Mexican Deli Sandwiches

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Courting a Torta

Michael Amsler



One man’s newfound romance with the Mexican deli sandwich

By Dylan Bennett

AS A WORKING-CLASS gringo transplanted last month to central Mexico for a week, my mind reeled with the new experience of being rich. My guides showed me how to eat chilaquiles for breakfast at a big hotel in Guanajuato, and steak drenched in garlic sauce for lunch at a casual yet upscale restaurant. “Whatever you do,” they said, “don’t eat anything from the street vendors. A gringo like you, only here for a week, could get sick.

“And you probably shouldn’t eat anything from the mercado either.”

Ah, yes. But the mercado, the market, a short labyrinthine walk from the white linen and suited waiters at the gringo-safe hotel, held myriad temptations. Just getting there you passed a giant clicking, hissing, chicken rotisserie laden with a hundred pumpkin-colored birds spinning like some primordial socket wrench in hell.

The mercado is a cavernous building teeming with bakers, cooks, and butchers, and another eating establishment every 15 feet. Stacks of deep-fried pork rind made me think over and over of George Bush, who confessed to a weakness for the fattening snack. Plucked chickens snoozed in uncooled glass cases; mosaics of soda pop, sombreros, brass figurines, and a zoo of farm vegetables seduced the eyes.

And there, near the entrance to the mercado, ladies stood beside mounds of pork ribs that glistened under a cluster of heat lamps.

“Cha,” my guide sniffed. “You want to avoid any heavy greasy stuff.”

“I do?” I asked myself, glancing back at the carnitas ladies. I watched as a woman with gold teeth sliced open a bread roll and reached for the glowing case of shiny pork. Silently, I plotted my return. Day-tripping with my gracious hosts, a couple of well-heeled west county vegetarians, left little time or social opportunity for scarfing pork in the marketplace. But if any meal had to be eaten, it was there at the carnitas booth with the gold-toothed woman.

A day later I was back, this time in the company of an approving carnivore. With barely adequate Spanish, I bellied up to the empty bar stools and ordered: “I’ll take one of those, please.” Sensing this was my first time dining without a waiter in Mexico, the friendly lady selected a choice chuck of meat, deboned it, and chopped it pedantically in a wooden pestle. Then she smoothly sliced open a roll, tucked in the meat, spooned a drink of fresh spicy salsa down the middle, and handed me lunch with a can of cold beer. ” Cómo se llama esta comida?” I asked the matron. “What do you call this food?”

“Una torta,” she replied.

A TORTA. A ROAST pork sandwich on a crusty roll, reminiscent of bratwurst in Baden-Württemberg. In the ambiant light and humid warmth of the mysterious mercado where gringos shouldn’t eat, I wolfed down this deeply gratifying but unsung classic. I had “discovered” the Mexican deli sandwich–bread, flesh, and salsa unfettered by distracting garnishes.

In California, where burritos, tacos, and enchiladas dominate the Mexican menu, tortas are the invisible entrée, something odd, unchosen; something gringos pass on when they see Latinos eating at the local taqueria. The world of tortas offers new worlds for appetites. Indeed, in central Mexico, where I never saw a burrito, tortas are a mainstay.

Back in Santa Rosa, I was a fervent torta guy determined to find the real thing close to home, but I was frustrated by what I found. Places like Santa Rosa Taqueria that I hold in high esteem put out a torta soaked in refried beans, iceberg lettuce, and tomato all on a soft, tasteless bread that felt like a hamburger bun. Sonoma Taco Shop was much the same. One Healdsburg taco joint topped it off with an unsavory portion of mayonnaise. The flavors are lost.

And, as Andy Barnett at Centro Espresso in downtown Santa Rosa often says: You need a signed release form from your cardiologist to order one of these. To boot, important names in local Mexican food like Rafa’s in Cotati and the ubiquitous Viva Mexico don’t even carry the touted torta on their menu.

IN MY QUEST for the Great Northern Torta I found a spirited and sensible sandwich at El Favorito, the working-class taco shack on Sebastopol Road in the multicultural Roseland district of Santa Rosa. Favorito serves a respectable torta on a hearty roll that compresses a marriage of carnitas, cheese, and thick slices of avocado.

Also at Cotija on Western Avenue in Petaluma I got a tasty torta, prepared with sour cream and lettuce, but not too far from the Platonic ideal of bread, flesh, and hot sauce.

A review of the available literature on tortas reveals that those smothering their meat with extras are rightfully exercising a variety of traditional torta styles. My favorite, the minimalist “torta ahogada,” is only one option, because in truth a torta is still a sandwich–you get out what you put into it.

Still, several local tortas fail in my mind, and to my palate, because the soft amorphous bread is an immediate disappointment. And these days, lettuce and tomato from large commercial farms don’t pack much flavor.

That slice of heaven that the gold-toothed lady sells for 75 cents in the mercado is not available here.

Happily, torta ahogada, as well as the other more complicated varieties, is an open invitation to the home cook. Find a chewy white roll from a good local bakery, cut lengthwise, pull out some of the fluffy part, add your own home-roasted meat, and top it off with a sensible salsa.

The only limitations are those of your imagination and a lack of willingness to stray from the burrito-eating pack.

From the November 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Albini Family Vineyards

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Family Affair

In the fertile valleys of Sonoma County, all small wineries are not created equal

By Marina Wolf

IN FRONT of their miniature winery building on the outskirts of Windsor, Don and Lynne Albini perch atop of ladders, pouring clusters of purple grapes into the hopper of the lone crusher, which collects the pulp for the 1998 Albini Family Vineyards merlot. Below, Lynne’s mother, Marie, rakes aside the stems that spill out into a platform cart, while her Marie’s husband, Ted, sprays out the emptied crates and chats amiably about his hernia and their old neighborhood back in Ohio.

For all this hard work, Lynne’s parents get some good times and a few bottles of the Albini annual output, one of the smallest for an individual bonded site in Sonoma County: 500 cases.

Approximately 25 miles to the north in Geyserville, Mike Draxton and his wife, Carol, are starting up their harvest of some 90 acres of merlot and sauvignon blanc. That’s a fair amount of grapes, but most of it is being sold to other winemakers. Mike holds back just enough to take up to the Associated Vintage Group facility in Hopland, where he will use the fully equipped crushing facility to produce one of the smaller labels that AVG works with. The Draxton label this year will cork just 1,400 cases.

Meanwhile, in a sun-dappled vale in Forestville, fresh green rows of newly planted vines and an explicit sign–no tasting room, no visitors–guard the road to Hartford Court Winery, one of the smallest and brightest jewels in the Kendall-Jackson crown. The buildings visible through the trees hold the beginnings of the 1998 harvest, which will ultimately be transformed into fewer than 6,000 cases of high-end, sought-after bottlings of pinot noir and zinfandel.


Michael Amsler

Fruits of their labor: For Windsor winemakers Dan and Lynne Albini, with daughters Eva, far left, and Danielle, far right, small independently owned wineries are synonymous with family.

All of these wineries fall into the general category of “small wineries”: producing under 10,000 cases annually. In Sonoma County alone, there are about 60 wineries producing under 5,000 cases a year, according to the calculations of the Wine Industry Symposium in Napa. Small wineries constitute over a third of the licensed wineries in the county, and some, like the Rafanelli and William Selyem labels, have risen to fame as “boutique wineries,” with their wines virtually impossible to get, and well worth the search.

But the varying origins of these small-output wines beg the question: What does “small winery” really mean?

For Don and Lynne Albini, the term translates into “family.” Their two teenage daughters are bent on joining the business after college, and already join in on the vineyard chores between school and a social life. And the three-acre farm swarms with relatives and friends during the fall harvest and crush, and later the bottling. Though there are a few investors, and Lynne still takes hairdressing clients on the side, the Albinis are, in fact, making most of their living off of 500 cases a year, sold through the mail to a dedicated list of individuals and restaurants around the country.

It wouldn’t be possible, says Don, but for the fact that they built it all from the ground up over the course of 20 years: the house, the winery, the vineyard, everything. His uncle built the fireplace, his father helped build the house. The equipment is all paid for, and all the storage is on-site. “Most people don’t have that opportunity,” Albini says simply. “They’re making payments because they had the winery built and the vines planted [for them].”

The barn-raising approach to building a winery not only saves money, but is also essential to the Albinis’ way of life. They moved to the area when it was still all country, so that they could be raised in an agricultural environment. “The United States was all agrarian to begin with,” he points out. “And I don’t think anything can tie you closer to the earth and to family values than ranching and farming.”


Michael Amsler

Grape expectations: Lynne Albini inspects what comes out the other side of the crusher.

THIS IS THE WAY wine always has been produced until recently. Many of the region’s winemaking giants–Mondavi, Sebastiani–are still owned and operated by family members, working in marketing, as vice presidents, or even as resident winemakers. But as business realities change in the face of growing consolidation, so does the world of family-owned wineries.

Locally, several branches of the sprawling Kendall-Jackson family tree fall well within the definition of small wineries. There’s Hartford Court, for one, plus Cardinale and Lokoya, which annually produce only 5,000 cases and 3,000 cases, respectively, and command upwards of $70 a bottle. On paper, and in most functions, these wineries each stand on their own as independent businesses. But members of the K-J family of small wineries operate differently from the traditional small winery in several important ways.

First of all, the small wines are marketed collectively in an Artisans and Estates portfolio, which gives them prime placement in the well-lit tasting room in the palatial–and very busy–Kendall-Jackson Visitors Center in Fulton. Outside of tasting-room sales, the powerful K-J marketing and distribution machine can push the wines far more vigorously than any single winery of that size could manage or justify on its own.

Then there are the recurring expenses–the barrels, the bottles–which hit small wineries harder than large ones. The old saying–“You have to start out with a large fortune to make a small fortune in winemaking”–isn’t much of a joke, though small winemakers still laugh. Most of them don’t have even a small fortune, so they’re happy just to stay afloat.

Graham Parnell, editor of Vineyard and Winery Management magazine, recalls talking to a small winery owner who felt stretched by buying four French oak barrels at $700 apiece. “Then I took a group on a tour to Rodney Strong, with 23,000 barrels,” recounts Parnell. “They’re replacing at least a third of them with new oak. So we’re talking big, big money.”

Jim Caudill, vice president of public relations at Kendall-Jackson, mentions glass purchase specifically when asked about the material advantages that the K-J small wineries might have over their independent counterparts. “When we buy bottles and can get a better deal buying as a unit, we do,” says Caudill.

Michael Amsler



He believes, however, that small wineries still have the edge. “The wine business is not like any other business. There’s nothing worse than being successful,” he says. “The wine industry is based on discovery and romance. Any advantage gained by working together as a coalition sort of evaporates against that.”

Don Albini would disagree with that assessment, and it isn’t sour grapes: His merlot inevitably sells out. But he still is vociferous on the subject of larger wineries that own smaller wineries. One problem, he alleges, is that newly purchased small wineries may have their output slowly increased, and possibly change their product as well, so that people may think they’re still buying from a 2,000-case winery when in fact the count is now closer to 10,000, while the taste may have gradually mainstreamed. Since case counts are not listed on labels and in reviews as much as they once were, he says, “people don’t know that instead of being a little handmade wine, it’s now more of a commercial entity.

“These are the kind of things that threaten small wineries that are actually small wineries. We kind of disappear,” adds Albini. “As big corporations buy up small wineries, we suddenly become one out of a thousand small wineries.”

THE PROLIFERATION of small-output labels may be a problem for the handcrafted, family-owned establishments, but it’s not malicious, says Gerald Boyd, who is the wine writer for the San Francisco Chronicle and has a fairly pragmatic take on the big winery/small winery connection. “The reason why [the wine companies] are buying these wineries is to diversify their portfolio,” he explains. “They want a [small] winery in Sonoma, they want a sparklingwine producer, they want something on the central coast. This is the idea of having a complete portfolio so that you can cover all ground.”

Furthermore, he says, the large companies want to keep making high-quality wines through those small labels: “They’re not in it to dumb down the business.”

One problem in discussing the small-winery arena is that it’s impossible to determine the extent to which small wineries have been bought up or created by larger establishments over the years. Nobody keeps track of labels and case counts except the federal Bureau of Alcohol, Tobacco, and Firearms, which is not conducting any sort of longitudinal study on the subject, and declined to supply statistics. But many wine experts would agree that the number of small labels, defined by case count alone, has increased over the past decade.

One factor may be the emergence of custom-crush facilities such as the Associated Vintage Group. The main office in Graton, occupying several blocks of downtown space, has the polished appearance of many a larger winery, with meeting rooms and a calm, spacious lobby drawing one’s attention away from the gear-grinding and grape-crushing that is transpiring out back.

Allan Hemphill, president and managing director, was going to give a quick tour of the compound, but was called away to an emergency at the Hopland facility. He did arrange, however, to leave his visitor a publicity packet, which describes a huge organization offering smaller winemaking entities the chance to profit, as Kendall-Jackson wineries do, from economy of scale. With four facilities in Sonoma and Mendocino counties, AVG offers a wide range of production, marketing, and administrative services to winemakers and wineries, effectively lowering the threshold of capital investment to allow start-up wineries to get in on the ground floor.

Michael Amsler



That’s how Mike Draxton got started. Though he and his wife owned their property and vineyard outright, they just couldn’t see their way clear to buying pricey equipment for such small lots, when a perfectly good set-up was available just down the freeway. Draxton’s ambitions may be irritating to other winemakers–“We really just wanted our own label to have in the restaurants that we go to,” Draxton confesses shyly in a phone conversation–but he is gallons away from the dismissive stereotype of a bored rich guy who doesn’t know Chianti from spumante: Draxton received his degree in oenology from UC Davis in 1986 and has been working as a winemaker ever since.

Draxton believes his wines can compete with other small wines; in fact, he believes that the professional setup at AVG may make his wine even better than self-processed wines of the same output. This is another issue over which disagreements emerge between the more traditional market economy and purists like Albini and other makers of “handcrafted” wines, who stake their livelihoods on the premise that the means create the end result. “The wine industry has become a commodity. It’ll be a Wal-Mart,” Albini says forcefully. “That’s exactly the opposite of why I’m in the business. I’m in it to make something that’s unique, different, done in my own style. I put a lot of credence in doing it the old-fashioned way.”

However the wine gets made, one thing is for sure: Small wineries nestled amid a dozen diverse appellations are an essential part of Sonoma County’s booming wine economy. They may be the best possible use of the county’s land as well. Graham Parnell contrasts Sonoma County’s small-winery orientation with Napa County’s big-winery environment. “We have more climates that can support more varietals,” says Parnell. “The cost of land is $40,000 [per acre] in Napa; you have to be big to support paying for land. Here it’s $15,000 to $20,000, but it still behooves us to run smaller case counts and higher prices because the fruit is very good.”

Retailing at around $22 a bottle, the Albini merlot fits the formula and then some. The posh Postrio restaurant in San Francisco is one of many distinguished clients, while individuals on the Albini mailing list are clearly staunch supporters, as evidenced by their calls and correspondence that reads like letters to friends or family rather than to the supplier of high-class wine. But what satisfies Don Albini’s soul more than almost anything else is when people visit and are inspired enough to go home and start their own wineries, as two customers from the Pacific Northwest have already done.

“A lot of people who buy wine from us are really excited and pleased that this can still happen,” says an satisfied Albini, sitting forward on the edge of the bench of the grapevine-laden gazebo that he built himself. “You actually can have a small winery and make a living and exist in a small-farm environment.” *

From the November 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Fat Chance

By Bob Harris

YOU’VE SEEN those TV ads promising miracle products that block your body’s ability to absorb fat, magically transforming your figure from Wilson Phillips to Peta Wilson to a Phillips screwdriver, and all in even less time than it takes Jerry Seinfeld to hit on a prom queen.

Y’know what? They all work, every single one.

By taking your money and making you poorer, instant weight loss products have the definite effect of making it harder to buy food, so if you buy enough of them–bingo!– you lose weight.

That said, scientists up at UC San Francisco have discovered a key enzyme that your body uses to produce fat molecules, and coming up with a way to block that enzyme may not be far behind.

The enzyme is called DGAT, which stands for a chemical name that contains every letter of the alphabet, two bird calls, and a wide range of high-pitched clicking sounds. For weight-loss purposes, let’s assume DGAT stands for Don’t Get Another Taco, and we’ll be just fine.

DGAT normally combines with other molecules to form compounds called triglycerides, which make up about 95 percent of your excess flesh and 100 percent of Lawrence Taylor’s head.

So blocking DGAT would make it impossible for your body to manufacture fat.

What would come out of you instead isn’t exactly clear yet, although I strongly suspect it’ll show up in the next John Waters movie, possibly wearing eye shadow.

Anyway, actual skinny pills may only be five years away.

Which means side effects, mutations, and premature deaths are only 10 years out. Lawsuits are 15 years away, and self-help books for relatives in recovery should pop out around 2020.

By which time, John Waters will receive a lifetime achievement Oscar, Lawrence Taylor will be out of prison, and Jerry Seinfeld will be dating a 30-year-old.

Never let it be said that this space won’t predict a long shot.

ACCORDING to a new study from Washington University in St. Louis, some depressed folks are simply missing a few brain cells.

That doesn’t mean the converse is true: not everyone with missing gray matter is necessarily depressed. Otherwise there wouldn’t be so much cheering at tractor pulls.

But doctors have known for a while that some cases of inherited depression may be caused by getting shortchanged in your subgenual prefrontal cortex, a dime-sized piece of brain behind the center of your forehead–right where you’d put a bull’s-eye on someone else, assuming you got one of the small ones.

And the new study indicates that in many people with manic depression, there’s a shortage of glia, which are cells that schlep around and get coffee for your thinking neuron cells, and whose response to the neurotransmitter serotonin is a major factor in whether you feel like hugging that Jehovah’s Witness or scoring his aorta with a steak knife.

So there’s a definite genetic component to some forms of depression, and it’s one that many current drug therapies simply aren’t yet designed to cope with.

Not that this is all such a surprise. I mean, look: Aaron Spelling. Tori Spelling. See? Obviously, the cause of depression can be reproduced.

Except we’re the ones getting depressed.

FINALLY: computers cannot possibly get any smaller. Probably.

You already know how annoying it is that absolutely any computer thing you ever buy is completely obsolete within a matter of months, and whatever replaces it is newer, half the size, and much more attractively packaged.

A lot like Donald Trump’s wives.

I once spent over a thousand dollars on a Commodore 64 computer, which was really exciting because it had enough memory to contain … a graphic. Singular.

The entire processing power of that thousand-dollar computer is now contained in an ordinary pager that they give away free just to sell you the service. Nothing in the world loses value as fast as technology. Other than an NBA season ticket, Godzilla merchandise, and Whoopi Goldberg’s film career.

Anyway, scientists in Copenhagen have created literally the smallest microprocessor possible: a computer chip where a single atom jumps back and forth to generate binary code, much the same way Anne Heche generates publicity.

The four-man team of goggleheads who accomplished this used a scanning-tunneling microscope to remove one of a single pair of hydrogen atoms from the surface of a silicon chip, leaving the remaining hydrogen atom available for further use.

Not surprisingly, not one of them has ever touched a girl.

What this means is that in 10 years, storage density will increase by a factor of over a million. Within our lifetimes, it’s actually possible that the entire sum of literature, art, music, and literally all human expression might eventually be stored on a single disc.

Which Bill Gates will own.

From the November 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Final Days

By David Templeton



Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This week, he meets up with introspective Vermont author Chris Bohjalian (Midwives; Water Witches) to experience the powerful adaptation of Anna Quindlen’s bestseller One True Thing.

IN THE WINTER of 1994, author Chris Bohjalian learned that his mother, Annalee Bohjalian, was dying of lung cancer. He had just begun work on his fourth novel, Midwives, anticipating that he’d be writing a light, somewhat glib and ironic exploration of the wildly varied ways of birth in our current American culture. Annalee’s diagnosis, however, changed all that. During the harrowing weeks and months of his mother’s illness–during which Bohjalian traveled often from Lincoln, Vt., to his parents’ place in Ft. Lauderdale, Fla.–his novel began to shift in tone and substance. Considerably darker now, the story Bohjalian found himself telling–an experienced midwife is put on trial for manslaughter after performing an emergency C-section on a woman she believed to have died in labor–was far different from what he had first intended.

“Midwives have often said to me, ‘Why didn’t you write about a beautiful birth, instead of a birth that goes tragically wrong and a mother dies?'” Bohjalian says, shifting his chair a fraction closer to the table. “Sometimes I’ll say, ‘Well, it just happened to be a year of dead mothers.'”

He glances down at the table.

“What’s clear to me,” he says after a few silent seconds, “is that Midwives would have been a very different book if [my mother] hadn’t become sick and died that year that I was writing it. Which is why it’s dedicated to her.”

The restaurant, nearly deserted so late in the evening, seems to grow even quieter as Bohjalian softly speaks these words, as if the room itself–sensing that certain raw emotions have risen to the surface here–is paying its respects. Even the waiters have intuitively withdrawn, leaving us uninterrupted for nearly an hour. (No offense is taken at their absence; we are here to talk, after all).

What has stirred Chris Bohjalian’s emotions enough to share such intimate musings with a total stranger–we only met three hours ago, in a movie theater lobby–is the powerful new film One True Thing. It’s based on Anna Quindlen’s best-selling, memoirish novel about an ambitious journalist (Renee Zellwegger) who returns home to care for her cancer-stricken mother (Meryl Streep); her father (William Hurt), unable to accept that his wife is dying, becomes increasingly distant. Like Bohjalian’s Midwives–a book of remarkable beauty and frankness–Quindlen’s tale is invigorating in its emotional details. Both stories share a similar, aching spirit, shaped by their authors’ recollections of saying goodbye to the one who brought them into the world.

And in both cases–Quindlen’s and Bohjalian’s–the father’s denial played a part in how events unfolded.

“My father, on the one hand, was a great cancer coach,” Bohjalian admits. “He rose to tasks I had no idea he could accomplish. I never thought my father was capable of the kind of tenderness he showed. On the other hand, up until the bitter end, he was Knute Rockne. He was going to ‘Rah! Rah!’ right through everything. ‘You’re going to beat this. You can’t give up.’

“I think,” he speculates, “that if he’d been able to say to her, ‘It’s all right, you can give up now,’ she might have died at peace a lot sooner.”

“We tend to praise people for ‘not giving up,’ though, don’t we?” I ask. “People who live the longest with a terminal diagnosis are considered heroic.”

“There was a guy named Bob Wicket,” he replies, “who battled cancer for 18 years. I was around 12 years old when he was diagnosed and was 30 or 31 when he died. He’d been considered terminal several times during those 18 years; he just always kept going into remission. When he finally died, everyone was saying, ‘Bob was such a great guy. He fought death for 18 years!’ And I said, ‘If Bob had died in 1975, he still would have been a great guy.’

“What I dislike about it the most is that in praising someone for living a long time with some terminal condition, you end up saying that anyone who died six months after their diagnosis was a failure.

“Our family wasn’t much better,” he allows, quietly.

THE SILENCE creeps back in for a few moments. Neither of us speak, until Bohjalian says, “There’s a moment toward the end of Quindlen’s book, and in this film, when the mother says to her daughter, ‘I will not be shushed! I’m tired of everyone avoiding this.’

“Well, my mother and I had a very similar conversation. I was doing my own Knute Rockne: ‘You can still beat this, Mom.’ That kind of thing. And she suddenly said, ‘Stop it! I’m controlling this conversation. I’m putting on the table what we’re going to talk about, and I want to talk about this!’

“My mother was a very strong person,” he says, slowly, “and it was very strong medicine for me to hear. That I was so monumentally out of touch with what she was feeling, and that I had been so unwilling to let her say what she felt needed to be said. So that was the part in the movie that was hardest for me, because my family loves each other very, very much–but we were rotten with death. We just couldn’t deal with death well at all.”

As if sensing that the conversation is about to shift, the restaurant becomes suddenly more festive: people at the bar burst into laughter over some unheard joke; the piped-in music, recently silent, is turned on and up. It feels like time to go.

But Chris Bohjalian has one last thing to say.

“You know what I love?” he asks. “When mother died at 65, she’d amassed four and a half decades of costume jewelry. Loads of it. And Grace, my wonderfully funky daughter, loves that stuff–so she ended up with all of it after my mom died. For her third birthday party, she gave all her guests bags of plastic jewelry.

“So now,” he begins to grin, “when I drop Grace off at her after-school program, or when my wife and I are taking her and her friends somewhere, I’ll see all of these kids wearing some gaudy necklace that had been my mother’s.

“It’s kind of wonderful to see that,” he says, “to know that in this odd little, wonderful way–part of my mother lives on.”

From the November 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Jew and the Lotus

Flower Power

Holy man: Writer Rodger Kamenetz meets the Dalai Lama in The Jew in the Lotus.

Spiritual discovery blossoms in ‘The Jew in the Lotus’

By Patrick Sullivan

AS SPIRITUAL odysseys go, this one’s hard to beat: An emotionally troubled man searching for answers to some of life’s most difficult questions gets a strange invitation from an old friend. He soon finds himself tagging along with a group of Jewish rabbis and scholars traveling to India for a historic meeting with the Dalai Lama, the spiritual leader of the Tibetan people.

The trip has profound personal consequences: It forces him to confront his own indifferently observed Judaism, it tears open scabs covering half-healed emotional wounds, and it ends up changing him forever.

It also gives one hell of a boost to his career as a writer. Rodger Kamenetz’s 1994 book about his experiences in India was a best-seller that struck a deep chord in many Jews, Buddhists, and various unaffiliated seekers of spiritual solace.

Now, director and producer Laurel Chiten has attempted to bring this richly complicated true story to the big screen in the form of a one-hour documentary film, which plays at the Sonoma Film Institute on Friday and Saturday, Nov. 6 and 7.

To make The Jew in the Lotus, Chiten combined video footage from the historic trip with interviews done later with the participants. Thrown into the mix are a voice-over narration by Kamenetz, a little stop-motion animation, and some historical footage of pre-Chinese Tibet. There’s nothing terribly unusual about this formula. In fact, some may wish that the filmmaker had adopted a more daring approach to match her offbeat subject. But perhaps the film’s straightforward method is the best way to tell this unusual story without bogging down in its disparate themes.

Plagued by self-doubts and the chattering neurotic voices in his head, haunted by the recent death of his child and the failure of his book, Kamenetz stumbles into his life-changing trip almost by accident.

“Why was I there?” he asks. “I don’t know.”

But the accidental tourist hops on the plane anyway, joining a distinguished group of eight Jewish leaders representing different strands of the faith, all bound for the subcontinent.

They are going for a meeting of minds with the Dalai Lama, in response to his plaintive request: “Tell me your secret,” come the words from the famous bespectacled face, “the secret of spiritual survival in exile.”

The parallels between the experience of the Jewish people and the plight of the Tibetans are many and obvious. With the Chinese invasion of the 1950s, Tibetan society was suddenly stripped of the Buddhist theocracy that long served as its fundamental organizing principle. Many Tibetans were killed; others (including the Dalai Lama) were driven into exile. Conquest and the diaspora have not been kind to Tibetan culture: The language and religion are practiced by a diminishing number of people, and hope for freedom seems to be fading. Small wonder, then, that the Dalai Lama would seek advice from a culture that has maintained its unique customs in the face of intense persecution for thousands of years.

ONE OF THE BEST (and most bizarre) things about The Jew in the Lotus is the curious contrast between this profoundly important mission, with its weighty social and spiritual implications, and the neurotic self-obsession of the narrator. Every time the film returns to Kamenetz, it seems that he’s discussing himself, even when it’s just to explain how pathetic he is compared to his learned companions.

“I was in a delicate state of mind to be flying halfway around the world: a writer certain he couldn’t write,” Kamenetz explains as he sets off. His wife readily admits to the camera that she found her emotionally tortured husband’s departure a profound relief, “like a weight was lifted from me.” That’s a sentiment the viewer may occasionally feel a bit too much sympathy with, but that fades in time. There’s something oddly appealing about Kamenetz’s naked narcissism, this intense focus on his personal emotional crisis. And quietly, subtly, the film unites the personal story with the ecumenical exchange.

Alongside all the big issues, the film offers a number of incidental visual gems. In one highlight, the camera explores New Delhi and captures the sights and sounds of a city trapped between tradition and modernity. Lovely children walk with huge eyes through dirty city streets, a man with no hands gestures in frantic explanation, a water buffalo placidly occupies the center of a busy street as traffic moves with careful speed around him.

But perhaps it’s wrong to call these shots incidental. Visual talent is surely the director’s gracious gift to this quirky story. Her careful composition and grace with the camera distract us from several flaws. (We wait in vain, for instance, for the Dalai Lama to say more than a few sentences.) In the end, her documentary proves a short but satisfying walk through Kamenetz’s blooming spiritual garden.

The Jew in the Lotus plays at 7 p.m., followed by Twitch and Shout at 8:15, on Friday and Saturday, Nov. 6-7, at the Sonoma Film Institute in Sonoma State University’s Darwin Theater, 1801 E. Cotati Ave., Rohnert Park. Admission is $5, $4 for seniors, $3 for SFI members and kids. 664-2606.

From the November 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Bread Chef Peter Reinhart

0

Rollin’ in the Dough



Bread chef Brother Peter Reinhart on the rise

By Marina Wolf

THE BAKING classroom at the California Culinary Academy in San Francisco is a prosaic affair, crammed as it is with squadrons of industrial appliances hung with 1970s-issue health department propaganda and a dog-eared flyer for a Fleischman’s yeast factory tour.

But when Peter Reinhart begins the demonstration, the room hums with more than refrigerators. Students at the back of the room squint intently into the dented stainless-steel mirror hanging at an angle over the head table, while the lucky front-row dwellers rumple their uniform whites to lean over the countertop and get a closer look. The laserlike focus of the small crowd only seems to energize Reinhart, who rose to fame as bakery owner Brother Peter. Flour and polenta fly over the counter, which might explain why the teacher’s traditional black-and-white checked pants are more of a floury gray in the six inches between the hem of his apron and the floor.

This week, the class is working with a versatile rustic dough that responds perfectly to Reinhart’s trademark long, slow rise. He coddles the floppy dough gently into the short rounded bone shape of a ciabatta, knuckles it ruthlessly into a pizzetta, and drapes it out into a two-foot-long baguette. “When the bread spreads out, it is exposed more to the heat, which drives the moisture out quickly,” says Reinhart. “The roasting of protein and glutens gelatinizes the starches for more intense flavor.” And verily, when the breads emerge from the oven, held gingerly by a serious-faced older woman nearest the bank of 6-foot-wide ovens, they are buttery brown, firm of crust, big of hole, nutty of aroma.

After the class has disposed of the examples, jostling and joking for a drippy piece of pizza, they disperse to their bowls and mixers for individual projects, while Reinhart takes a break at the student cafe, a slightly dusty assemblage of tables and soda dispensers in a balcony overlooking the cavernously elegant dining room of the CCA. The chandeliers seem far from the cafe-casual world Reinhart left behind three years ago when he and wife Susan sold their prize-winning Brother Juniper’s Bakery.

But the affable breadmaker is straddling the juncture of two worlds with even more enthusiasm than ever.

“One of the challenging things for me in this environment is to deliver a very specific curriculum that’s anchored in facts and techniques and at the same time go deep enough with it so that it touches into a level of spirituality that’s subtle and subjective rather than overt,” Reinhart muses, giving an owl-eyed grin. “I call it a back-door philosophy in spirituality.”

REINHART’S approach has always been back-door, as in up the back-porch steps and into the kitchen. The religious community he belongs to, Christ the Savior Brotherhood, urges spirituality through service, and Reinhart’s particular set of skills has led him invariably to serve at the oven, from his stint at a vegetarian cafe to the years at Brother Juniper’s Cafe and Bakery, a venerable Forestville institution that was later memorialized in Reinhart’s second book, Sacramental Magic in a Small Town Cafe (Fairmont, 1994).

But these days Reinhart is using the “front door” more, in a new career-development practice and as a recipe consultant with local food firms. His just-released Crust and Crumb: Master Formulas for Serious Bread Bakers (Ten Speed Press) was originally intended as an anthology of bakers, but ended up focusing specifically on Reinhart’s work, at the publisher’s request. And, of course, there’s the academy, where the unassuming Brother Peter–that’s just plain Peter to civilians–dons a crisp paper hat and a respectful moniker: Chef Peter.

In true spiritual fashion, Reinhart can find cause for rejoicing even in the pressures of increasing expertdom. “I’m forced to learn new things all the time, because people are coming to me for the answers, which is great,” says Reinhart. “It pulls stuff out of me that I might not go after otherwise.

“The one thing about bread that I’ve learned is that it’s almost fathomless how much there is,” he continues. “I’m still finding all sorts of new information, and conflicting ideas and new discoveries.”

Rather than being frustrated by this mystical substance that has defied some of the best minds of food science to explain why it sometimes doesn’t work, Reinhart prefers to explore the path from life, death, and transformation that bread travels. “It’s like a maze,” Reinhart says meditatively. “You get into it deeper and you realize that there’s only one way to get out and that’s to go forward.”

His classes are an important outlet for that creative drive. “We’re always exploring parameters,” he says. “One of the things that keeps it interesting for me, and I think makes it especially interesting for the students, is to push the envelope and see how far we can go.”

Home bakers can be just as devoted to this pursuit as full-time culinary students, says Reinhart, pointing to the participants in his sell-out courses at Santa Rosa Junior College. “The people who come … are into it in a really deep way; they want to know all the secrets.”

THOSE SECRETS to baking good bread are few but crucial: time, temperature, and patience, not only in waiting for the dough’s natural fermentation to dictate when it needs more water or is ready for the oven, but also in learning about bread. “Baking good bread has a lot more to do with feel than it does with the recipe,” Reinhart says firmly. “As you do it more, you start to develop a feel for when dough is just right and when it’s time to take it to the next stage.

“As you develop that sensitivity, everything else pretty much falls into place.”

So it seems all this talk takes a back seat to the satiny feel of a well-kneaded dough or the toasty mouthful of good crust. “When you start out, you think that your words are so effective that they somehow get it through,” says Reinhart, leaning forward slightly to be heard over the bustle of students. “Now I’m finding out that the most effective thing I have is a loaf of bread. I touch people more with the bread itself. I can communicate more through the medium and metaphor of bread than I ever could through just straight principles and philosophy.”

Peter Reinhart’s Nov. 14 class at SRJC, Building a Bread: An Intensive for Serious Bakers, is already full, but you can get on the waiting list for cancellations by calling 527-4371. Another class is planned for the spring, so look for the catalog at the end of November.

From the October 29-November 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Socially Responsible Investing

It’s Easy Going Green

In the face of Wall Street’s rough-and-tumble year, socially responsible investing earns newfound respect

By Jeannette Batz

WE WORRY about mucked-up sewage and global warming, cruel sweatshops and child labor. We resent executive salaries that go higher than Zimbabwe’s GNP; we’re tired of companies run deliberately, exclusively by old-guard white males. We know full well that some corporations make an effort to be responsible, whereas others have no qualms about damaging society to make a profit. Yet when it’s time to invest our hard-earned cash, we buy into the very corporations that outrage us the most. It’s not a deliberate choice, of course. Usually we own shares of funds that own shares of companies; by the time the paperwork arrives, the truth’s several steps away. But somewhere along the line we’ve been told it doesn’t matter; the marketplace is amoral, and the bottom line rules absolutely.

Those angered by this conventional wisdom have been trying a different route, one called “socially responsible investment,” or SRI. Until recently, financial experts have treated SRI the way they treat a daffy cousin who wears only hemp products, doesn’t have health insurance, and chugs up to the family reunion in the old, not the new, VW Beetle.

Except this year the cousin showed up in pinstripes, driving a Volvo. She was making good money marketing that hemp. And suddenly it was a lot harder to make fun of her.

Amazing Growth

SRI isn’t new: Church groups were boycotting “sin stocks” in the early 1900s. Pioneer funds have been avoiding alcohol and tobacco stocks since the ’30s. (Free-market types are appalled; they say, and justifiably so, that the unwritten policy should appear in each Pioneer prospectus, alerting investors who might want money in alcohol or tobacco.) Still, the early SRI was more a quiet act of conscience than a collective dialogue with corporate power.

Then came South Africa. As American shareholders began to divest themselves of any connection to apartheid, the economic pressure built into political pressure. Activists began developing a repertoire of economic tactics, from consumer boycotts and rants at annual shareholder meetings (that’s what first prodded Eastman Kodak into hiring more minorities) to community development and explicitly labeled SRI in conscientious mutual funds.

The first, Pax World, started in 1970. Dreyfus Third Century started in 1972, Calvert in 1981, followed by Working Assets, Parnassus, and a host of religious, minority-owned, and other customized funds. Everybody’s agenda was a little bit different; “socially responsible” doesn’t automatically mean progressive Pollyanna; it simply means integrating your own values with your investment decisions.

A consensus did emerge, though, around some basic categories: environmental practices; employee relations (diversity, fair compensation); human rights (sweatshops, child labor); product (safety, quality); military weaponry; nuclear power; alcohol, tobacco, and gambling; community reinvestment.

Those were the issues Kinder, Lydenberg, Domini & Co. considered in 1990, when they developed a socially responsible index to rival the “S&P 500” (Standard & Poor’s yardstick of 500 representative companies, often used as a benchmark to judge a stock’s performance). To select their 400 companies, the Domini Social Index eliminated any S&P 500 company that failed to pass a series of screens. (More than 20 Superfund toxic-waste sites? Off the list. Less than 1.5 percent of pre-tax revenue given to charity? Off the list.) They also added 50 solid companies that hadn’t made the S&P 500, but that had good social records. The result: The Domini Social Index outperformed the S&P 500.

And the ground beneath Wall Street trembled.

Meanwhile, Amy Domini had started the Domini Social Equity Fund, using the Domini index as her “universe” of potential investments. Her fund beat the S&P 500, too.

In April, the Wall Street Journal included Domini in its annual list of the Top 38 large-company mutual funds. In June, Money magazine included Domini in its list of the world’s 100 best mutual funds. Morningstar‘s independent trackers gave Domini their top ranking of five stars. This month’s issue of Dow Jones Investment Advisor, the industry’s largest publication, featured Domini in a startlingly favorable cover story on SRI.

The record performance of a screened fund–and the consequent softening of Wall Street–surprises everybody but the SRI advocates, who’ve been predicting it all along. Domini says social screening steers you toward high-quality growth, favoring companies with strong corporate cultures and visionary management. It also excludes a lot of heavy industrials and natural-resource companies, big oil producers, major paper manufacturers, and tobacco companies, avoiding many problems that drag the companies into court.

The Domini fund is not alone in its success, either. The Social Investment Forum recently reported that more than half of the SRI funds at least two years old had earned top marks from Lipper or Morningstar. SRI rose from $162 billion in 1995 to $530 billion in 1997, a 227 percent surge in just two years. Bankers Trust has even launched a “Wealth with Responsibility” program to teach its richest private clients about SRI.

Talk about a reversal of fortune. “Usually in a bad market, the socially responsible stocks do worse,” says Chris Irvin, an investment executive at the Sonoma office of Piper-Jaffray Inc., a San Francisco-based brokerage house that specializes in socially responsible investments. “Now SRI stocks are holding much tighter than they have in previous down markets. Over the cycle, that represents an out-performance, which answers some of the concerns of institutional investors that are pretty risk-adverse.

“Certainly, the audience and the participation in this type of investment has really broadened,” adds Irvin, noting that negotiations he’s having with a major union pension fund about socially responsible investment wouldn’t even have been possible in previous years.

When Jack Brill, a San Diego investment adviser, wrote Investing from the Heart in 1992, there were 12 recognized SRI funds. Now there are 46. “Even the big brokerage firms are changing,” he remarks. “Merrill Lynch recently alerted its brokers not to bad-mouth SRI anymore; I saw an inside document.”

Intrigued, we call Merrill Lynch’s office without identifying ourselves and ask whether they offer SRI advice. “That’s kind of a difficult question for me to answer,” the broker replies. “There is really nobody I know that specializes in anything that defined. We just get to know each client really well.” And you advise them accordingly? “Oh, most certainly. It wouldn’t make sense to take someone who is 96 years old and put them in something with a seven-year wrap-up.”

Guess he didn’t see that “inside document.”

Clearly, we might need to re-examine the assumptions still held by most Americans, including religious congregations, non-profit foundations, and earnest citizens: (1) that values have no place in the market; (2) that you can’t make money by investing with conscience; (3) that nobody holds the same values anyway, and corporate ethics are too subjective to measure; (4) that any steps toward social responsibility are futile because corporations don’t notice.

That’s the prevailing worldview. And it sure helps explains environmental damage, social inequity, power imbalance, unsafe merchandise, and exploitive marketing.

Myth No. 1: The Marketplace Is Amoral

Money shapes our relationships to nature, health and illness, education, art, government, social justice, science, and each other. It’s our livelihood, our safety net, our passkey to the future. Yet we’ve quarantined it from our values and severed it from anything that touches our spirit. We want our money blamelessly detached from its consequences, and we want our spiritual realm “uncorrupted.”

Money itself is neutral, a form of energy that flows through our society with mixed results. Yet instead of integrating our attitude toward money as thoroughly as money has integrated itself into our lives, we make only a superficial calculus of strategy and return.

The system that results is impersonal and abstract. But the deepest motives of typical investors are not. Some want to make a difference; some want to ensure a decent nursing home; some just want to get the kids through college. The problem is that, with professionals managing your money for you, the consequences get lost in the degrees of separation. Before you know it, your teenager’s college tuition is being financed by profits extracted from the sweat of 9-year-olds in Burma.

And your broker’s defending the high return.

“As a professional, it’s my responsibility to maximize return and minimize risk,” explains Juli Niemann, a St. Louis analyst and portfolio manager at Huntleigh Financial Services. “I am very cold about it. I do not pass judgment on companies. My primary responsibility is the investor. And what it really comes down to is: Yes, I buy Philip Morris. That’s my responsibility.”

Does that mean the $5 trillion or so now invested in mutual funds should be allocated without any thought to moral or social consequences? Most experts still say yes.

So if you owned shares in Dow Chemical, you wouldn’t be complicit in the damage done by Agent Orange? “Well, I don’t think Dow did the dumping,” hedges Philip H. Dybvig, Boatmen’s Bancshares Professor of Banking and Finance at Washington University. “Even with something like Bhopal, it’s hard to know where the responsibility should be placed.”

Even if you can place responsibility squarely on a CEO, Dybvig sees no reason to divest. “You’re not any less responsible because you sell the stock,” he points out, “and if you sell, you’re ensuring that you can’t do anything about it. I think what’s more effective is to write and say, ‘Look, I’m a stockholder and I disapprove of this,’ instead of just defining it out of your universe.”

That opinion is the common coin in the money realm. But what about the curtained-off moral realm? “Let’s say you know with relative certitude that the company is involved in unethical behavior,” says the Rev. Theodore Vitali, an ethicist who heads the philosophy department at St. Louis University. “The only option available to you as a moral agent is to withdraw.”

What about making the company stop? “You are never morally obliged to do the impossible,” he says gently. “You have no voice; you own only a few shares. But at least you can end your complicity by getting out of it.”

Vitali admits that in many instances it’s hard to know what to do; information’s tough to gather and weigh, and often corporations are more responsible than they appear in lurid media accounts. Many Americans don’t even bother trying to find the truth. Some have resigned themselves to a world where you picket for social change and you invest for profit and the two realms never meet. Others sincerely believe corporations should have a free hand. “I meet a fair number of Wall Street types for whom it’s almost a corollary to the right of the individual,” notes Domini.

What bothers SRI activists is that corporations have the rights of individuals when they want them–but as soon as the clock strikes 12, they turn into abstract, untouchable legal pumpkins. That’s why SRI advocates make it a point “to talk about management teams rather than companies,” says Domini. “These decisions are being made by human beings.”

SRI resources.

Myth No. 2: Conscience Costs Too Much

Niemann’s been analyzing and managing investments for 30 years; she’s taught, she’s offered radio commentary, she’s donated her time to advise the Redemptorist Fathers in Denver, the Archdiocese of St. Louis, the Girl Scouts. “I know about SRI and what it costs you,” she smiles, “and it does; it costs you royally.” SRI stocks “tend to be somewhat defensive in nature, defensive against economic downturns. They do beautifully when the market is falling apart. But in the kind of market we’ve had lately, it’s a big cost.”

How big? Depends on how scrupulously you narrow your universe of potential investments. “It is in some ways a vocabulary issue,” says Amy Domini, “because SRI implies for a lot of people the best 2 percent of companies in America. For those of us in the field, it implies the best half. We are not seeking the models of sustainable practices; we are seeking the companies that do the least harm.” The approach, in other words, is more practical than pure. “It makes it more doable,” says Domini. “And it’s not either ‘love them or hate them’; Ben & Jerry’s is your favorite company, or they’re horrible because they let you down. Those kinds of conversations are futile. They do nothing to address the structure of corporate accountability.”

As of June 30, the average total return for Domini Social Equity Fund was 32.96 percent. The S&P 500 average was 29.53 percent. A fluke of mutual funds’ annus mirabilis? Go back three years: Domini averaged 30.33; the S&P 500 averaged 29.82. Even if you measure from Domini’s birth in 1991, the fund comes out only 0.17 beneath the S&P 500.

Skeptics are still reserving judgment. “They’d like to see what happens in a down market,” acknowledges Domini. “So would I. But from July 17 [when stock prices started their erratic descent] through the bottom, Domini has fallen less than the average mutual fund and less than the S&P.”

Domini isn’t a magical exception, either. In the mid-’90s, John B. Guerard Jr., a Wall Street analyst with a doctorate in finance, and associate editor of the Journal of Investing and the International Journal of Forecasting, conducted a coolly quantitative study and reached a shocking conclusion: “Returns in socially screened and unscreened universes do not differ significantly.” Guerard found that if you invested $1 in 1987, unscreened, it would be worth $2.77 by the end of 1994. If you invested your $1 in a screened universe, it would be worth $2.74.

At 3 cents, conscience comes cheap. And it may save society in the long run. “People say you should just invest your money where it’ll make the most,” says Council on Economic Priorities researcher Jonathan Hickman, “but that doesn’t take into account the social and environmental costs. You’re making money at the expense of the environment, and, sooner or later, somebody’s going to have to pay.”

Still, if so many analysts dis SRI, it must mean something, right? “Just means they’re too lazy to look,” quips Brill, the author and investment adviser. “Commission brokers only make money when they make a sale. If they have to take an extra hour to research a portfolio …

“There’s documented proof that you don’t lose money,” Brill resumes. “And between the Domini index and the Citizens index [Citizens narrowed the pool even more stringently and is still getting top results], there are thousands of stocks to choose from. You’ll run out of money long before you run out of socially responsible options.”

As for brokers’ conventional advice–invest amorally for the highest yield and then hand the profits to your favorite charity–Brill chokes on it. “When you own a stock, you are a cheerleader for the company. You want the company to make a profit. So let’s take the issue of tobacco. If you own Philip Morris, you want them to make a profit–therefore, to sell more cigarettes. Does it make any sense to take the profit from Philip Morris and give it to the American Cancer Society?”

Myth No. 3: It’s Impossible to Screen for SRI

Should a health-care foundation own stock in a tobacco company? Should a church own stock in a defense manufacturer? What if the Sierra Club funded its projects with shares of Exxon? What if they traded for stock in whatever oil company rated best on environmental compliance?

Where do you start?

The Council on Economic Priorities is a public-service research organization formed so people can “cast their economic vote as conscientiously as their political vote.” One of CEP’s old reports on Anheuser-Busch notes that “the company’s reported release of toxic chemicals was the worst in the beverage industry in 1989” and tallies five willful violations of occupational safety and health laws. The report also notes, however, that A-B made the most environmentally sound political contributions in their industry; led the nation in using post-consumer waste for packaging; and recycled 600 million pounds of aluminum containers in 1991–all while animal-rights groups were boycotting A-B’s Sea World for damaging marine life.

How do you even begin to sort such a mixed evaluation? “It’s usually an accumulation of things, not one factor,” explains CEP researcher Jonathan Hickman. He looks for patterns, compares companies in a given industry, analyzes historical trends. “There are definitely instances where [irresponsibility] is very pronounced,” he adds. “At Louisiana-Pacific, that was the case. They seemed very unconcerned about what the impact of the company was in any area. Then the former CEO was ousted, and they brought in a new one who purged most areas of management and implemented a lot of [environmental and employee relations] programs very quickly. They’ve made an incredible turnaround.”

People criticize Domini because the fund invests 4.43 percent of its portfolio in Coca-Cola, which has a great record with minorities but makes unhealthy sugar water, and 5.51 percent–its largest single holding–in Microsoft. “We sold when Microsoft went back into South Africa, then stayed out because of antitrust issues,” explains Domini, “but Microsoft’s behavior became more responsible.” She cites the company’s stellar record on employing people with disabilities; offering health insurance to same-sex domestic partners; naming two females as top executives; and so on. In other words, it’s a balancing act, and the variables are weighted. “If you have one woman on your board, it’s a non-event,” says Domini. “If you have none on your board or in top management, that’s a very strong statement, and that puts you in the worst 17 or 18 percent.”

Niemann sighs over these attempts at discernment; personally, she prefers shareholder activism to SRI, and finds some “socially responsible” positions as blurry as a three-martini lunch. “I know organizations who will say you can invest in defensive but not offensive weapons,” she says. “We are splitting hairs here. Is nerve gas defensive? You hit the silly season. And it does not make a difference.”

Still, as a trustee for a Roman Catholic archdiocese, she faithfully watchdogs a portfolio that includes nothing connected with abortion and no offensive weapons of war. “The F-15 is defensive,” she explains, “so we are comfortable with that; we have no problem with McDonnell Douglas. Something like Agent Orange would be verboten. But Dow doesn’t make it anymore, so we’re fine. Tobacco companies are verboten, alcohol manufacturers are not, because alcohol in moderation is fine. The theme is detriment to humanity.”

Myth No. 4: Nice Idea, but You’re Wasting Your Time

Does SRI prevent detriment to humanity? “I think it’s kind of a nice idea, but it doesn’t really help,” says Dybvig. “If a company’s mainline business is something you think should be stopped, then short of buying the company and shutting it down, you are not going to do anything–except lower the price of the shares so someone else can buy them.”

Mike Alderson, a professor of finance, points out that SRI is “like an embargo; it only works if everybody cooperates. And when it comes to something like tobacco, there’s just too much money to be made and too big a demand for the product. The money just isn’t missed.” He pauses. “But it makes people feel good, and there is some value in that as well.”

For Alderson, it’s a throwaway comment. But activists do see value in a clear, happy conscience; in moral consistency, integrity, responsiveness, and a willingness to make some basic demands of those in power. “There are a lot of very sincere people who just don’t buy the notion that giving up is an option,” he concludes. “I’m probably too easily swayed by the argument that I don’t count.”

Niemann does think individuals can make a difference–but by banding together, raising issues, and voting proxies, not by not buying. “Bottom line, the company doesn’t know that you own the stock, nor do they care. If you decide to avoid purchase of something, it doesn’t even measure on the Richter scale. The market is cold.”

Oddly enough, Domini agrees. “The marketplace is amoral. So you have to drop back and say, Why do this? There are two possible reasons. First, for personal or institutional consistency. If I personally have dedicated my life to environmental issues, I am more consistent by not benefiting from corporations that damage the environment. That is the end of the story; you don’t need to justify it further.

“If your goal is to effect social change, though, the question is: Does SRI create social change?” It can, but indirectly and immeasurably. What Domini emphasizes is a more systemic shift. “It’s a misconception that SRI is about punishing companies and making their stock price not move,” she explains. “What it’s about is building a structure of corporate accountability, making socially responsible investors the watchdogs of the corporations.”

When the Domini Social Index compiles company profiles, it sends them to the company for a response, creating “a dialogue where they’re learning something about how we look at them,” Domini adds. Ten years ago, if she called a firm to ask how many women or minorities held executive positions, she would’ve gotten a call back asking why she wanted to know. Now companies are getting used to the questions–and sometimes even preparing for them by changing.

“Some smart person said every major realization of humankind, every new way of being, has first been subjected to ridicule, then feared, then viewed as self-evident,” reflects Domini. “I think we’re pretty early in that cycle. And if the next thing is to be feared, we may be starting.” She rattles off examples of recent (failed) attempts to crack down on shareholder activism and global divestiture.

What she doesn’t mention is the editor’s note in last month’s Dow Jones Investment Advisor. “What really troubles me about the Social Equity Fund is the trend it could represent,” writes editor-in-chief Bob Clark, admitting his personal unease with their cover story on SRI. “Amy and her folks are mostly harmless,” he continues patronizingly, “and, yes, I agree with most of what she stands for. But do we really want people pooling their investing power for the avowed purpose of achieving some specific end, other than making more money?”

Might be refreshing. But Clark throws up one straw scarecrow after another, including “a Ku Klux Klan Aggressive Equity Fund” that would discourage companies from hiring African Americans. His ultimate point? That socially responsible investment is undemocratic.

SRI advocates don’t sense any dangers to participatory democracy; they’re not fazed by the “you don’t make a difference” line, either. In its promotional materials, the Domini Social Equity Fund counters 200 years of laissez-faire resignation with a simple parable: “Thousands of starfish had washed ashore. A little girl began throwing them in the water so they wouldn’t die. ‘Don’t bother, dear,’ her mother said, ‘it won’t really make any difference.’ The girl stopped for a moment and looked at the starfish in her hand. ‘It will make a difference to this one.’ ”

From the October 29-November 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

P.J. O’Rourke

Chow Time



Satirist P. J. O’Rourke skewers the world in ‘Eat the Rich’

By Greg Cahill

IT’S A STRANGE PLANET. The global marketplace is in flames (remember when we were all supposed to be in awe of Japan’s supposed economic genius?), yet some investment analysts assure us that all is well, leaving ill-informed Americans to piss away their savings on $2,000 Beanie Babies. Go figure.

It makes ya wanna holler.

In recent years, political satirist P. J. O’Rourke–author of such irreverent best-sellers as Holidays in Hell and Parliament of Whores, and a foreign correspondent for Rolling Stone–had been scratching his head over the baffling state of the world’s varied economies. He persuaded his magazine editors to send him out into the world to research some of the globe’s odder political-economic systems (like the nationwide pyramid schemes that toppled the Albanian economy a couple of years ago).

The result is Eat the Rich: A Treatise on Economics (Atlantic Monthly Press; $24), which features on the cover a smugly mugging O’Rourke, knife and fork in hand, about to skewer an elegantly covered meal.

Take it as the first clue that this is going to be a hatchet job.

Granted, this is political satire, right? So we shouldn’t set our sights too high, despite a tongue-in-cheek chapter (“From Beatnik to Business Major”) that includes a somewhat serious explanation of Keynesian theory and supply-side economics that any corner drug dealer can understand.

Also, bear in mind that O’Rourke himself is the strangest of all animals–a moderate Republican with a sense of humor, albeit one with a frat-boy-gone-bad past, employed at one of the world’s hippest rock magazines. That is to say that while he can be deliciously wicked and even downright funny–at least when he’s not being cloyingly cute or self-referential–O’Rourke harbors a fair amount of contempt for foreigners and the poor. And that starts to grate on you after a while.

Back to the treatise. O’Rourke juxtaposes a series of chapters that contrast good and bad economies. The book kicks off with a description of Wall Street as good capitalism–not an exploration of the leveraged buyouts and junk bonds that have cost taxpayers billions, but a guide to the funny polyester jackets that traders wear on the floor of New York Stock Exchange. That’s followed by a chapter that holds up–or places a foot on the neck of–Albania, a former backwater East European socialist state, as an example of bad capitalism. Sweden: Good socialism. Cuba: Bad socialism. And so on.

Unfortunately, there are too many anecdotes about lazy locals and odd customs, and too few economic insights here. For example, as O’Rourke points out, Swedes spend an excessive share of their income for social services. Of course, most Americans get taxed heavily, some live in urban slums that make the Third World look enviable, and none of us get much in return, though apparently the author doesn’t want to dash our image of America as the ultimate example of “good capitalism.”

Suffice to say that O’Rourke is no Michael Moore.

Meanwhile, in O’Rourke’s eyes, Cuba is tantamount to one of those roadside yard sales that leaves you wondering how anyone can have the nerve to display their worst junk in public (though he does relate a roadside rescue experience that shows just how charming the Cuban people can be). And the Russians, well, they’re just a surly bunch.

Strangely, after all this eccentric geo-econo-political musing, O’Rourke gets preachy. He concludes that if we want to make it in the world, we need to put our noses to the grindstone (there’s that creeping Republicanism showing its face) and work harder, respect property rights, and push democratic values. He even concludes that a little economic privation never hurt anyone–heck, the Great Depression even taught America a few lessons about Keynesian theory, he says.

Of course, that glib statement fails to take into account the abject poverty and suffering that swept both urban and rural communities.

O’Rourke’s conclusion: “Everybody in the world could be rich as hell.” Uh huh, if we all had fat book contracts.

From the October 29-November 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Eclectic Theater Festival

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Alt Acts

Raw talent: Jereme Anglin and Jennifer Hirst star as Romeo and Juliet in The R&J Project at the Cinnabar Theater’s Eclectic Theater Festival.

Eclectic Theater Festival offers wide range of talent

By Patrick Sullivan

SLAPSTICK MIMES, provocative new takes on Shakespeare, tragicomic vaudeville, and a confessional monologue about being a middle-aged heterosexual male: Just what the heck is going on at the Cinnabar Theater? The five productions about to hit the stage at the venerable Petaluma playhouse clearly aren’t the sort you see every day.

But you can see them every year, thanks to the annual Eclectic Theater Festival, which begins its third installment on Nov. 5. The brainchild of Cinnabar’s Lucas McClure, the festival has one overriding goal–to avoid the ordinary.

“My philosophy is that there’s no real reason to do it here if it’s already being done somewhere else,” says McClure. “That’s really my only stipulation: It needs to be an original work, or a classic presented in a new light, a reinterpreted work.”

The wild ride began three years ago when McClure was looking for a place to perform a newly completed theater piece. He rented out the Cinnabar for a weekend, and then discovered that the physical comedy duo Evans and Gianotta were also interested in performing locally. McClure brought the duo on board, and the newly christened Eclectic Theater Festival was born to a small but enthusiastic reception. Year Two saw more acts and bigger crowds. Now the Cinnabar itself has gotten in on the act, co-producing this year’s event with McClure, who has also become the theater’s publicist.

More than mere diversity packs theater seats during the month-long event. The festival attracts a bevy of big-name talents who keep coming back for more. Repeat performers this year include such notables as Evans and Giannotta, off-the-wall “Kipper Kid” Brian Routh, and award-winning New York actor and monologist Jan Munroe. What brings these folks to Sonoma County? McClure says the Cinnabar’s unique atmosphere plays a part.

“They love the theater,” McClure says. “Virtually anyone who comes here feels this ambiance. It’s hard to put your finger on it. There’s an energy, a feeling that Cinnabar has that is magical.”

According to the performers themselves, the festival is a good opportunity to test-drive new pieces. For some, it even serves as a creative kick in the pants.

“I’m always looking for a reason to do new work,” says Jan Munroe, speaking in his made-for-the-stage gravelly voice from his mother’s home in Florida. “But I’m the type of artist who really needs a date to complete something. … The festival is a chance to kind of test things out.”

Munroe’s long career is a study in diversity: He trained with French mime artist Marcel Marceau, moved into off-the-wall performance art in Los Angeles with the Mystic Knights of the Oingo Boingo (other members of which later formed the band Oingo Boingo), went on to win 11 L.A. Weekly and Drama-Logue awards, and has appeared in such films as The Grifters and A Few Good Men.

Festival schedule.

Of late, Munroe has been making his mark with personal monologues, such as his award-winning Nothing Human Disgusts Me, a piece about family dynamics that he performed last year at the Eclectic Theater Festival. He says one-person shows are a tricky but rewarding art form.

“Let’s face it: There’s no one out there but you, and you’re the one who’s going to look like a total idiot if it goes wrong,” he says with a deep chuckle. “You don’t have any fellow cast members to fall back on if you forget your lines or something. It can be a very frightening thing to have to do. I think most actors should do one, though, just to have gone through that experience.”

Munroe will soon be winging his way back to Petaluma to give festival audiences the first look at the latest version of his new piece, a humorous take on the aging process called Confessions of a Middle-Aged, White, Heterosexual Male (Just the High Points).

“It’s a joke title in a way,” says Munroe. “Everybody’s doing a confession of this and a confession of that, and I just wanted to play on that. Ultimately we’re all dealing with the same human conditions, no matter what people’s choices are as far as their lifestyle goes.”

Of course, not all the acts at the Eclectic Theater Festival are from out of town. The local newcomer is The R&J Project, a new spin on Romeo and Juliet. Director Jennifer Hirst (who also plays Juliet) has seen dozens of productions of the famous Shakespearean tragedy. To Hirst, a former ballet dancer, there was something missing in many of them.

“Quite often I’ve seen this play staged and Romeo and Juliet barely look at each other–they never even touch,” says Hirst. “I just said, ‘Wait a minute, that’s not right.'”

So she decided to bring a new focus to the classic love story by concentrating on the movement of the characters. Audiences shouldn’t expect to see ballet; the production simply uses movement to highlight the character’s emotions and interactions.

“I’m trying to get those relationships to become more clear, more solid,” Hirst says. “Sometimes I feel we get lost in the words. They are very beautiful words, but we need to see the relationships too.”

The play’s cast includes both actors with no dance experience and professional dancers, and Hirst credits her players for their openness to this new take on the theatrical standard. But will audiences be as flexible? How will Shakespeare buffs respond to a one-hour version of the three-hour play?

“Gee, I would love to know that,” Hirst says with a laugh. “I think if you’re a traditional Shakespeare buff and you’re waiting for this line or this character, you may be disappointed. But this is a new way of telling the story, of telling it efficiently, without a character delivering a page and a half of monologue. … We get to know these people very briefly, and then the candle blows out.”

If The R&J Project is provocative, then the other festival piece that focuses on the Bard is positively scandalous. In a last-minute addition to the event, English actor Rob Clare, formerly with the Royal Shakespeare Company, will perform his piece Aye, Shakespeare! The play is about Edward de Vere, the 17th Earl of Oxford, who some believe was the real author of Shakespeare’s plays.

Festival organizer McClure says Clare’s arrival this year in Sonoma County is a happy accident resulting from a nearby performance. But the festival’s pull is strong, and the English actor has already agreed to return in ’99 to do a Sam Shepard piece.

Those aren’t the only plans McClure has for next year’s festival. He also hopes to do Samuel Beckett’s End Game, and he invites community participation as well. The appetite for challenging theater is strong, he says, and he thinks it’s growing.

“It’s a small but loyal crowd right now,” McClure says. “But we’re hoping to branch out and bring in new audiences and let people know that this is happening right here in their back yard. They don’t have to go to the city–you can see world-class theater right here.”

From the October 29-November 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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[ | ]

Spell Bound

By David Templeton

For over five years, writer David Templeton has been taking interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This week, he conjures up a rendezvous with Wiccan High Priestess Phyllis Curott, to see Practical Magic, the new movie about love, sisterhood–and witchcraft.

“Well, I think it’s time for some practical magic,” declares Phyllis Curott, matter-of-factly. She’s referring not only to the new film Practical Magic–almost 25 minutes late owing to technical problems in the projection room–but also to … well, to actual magic.

Phyllis Curott, you see, is a witch. And at this moment, a bit of witchcraft could do nothing but help.

The true meaning of “witchcraft,” according to Curott and thousands of other modern day Wiccans–i.e., followers of the ancient pre-Christian religion of the Goddess–has nothing to do with the occult or the supernatural, and everything to do with connecting: establishing an intuitive link between all involved–animal, vegetable, or mineral–and filling that connective channel with a blast of positive, healing energy.

Or something. Frankly, I’m still working out the specifics.

While I do that, Curott–a successful East Coast lawyer who once fought the city of New York (successfully) to allow Wiccan “clergy” to perform legal marriages–leans casually back in her seat, closes her eyes, takes a deep breath–and lets it s-l-o-w-l-y out. She opens her eyes and flashes a bright, buoyant grin; 90 seconds later, the movie begins.

Just like magic.

Based on the novel by Alice Hoffman, the film stars Sandra Bullock and Nicole Kidman as Sally and Gillian Owens, two sisters who–like generations of Owens women before them–are witches. There is plenty of magic afoot, though the far subtler magic of the book is often intruded upon by noisy special effects and horror-show theatrics.

And even though it perpetuates some of the myths that have plagued Wiccans since the Catholic Church declared war on the Old Religion in the Middle Ages–witches are genetically unique beings able to pass their powers on from mother to daughter; witches dabble in zombie-making and the occasional animal sacrifice–the film does make some giant strides away from the hackneyed notion of witches as dangerous, child-devouring, Satan worshipers. The Owens women, while undeniably eccentric, like the marvelously offbeat aunts played by Diane Wiest and Stockard Channing, are clearly a force of goodness in the world; a family whose greatest power is their love of life–and of one another.

“I swear, some people are very disappointed when I tell them that witches are not evil and we don’t cast spells on people,” Curott laughs, bounding along the sidewalk in search of lunch after the movie. “People really want to believe that we have those powers. They want to be scared.”

Spying a nearby bookstore, we abruptly change course and go inside. Curott wants to see if they carry her brand-new memoir, Book of Shadows: A Modern Woman’s Journey into the Wisdom of Witchcraft and the Magic of the Goddess.

They have the book.

“Eight copies!” she sings, and gleefully offers to autograph each one. “It’s my first book,” she tells the manager. “I get excited every time I see a stack of them in a store.”

“Well then,” he replies, “we’ll have to make sure these are displayed out in the open.”

Grinning, she glances over at me and mouths the word “magic.”

Book of Shadows is a first-person account of Curott’s journey from skeptical rationalist to goddess-worshipping witch (she’s now a high priestess and president emerita of the oldest and largest organization of Wiccans in the world). It’s an emotionally satisfying, riveting read, arguably the best–certainly the most unusual–memoir of the year. One might even be tempted to call it “bewitching.” Which brings us to the subject of …

Bewitched,” Curott laughs, after we’re seated and food has been summoned. “We can’t underestimate the influence of that show. Goddess spirituality is currently the fastest-growing movement in the United States. And I swear it’s in some measure due to the fact that we were all sitting around when we were 8 years old watching Bewitched and going, ‘If I had those powers I wouldn’t let Darrin keep me in the broom closet.’

As for Practical Magic, “It wasn’t bad,” Curott pronounces. ” It’s a love story, and love is the greatest magic. There was absolutely no discussion of the goddess, of course, but there was some truthful magic in the film. That wonderful scene where the two sisters are lying in bed, and they have that conversation, and Nicole is looking at Sandra, whose eyes are closed, and she mouths the words, ‘I love you’–and Sandra, with her eyes still closed, says, ‘I love you too, Jellybean.’

“That’s magic. That’s how it works. It’s a heightened sensitivity to the connection between people.”

Doesn’t sound scary at all.

“In fact, it’s necessary,” she goes on. “I really believe we have tremendous wisdom to offer. Right now the earth is in trouble because of the abuse humanity has heaped upon it–but our religion understands that the planet is sacred, that it’s the embodiment of the divine. One could make the point that Wiccan practices are almost critical to the survival of the planet.

“There’s a reason that there’s been such a powerful rebirth of Goddess spirituality, and a return to indigenous traditions. It’s like the Wiccans are standing at the edge of a cliff, with technology pushing everyone closer and closer to the edge, and we’re saying, ‘Go back. Go back.’

“The politicians can’t make up their mind how to save us,” she concludes. “The religious leaders can’t save us, because they’re working out of the old patriarchal models that brought us here in the first place.

“What we do helps you feel the sacred in your bones, to experience the sacred in yourself, to experience the world. And once you’ve made that connection, everything shifts and flows from there. It’s the magical moment in which everything–everything–changes.”

Back outside, retracing our steps past the bookstore, we can’t resist taking a peek inside to see if any of the books had been discovered while we ate lunch. There are now six copies; the store sold two in the last 45 minutes. Curott all but dances on the sidewalk. “This is so exciting!” she laughs.

She doesn’t say it’s magic, this time.

But we both know it is.

Web extra to the October 29-November 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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