cream of the bluegrass crop, including Ricky Skaggs, Sam Bush, Frank Wakefield, Jesse McReynolds, Bobby Osbourne, and Buck White. Del McCoury–who brings his red-hot band to the Luther Burbank Center on June 15, when he opens for Skaggs–sits in on a few of the songs as well. And the spirit of bluegrass pioneer Bill Monroe pervades these sessions, which include nine tracks covered by Monroe and a couple of others dedicated to him. Fingerpickin’ good.

Tara Nevins Mule to Ride Sugar Hill

IN A PERFECT WORLD, country superstar Shania Twain–cute as she is–would still be playing Canadian lounges and Tara Nevins would be hosting those network TV showcases and trading quips with the Back Street Boys. Over the past decade, bluegrass fiddler and vocalist Nevins has whiled away her time as part of the all-female Heartbeats–which exploits modern backbeats–and the genre-busting Donna the Buffalo. But this time out, Nevins has hitched her star to a different mule, traditional bluegrass, a country original, and plenty of old-timey standards (though “Sweet Sensations” by the reggae greats the Melodians also gets a new country flavor here, as does Bob Marley’s “Talkin’ Blues”). The results are spectacular. Nevins is a gracious bandleader, stepping back to hand over the spotlight to an all-star lineup of guests that includes bluegrass legend Ralph Stanley, Mike Seeger, Christine Balfa, Don Rigsby of the Lonesome River Band, and Clinch Mountain Boy James Shelton. Twenty songs, 20 artists, scads of fine fiddlin’. At a time when the genre is hitting a creative peak, this is one of the year’s best bluegrass CDs.

Folk notes: Fine pickin’ will be on display this week when the three-day 12th annual Sonoma County Folk Festival gets under way with concerts, dances, jams, crafts, workshops, and children’s events. The annual confab kicks off with a contra dance featuring Bruce Molsky & Big Hoedown on Friday, May 7, at 7:30 p.m. at the Vintage House, 264 First St. E., Sonoma. At the same time, the Savoy Swingers (now there’s a liberal definition of folk music) hold court at the Sebastopol Community Center, 390 Morris St. On Saturday, May 8, Robin and Linda Williams–the singer/songwriter duo whose tunes have been covered by Tom T. Hall, Emmylou Harris, and Mary Chapin Carpenter–headline an all-day show (from 11 a.m. to 11 p.m.) at the Sebastopol Community Center. Also performing are Bryan Bowers, Bruce Molsky & Big Hoedown, Conjunto Jardin, Nobody You Know, Caliban, Anzanga, and Hoof Hearted. On Sunday, May 9, there will be an afternoon concert at the community center (from 11 a.m. to 6 p.m.) featuring the trio of Robin Flower, Libby McLaren, and Nancy Vogel, plus Love Choir, Yona Fleming, and Rick Shubb and Bob Wilson. For ticket and schedule info, call 838-4857.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Know Go

A philosopher goes to the movies–and gets real excited

By David Templeton

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

Professor Larry Fike is a little wound up. He gets this way. I’ve seen it before. Mention anything related to philosophy, theology, psychology–virtually any subject in which the nature of thought or the workings of the mind play a starring role–and you will witness a marked increase in Fike’s already considerable intensity, wit, and enthusiasm. Ask him to contrast the theories of Descartes, Spinoza, and Sartre, or to explain the socio-political significance of performance art (maybe even pursuade him to recite a poetic riff from his current one-man-show “In This Space: 45 Minutes in Dream Time”) and Fike is likely to become, well, kind of jacked.

Like right now.

The charismatic philosopher, poet, and educator–he’s the author of On Obstinate Air: Poems on Beating the Wind (Plowman Press, 1996) and Unheard Tick of Time: Poems in the Healing Mode (Zabigabee, 1999), and teaches philosophy at Long Beach City College and Cypress College, in Southern California–has called up this afternoon to swap opinions on the science-fiction mind-bender The Matrix, in which Keannu Reeves discovers that “reality” is a sham, a fantasy created by computers to keep our brains amused while our bodies float in icky slime pits providing battery-like energy to all the machines.

Though Fike enjoyed the “is-this-real-or-isn’t-it?” mindgames of The Matrix, he’s mainly interested in comparing it to David Cronenberg’s harder-to-find futuristic creepshow eXistenZ. This one, now in limited release, is about a brilliant game designer, played by Jennifer Jason Leigh, targeted for death by radical “Realists” in a world where “the real thing” has taken a backseat to fantasy games that plug into “bio-ports” intalled in most folks’ spinal column. By the end of the movie, the lines that separate reality and fantasy have become disturbingly murky–much to Fike’s obvious delight.

“I see it all the time in my students,” he eagerly admits. “That first big blurring of lines, that weird space where you find yourself wondering about what you really know to be true–it gives you a kind of queasy rush, doesn’t it?”

Queasy is right, though it may have as much to do with the blood-and-gutsy slime factor in both films, especially eXistenZ, in which the presence of guts–as in entrails, organs, innards and gristle, most of it spilling from the dissected remains of mutant amphibians–is so pronounced you wonder why “Guts” isn’t listed among the cast members. This may spring from Jean Paul Sartre’s “On Being and Nothingness,” in which the renowned existentialist devoted numerous pages to the subject of Slime.

“Sartre believed that things like slime and orifices were important,” Fike summarizes, “because what we are always doing, as humans, is permeating and ingesting, permeating and ingesting–filling up voids, imprinting ourself on the world, leaving traces.

“Now, in contrasting The Matrix with eXistenZ,” he happilly suggests, “if we are mainly interested in special effects, then The Matrix wins. it’s no contest. But I think eXistenZ wins, and wins big, when it comes to philosophical significance. Here’s why.”

He’s warming up now.

“At the end of Cronenberg’s movie,” Fike expounds, “we, the audience, have become acutely aware of the central problem, which is, ‘What do we know? And what do we just think we know?’ That’s a huge philosophical problem. In The Matrix you’ve merely got these chosen few people who know and all the other people who don’t know. But that’s not a very interesting philosophical point. The deeper philosophical point is made by eXistenZ, where it’s clear that you will never know what’s real and unreal.”

Fike makes a list of movies that, in the last year or two, have arisen to grapple with similar issues. “The Truman Show, Pleasantville, EdTV; they all deal in some way with the this thing of perspecitivism.” To that shortlist list we could add The Game, in which Michael Douglas loses his perspective and everything else–and the ultra-independent films Pi and The Cube.

“I just went through all this with my students,” Fike remarks. “We’ve been studying René Descartes, who looked at this problem and attempted to solve it by offering his proofs of the existence of God. It’s an old problem. It’s quite obvious that all of these movies are drawing on the philosophical problem that we’ve inherited from the early 17th century.

“Fundamentally, it’s a problem of us questioning our cognitive capacities. That’s what these films are about–the limits of creativity, the limits of what it is we can use our mind to understand. They’re not really about ‘What exists and what doesn’t’. I don’t think people walk out of The Matrix or eXistenZ and think, ‘Woah. This is really all a dream!’

“Though maybe I’m wrong,” he laughs.

“I do think these films reflect something happening in our culture,” Fike goes on, “but I definitely don’t think it reflects something bleak. In many quarters, especially among the, shall we say, ‘technologically literate’ segment of our culture, there’s an extraordinary amount of fascination over the uses, the limitations, and certainly the lack of limitations that exist around the technologies we’re developing. Especially communicative technologies; virtual reality, computer generated images, all that.

“I think we’re really fascinated by all of this, and so now we’re exploring the deeper meanings of it all. I think it’s very positive.”

“The truth,” he concludes (if one can know the truth), “is that I’m loving these movies. Philosphically, they’re a blast.”

Web extra to the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Co-op Cooking

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Cookin’ Co-op

Michael Amsler



Feeding family and community one meal at a time

By Marina Wolf

INSIDE BOB and Ella Rozettes’ Occidental home the lights burn brightly, and someone moves briskly around in the kitchen. My repeated knocks go unanswered over Dire Straits booming on the stereo, so finally I push open the door and call out a timid hello.

In response a short-haired dog ambles up and nuzzles my hands, and Bob pokes his bearded face around the kitchen door. Ella offers me a drink, but Bob has to keep cooking. It’s 5:45 on co-op night, and he’s cooking for 12 instead of two.

Every Monday and Wednesday night for the past year and a half, one of the seven adults in the co-op takes his or her turn cooking a full meal for everybody else. The evening meals are packed and picked up between 6 and 7 o’clock, and Bob is getting ready for the rush. While Bob caramelizes onions in a skillet the size of a hubcap, Ella talks about their cooperative. In addition to the twice-weekly food pick-ups, the four households (two couples with kids, one childless couple, and a single adult) have monthly community potlucks. The adults take vacations together once or twice a year, went on a couples’ retreat last summer, and still meet three or four times a year for follow-up in the Rozettes’ yurt.

Such neighborly closeness may seem strange to many Americans, who have managed to make the act of eating as streamlined and people-free as possible, but who still claim to want more connection in their families and neighborhoods. Cooking co-ops are one way to bridge that gap. With roots in intentional communities and the good old-fashioned potluck, cooking co-ops aren’t a movement, exactly. There are no national spokespeople or organizations, no lobbies or PR events. But word of mouth is quietly spreading about the transformative power in collectively preparing and sharing food.

Of course, meal sharing is common among people who are already dedicated to community living for other reasons. But the new breed of cooking co-ops is remarkable for bringing together people from separate households, with often disparate interests, outside of wanting to be well fed. These people are looking for connection, yes. But they’re also very busy people.

DEE BOWERS of Boise, Idaho, might be considered a typical cooking co-op member. Five years ago, the anchorwoman and mother of two joined with neighbor Mary Wells and two other families in their neighborhood. Now they get good homecooked meals brought over three times a week, which saves them time and money. Bowers and Wells are so passionate about the joys of co-op cooking that they have even published a book, Homemade to Go (Purrfect Publishers, $14.95), that is designed to give busy people a running start on forming their own cooking co-op.

Bowers’ co-op actually eats together maybe twice a year, which isn’t what people might think when they hear the word co-op. “Most people think that you’re sort of weird,” she says confidingly. “That you’re a little, too, you know …”

“Communal?” I suggest.

“Exactly,” she agrees. “That’s great, but in our case we’re all just so busy. I’d hate to think that every time someone delivered dinner you’re going to have to stand there and talk to them for an hour.”

Even the seemingly laid-back Occidental community contends with time constraints, in its own, er, laid-back sort of way. While Bob stirs the polenta that will form the base for tonight’s dinner, Ella, a dedicated meditator, gets ready to eat and run. “The Tibetan Buddhist teachers with whom I studied always stressed that the most important thing you could do with your life is to meditate. So part of why I don’t cook much normally is because I’ve got more important things to do,” she says. “Cooking for each other is a way to save time, so you have more time to do what’s more important.”

Suddenly, the dog stands up and starts whining. The first crew has arrived, David Vogt and his daughters, Dayna, 7, and Jordan, 5. Bob ladles out the parsley-speckled polenta and tops it with the onions and a heap of prawns, while David chats with Ella and the kids peer over the edge of the pan. The low-ceilinged kitchen is noisy and crowded for five or 10 minutes, then the Vogts are gone. Seconds after the door closes, Bob dashes back into the kitchen. “I forgot the cilantro!” he exclaims, and gets to work amending the tomato-feta salad for the second group, while Ella hurriedly spoons up her dinner.

Other co-ops have dinners that can last for hours, such as the one Julie Bennett of Santa Rosa helped form almost a year ago. Her co-op includes two households for a total of nine adults, one of whom prepares Monday night dinner for the others every week. These dinners have become festive occasions, providing a much-needed Monday evening boost, says Bennett.

“This is a chance for me to try something new, something special that I wouldn’t usually try,” she explains.

“We’re all trying to live in a community-minded way.”

That search for community is a large part of why Rabbi Gary Schoenberg of Portland, Ore., has been in some form of cooking co-op for the last nine and a half years. “As soon as you’re providing food for people, all of the sudden you’re in a space where, when they’re sick, you know it,” says Schoenberg. “And sending a meal their way when they’re stressed to the gills is a natural outcome. When we have high holidays, our cooking co-op provides us with meals. When a family member is ill, it’s easy for me to get the cooking co-op to bombard them with meals. It’s that support that makes community real.

“I’m surprised that people aren’t tripping over themselves to form cooking co-ops, but they somehow have found ways to live without them,” he says with sincere bemusement.

“I’m not sure that they live so well.”

STARTING UP that relationship, though, may feel difficult in a society where we may not even know our neighbors’ names, let alone what they like to eat. But Dee Bowers, who has talked with members of cooking co-ops from all over the country, says existing groups seem to be equally divided between those communities that already existed and those that were formed for that purpose. And they all work.

“The key is starting up,” says Bowers. “If you’re honest and open and communicate up-front and get all your stuff out on the table, then it doesn’t seem to matter if you do or don’t know each other well.”

At the Occidental co-op, I ask whether community or co-op comes first. Neighbor Tom Strand-Brown pauses over a freshly opened brewsky to think about it. “It goes both ways,” he concludes. “Our intention came first, but this helps feed it. It’s one thing to be neighbors and friends, but if you see each other only every four months it won’t work. … There’s a centripetal force, so that we want to do stuff together.”

Not tonight, though. Tom and his wife, Tara, holding their 22-month-old son, Tevin, stand and chat for a bit, but then they head right out the door, with their bulging canvas bag. Bob and I stand there for a few seconds in the sudden quiet. Then Bob turns and asks a very natural question: “You want something to eat?”

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Charlie Musselwhite

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Blue Notes

Pablo Serrano



Charlie Musselwhite: An eclectic brew

By Greg Cahill

YOU JUST CONNECT with the spirit of the music,” bluesman Charlie Musselwhite told Blues Revue recently,” and you’re able to express it, or you want to be able to. And what you’re expressing is humanness, the compassion for life and of people for one another. And you want to be as truthful as possible, trying to touch each other with the emotion that you’re expressing through the music–how we’re all together in this situation called life and all its ups and downs.”

Musselwhite has known his share of highs and lows. Suffice to say, Musselwhite–arguably the genre’s premier harmonica player–is still riding the crest of a wave that saw his career surge in the mid-’80s. He’s never looked back. Born in Mississippi, raised in Memphis, and transplanted a few years back to Healdsburg, Musselwhite is doing just fine, thank you. His new CD, Continental Drifter (Virgin/Pointblank), is turning heads with its eclectic mix of blues, jazz-tinged melodies, and Cuban music that features the red-hot band Cuarteto Patria. He recently teamed up with Grateful Dead guitarist and vocalist Bob Weir for a spirited rendition of the soul chestnut “Take Me to the River,” featured on the Fish Trees Water Blues (Bullseye Blues & Jazz) benefit CD compilation. And he can be heard getting down and dirty on “Hear My Train a Comin’,” arguably the standout track from a star-studded lineup on Searching for Jimi Hendrix (The Right Stuff/EMI), the new soundtrack to filmmaker D. A. Pennebaker’s latest documentary.

If that’s not enough action, you can catch Musselwhite on tour this summer. No local dates are planned (Musselwhite did make an in-store appearance last week at the Music Coop in Petaluma before participating April 22 at an Earthjustice League fundraiser at the Fillmore Audit-orium), but the ubiquitous harpist performs June 25 at the Great American Music Hall in San Francisco and the following day at the annual Monterey Blues Festival.

Somehow in the midst of all his activity, Musselwhite has managed to play for packed houses–and captive audiences, so to speak–at Leavenworth Federal Prison, Lompoc State Penitentiary, a women’s correctional facility in Chowchilla, and the Spring Creek Correctional Facility in Alaska. “I like to play for prisoners whenever I can,” says Musselwhite. “It’s nice to give them something. I believe in rehabilitation. I’ve been through some tough times myself, and I think anyone can change. It’s especially great playing at maximum-security prisons like Spring Creek, since that is where the guys stay who are never getting out.

“One time a guy jumped on stage and said, “Thanks, man, you just did one hour of every man’s time.'”

Local boy makes good: Most of the world knows him as a Texas blues-guitar phenom, but Doyle Bramhall II still calls Sonoma County home, since his dad and many friends live here. (Well, at least we like to claim him as our own.) This week, Bramhall–who has played with Stevie Ray Vaughan (Bramhall was one of the few musicians invited onstage to play with the late guitar god), the Fabulous Thunderbirds, and the Arc Angels–got the call from ex-Pink Floyd heavyweight Roger Waters. After spending the past seven years working on an opera sung in English and French, Waters will be embarking on a series of West Coast dates next spring as part of his “In the Flesh” tour.

And, yes, he’ll be performing Pink Floyd classics.

Hip-shakin’ daddy: Hot on the heels of his new powerhouse fusion CD, Wiggle outta This (Shanachie), virtuoso harp player Curtis Salgado blows into town. Salgado isn’t exactly a household name, to be sure, but he is known in blues circles for stints with the Robert Cray Band, Roomful of Blues, and Santana.

Indeed, Salgado’s influence has reached the mainstream in a most roundabout manner. Salgado is credited with introducing comedian and actor John Belushi to the blues, providing the blueprint for his Blues Brothers character Jake, including the trademark Ray Ban wayfarer sunglasses and soul patch. And then there is Salgado’s patented blend of blues, R&B, soul, and funk. “I like a full plate,” explains Salgado when asked about his eclectic material. “You like a good steak, but you can’t just eat that for a solid year. I’d get tired of that. You need mashed potatoes and carrots, and other stuff, too. … I’m not trying to be everything to everybody, because you can’t do that. I’m just trying to express music the way I hear it–music that hits my auditory nerve just right, and comes straight from the heart, too.”

Curtis Salgado opens for Texas blues queen Marcia Ball on Thursday, May 20, at 8:30 p.m. at the Mystic Theater, 21 Petaluma Blvd. N., Petaluma. Tickets are $15. 765-2121.

Afterthoughts: Chicago blues guitarist Buddy Guy, a major influence on Jimi Hendrix, headlines at the Phoenix Theatre in Petaluma on June 9. Angela Strehli opens. Tickets are $20 and go on sale May 9. For info, call 415/974-0634. … Seventeen-year-old Santa Cruz guitar wiz Corby Yates headlines the Full Moon Blues concert Friday, April 30, at 8:30 p.m. at the Powerhouse Brewing Co. in Sebastopol … . Roy Rogers & the Delta Rhythm Kings slide into the Powerhouse on Saturday, May 8. … And Little Charlie & the Nightcats bring their West Coast jump blues to the Mystic Theater on May 15.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Howard Zinn

Making History

Leftist historian Howard Zinn plays it cool to get the populist word out on the airwaves

By Patrick Sullivan

WE HATE HISTORY. Not, of course, in the same bloody way they do in Yugoslavia or Ireland. No, for Americans, the word just conjures up images of stifling classrooms filled with dusty books and yawning students. Turn to page 347, memorize this arbitrary list of names and dates, and pay attention, if you can. Perhaps we’ve always despised the past, but maybe we hate it more than ever in our future-is-now world of MTV-style everything, where television is king and amnesia seems widely welcomed.

In any case, you might imagine that this brave new world leaves Howard Zinn fumbling in the dark. After all, the 76-year-old leftist historian, best known for A People’s History of the United States, his searing yet scholarly antidote to establishment history, is unfashionably retro in many ways. An unabashed socialist and activist, Zinn might seem an anachronism is a world where left-wing ideology is widely supposed to have joined history down the memory hole.

Think again. Far from seeking refuge in the ivory towers of Boston University, where he is emeritus professor, Zinn is as active as he’s ever been, fighting poverty and racism and war, getting his populist message out in every medium possible, including a recent dialogue with grunge musician Eddie Vedder in the ultra-hip Interview magazine and a controversial new move onto network television. But is anybody listening? Do people still care about the story of the underdog? Zinn himself doesn’t doubt it for a moment.

“I do a lot of traveling around the country to speak here and there, and I’m always impressed that wherever I go there are groups of people conscientiously working to change things,” Zinn says in his quiet voice, speaking by phone from his home in Boston. “People working for sexual equality, people working against racism … There are thousands of people all over the country working for good things, and that to me is a hopeful sign.”

A People’s History is certainly not going out of style any time soon. Zinn–who will speak May 6 at Sonoma State University–has crafted an accessible historical narrative that reverses the view we’ve traditionally been offered of our country. Rather than focus on generals and presidents, he tells stories of the people at the sharp end of history: Native Americans, rebellious slaves, union activists, and countless others whose resistance to brutal oppression did so much to shape our nation. It’s not exactly happy stuff, but it apparently strikes a chord with many readers. The book has sold more than 600,000 copies since it was first published in 1980–not bad for an imposing historical tome. Moreover, last year it sold more briskly than ever.

The book may be so compelling in part because its contents reflect Zinn’s own tumultuous life. As he recounts in his autobiography, You Can’t Stay Neutral on a Moving Train, Zinn grew up in a working-class family and absorbed socialist philosophy on the streets of New York City. As a young man, he jumped headlong into the war against fascism, only to be disillusioned by the horror and pointless bloodshed. Upon his return, he studied history on the GI Bill, received his doctorate, and ended up teaching at Spellman College, a small black school in Atlanta where his students included the future novelist Alice Walker. It was a short move to participation in the civil rights and anti-Vietnam War movements.

THE STEADY POPULARITY of A People’s History has not gone unnoticed. Network executives have apparently smelled profit, and Zinn is now in negotiations with Fox Television to bring the book to the small screen as a six-part miniseries that could air as early as spring of next year. Fair enough, except that there are some who wonder what the heck Zinn is doing shacking up with Fox owner Rupert Murdoch, the notorious Australian media baron whose archconservative politics put him one goose-step to the left of Adolf Hitler. For his part, Zinn seems amused by the controversy.

“I think it’s strange, too,” Zinn says. “Maybe Murdoch thinks it’s strange. But there are things on Fox that don’t exactly fit his political philosophy. The Simpsons, for instance. I think he’s mostly concerned about airing programs that have a lot of viewers so he can make money. Maybe profitability is more important than his beliefs.

“After all, he needs the money, right?” Zinn adds with a laugh.

It also doesn’t hurt that Zinn has some important fans in Hollywood who have championed the project. Actors Ben Affleck and Matt Damon are friends with the historian, and the two are helping negotiate the Fox deal and acting as co-producers on the show. Other high-profile celebrities, including Winona Ryder and Danny Glover, are reportedly eager to act in the project.

Of course, the big question for many is whether the series will do justice to the book’s leftist politics and sophisticated treatment of American history. For Zinn, that’s an important issue.

“All of us are determined that the television series be faithful to the vision of the book,” he says firmly. “We wouldn’t do it otherwise. It won’t be Hollywoodized.”

This TV experiment is far from the only iron Zinn has in the fire. He is also coming out with Marx in Soho (South End Press; $12), the published version of a one-man play featuring the founding father of scientific socialism in the starring role. Heaven, it seems, has allowed Marx to return to Earth to clear his name and comment on recent world developments. The play highlights the fact that Zinn is not afraid to identify with the controversial German theorist, though he won’t call himself a Marxist.

“Marx didn’t even refer to himself that way,” Zinn explains. “One time he said, ‘I am not a Marxist,’ and that’s because the word, for him, became something that encapsulated him too rigidly into an ideology. I feel the same way. A lot of people have called themselves Marxists, and a lot of them I would not want to be associated with. But I think Marx had a lot of insights into the nature of our society that are still valid and should be listened to.”

Zinn’s biggest current project, however, may be his determined opposition to the NATO bombing of Yugoslavia. That stance sets him apart even in the U.S. left, which has been divided by the horrors of ethnic cleansing in the Balkans. Zinn says he understands and shares that revulsion. But he is deeply suspicious of U.S. militarism, and he believes even our smartest bombs can’t solve this problem.

“Milosevic is obviously a tyrant, a terrible person,” Zinn says. “But we have to be careful not to make the situation worse. I believe that the bombing policy is terrible, that it has made things worse than before.”

As evidence of that, Zinn points to the incredible flow of refugees and the growing number of innocent victims of NATO bombs. None of those developments come as a surprise to Zinn. The World War II veteran says he learned long ago that there are no good wars.

“When governments don’t know exactly what to do next, they go to war,” Zinn says. “Violence is not their last resort. It’s the first.”

Howard Zinn speaks Thursday, May 6, at 8 p.m. at Warren Auditorium, SSU, 1801 E. Cotati Ave., Rohnert Park. Tickets are $10 at Copperfield’s Books. For details, call 664-2382.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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