16 Horsepower

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Revved Up


Michael Amsler

Four Horsemen of the Rockalypse: 16 Horsepower

16 Horsepower: Christian rock that even a sinner can love

By Gina Arnold

REMEMBER the old saw “What do you get if you play a country and western song backward?” The answer: “You get your wife back, you get your house back, you get your dog back, and so on”–the joke being a play on country music’s reputation for being a self-pitying litany of cornier-than-thou woes.

But if country music is associated with syrupy sentimentality, it is also a rich field for exactly the opposite sensation. It is, as Nick Tosches writes in his wonderful book Country, “aflash with images of sex, violence, and redneck existentialism.”

As Tosches indicates, there is a whole school of thought whereby a certain strain of folk, country, and rockabilly music–far less popular, but much more convincing than the stuff coming out of Nashville–is the most menacing art form around.

Jerry Lee Lewis is, of course, the mother of this line of country. Australian punk rocker Nick Cave’s twisted take on American country is equally awash with folksy roots and scary biblical references. The Afghan Whigs, the Rev. Horton Heat, and even Bruce Springsteen all see the inherent irony of rock music being used to speak on godly subjects–an irony they all play on to a greater or lesser degree.

16 Horsepower is the latest great American act to deliver up folk-tinged alternative country-rock with a very, very, damaged core, as evidenced on the band’s newly released Low Estate (A&M).

This is picking and a grinning with a vengeance; the mandolin never sounded quite so mean as it does on “Brimstone Rock,” the opening track. The song begins with singer David Eugene Edwards yelping, “Listen closely to me now my darlin’ girl/ There’s one who’s out to have you an jus’ his breath will burn your curls.”

That “one” is, of course, the devil, a character who stars in many of 16 Horsepower’s songs. Even the title of the album comes from the Bible (“Set not your mind on high things but condescend to men of low estate, and be not wise in your own conceits”).

But make no mistake. The band’s allegiance to country is a conceit, and the use of words like “kin” and “ain’t” is highly calculated. Although the band is based in Denver, two of its members, drummer Jean-Yves Tola and bassist Pascal Humbert, are actually French. This geographical fact may account for the band’s powerfully imaginative take on Americana. Europeans are often fascinated by the Bible belt’s harsh view of Christianity, and Low Estate is very, very Flannery O’Connor: literary, eerie, steeped in the idea of the failings of religion.

Perhaps to add to its mystique, the record was recorded on a Lousiana plantation. Don’t tell these guys that most Americans live in condos and housing estates and have long since given up Bible-thumping for The X-Files and Oprah–they do not want to know.

SONICALLY, 16 Horsepower is a pleasingly scary-sounding outfit, full of furiously vitriolic melodies and startling imagery. Edwards’ voice is weird and jumpy, very close in spirit and timbre to that of the Ass Ponies’ Chuck Cleaver; moreover, Edwards neatly mixes biblical words like “ye,” “hath,” and “beseech” with redneck vernacular, delivering lines like “that little Jesus freak needed a good ass clockin'” with great effect.

The only thing is, “effect” is the right word for it, because despite 16 Horsepower’s hickoid instrumentation and folksy tempos, Low Estate has about as much in common with both folk and the kind of Nashville country characterized by Reba McEntire and Garth Brooks as ska, punk, or opera.

Instead, songs like “Sac of Religion,” “Ditch Digger,” and “Black Lung” are rocked up and stylized, thoroughly intellectualized takes on the topic of the contradictory nature of religion. But they are no less enjoyable for that.

Indeed, 16 Horsepower’s point of view isn’t unique, nor is the band going to shake the souls of either the believers or the unbelievers among us. But the group’s music is certainly far better done, more sincere, and more convincing than many an act that purports to take God’s name in vain.

Unlike Marilyn Manson, 16 Horsepower at least has a soul to lose.

From the February 26-March 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Women and Their Worlds

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Women’s Work


Michael Amsler

… Is Never Done: Studio Be founder Lennie Dean honors women playwrights.

Series showcases female playwrights

By Daedalus Howell

IN HIS BOOK A Brief History of Time, physicist Stephen J. Hawking relates an apocryphal story about a lecturer heckled by an elderly woman during an address on cosmology. Apparently the dowager decried the lecturer’s observations on the physical universe and the earth’s place in it as “rubbish” and then offered her own vivid philosophy: “The world is really a flat plate supported on the back of a giant tortoise.”

When the bemused speaker queried, “What supports the tortoise?” the woman sagely replied, “It’s turtles all the way down.”

Likewise, inspired by national observation of Women’s History Month, in March, the worlds of two local theater companies–Actors’ Theatre and Studio Be–will collide in a collaboration that, cosmologically speaking, is women all the way down.

Next month, the troupes present their staged-reading series Women and Their Worlds –five plays written, directed, performed, and sponsored by local women. The series is one of several prospective partnerships between Actors’ Theatre and Studio Be–and the latter’s first production since relinquishing its cramped quarters in Santa Rosa’s Lincoln Arts Center (Studio Be is refuged at AT’s Luther Burbank Performing Arts Center digs).

Among sundry points of concordance between the two is their decision to preserve Studio Be’s long-established staged-reading program at the new Actors’ Theatre location. With the March observance of women’s contributions imminent, the series’ theme was an apropos selection, as the observance (originally Women’s History week) was created by Sonoma County progressives 20 years ago.

Devising the lineup of Women and Their Worlds proved revelatory for Actors’ Theatre director Lennie Dean, as she foraged through the annals of plays by women long suppressed by a constituency of male critics and historians. She cites influential early-20th-century critic Brander Matthews’ comments as indicative of the once prevailing perception of women dramatists: “[Women] lack the inexhaustible fund of information about life which is the common property of men,” he states. “Female storytellers not only lack largesse in topic but also lack a strictness in treatment. Deficient in scientific imagination, women are constitutionally unable to draw plans and execute them.”

Throughout the series, such attitudes will be explicated during pre-show talks conducted by Dean and further explored in post-show discussions led by the directors.

“At [a theater bookstore] in San Francisco, I picked up a collection of plays written by women I had never heard of before,” recalls Dean. “I began to read these plays and felt so ignorant. In 30 years of doing theater, I had never heard of some of these women.”

Roused and inspired, Dean molded the series to reflect women’s contributions to theater throughout the 20th century. Included in the production is a play by the all-but-canonized Lillian Hellman (Children’s Hour, 1934), as well as historically overlooked dramatists Amelia Rosselli (Her Soul, 1898) and Elizabeth Robins (Votes for Women, 1907).

“These plays are really stunning, they’re incredible. There are so many that I didn’t choose that I can’t wait to do for next year. I’m just thrilled at how many plays there are that are so good,” Dean avers.

Behind the scenes, Dean and Thompson have enlisted local stagecraft veterans to helm each reading. Mary Gannon, Danielle Cain, Maureen Studer, and Sheri Lee Miller each direct, as does Dean with playwright Tina Howe’s Birth and After Birth.

“She’s an absurdist at heart. She was trained in Paris, she knew Ionesco–that’s where her love and life live,” Dean says of the prolific Howe, often maligned by a predominantly male theater establishment for her experimental forays. “The first plays that she did were accepted off-off Broadway, but as she moved closer to Broadway she got slammed because ‘it’s not OK for a pretty woman from Boston to write this absurdist stuff.'”

ACTOR’S THEATRE alumna Miller closes the series with her interpretation of Paula Vogel’s How I Learned to Drive, a seriocomic portrait of a woman’s persistent memory of sexual abuse and driver’s ed. The play was a bombshell for Dean.

“I read that play and it affected me so much I wept,” Dean says. “I was so moved by how well constructed it is and how [Vogel] deals with these very sensitive subjects in the most profound way.”

Dean has every intention of parlaying Women and Their Worlds into an annual affair. Dean and Thompson have even bandied the possibility of bringing distinguished female playwrights to next year’s event as well as showcasing more talented women from the county. “Several other people have said, ‘I’d like to contribute.’ I said, ‘Wait–we’ve got big plans for next year,'” says Dean. “This is an appetizer to a great feast. It’s just going to grow and grow and grow.”

Women and Their Worlds

EACH EVENT in this month-long series of Sunday evening staged readings (there are no costumes or sets) begins at 6 p.m. with a director’s discussion of the featured playwright. A post-play discussion follows.

March 1: Her Soul by Amelia Rosselli (1898); directed by Mary Gannon
March 8: Votes for Women by Elizabeth Robin (1907); directed by Danielle Cain
March 15: The Children’s Hour by Lillian Hellman (1934); directed by Maureen Studer
March 22: Birth and After Birth by Tina Howe (1974); directed by Lennie Dean
March 29: How I Learned to Drive by Paula Vogel (1996); directed by Sheri Lee Miller

All shows at Actors’ Theatre, at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Suggested donations are $3-$5. Call 523-3544.

From the February 26-March 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Alleged Police Brutality

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Great Divide


Michael Amsler

On the Agenda: Tanya Brannan of the Purple Berets, left, Steven Campbell of the Homeless Coalition, and Karen Saari of the October 22 Coalition testified before the U.S. Commission on Civil Rights last week about alleged police brutality.

Aftermath of civil rights hearing: Now what?

By Paula Harris

WHILE the U.S. Commission on Civil Rights report on alleged local police brutality isn’t due for six months, some who attended a daylong hearing last week that underscored the division between police and social justice advocates are working with renewed vigor to bridge the gap between the two sides.

“In order to move forward, we have to find some middle ground and begin hearing each other,” says Elizabeth Anderson, director of the Sonoma County Center for Peace and Justice. The center’s board of directors met Monday night and renewed their determination not only to advocate for civilian police review boards, but also to initiate discussions in each city about police-community relations. “We need to begin to identify what we can do.

“We’re on the right track–the community just needs to keep building on what’s been started.”

In the wake of last week’s civil rights hearing, which examined police policies and procedures that may have contributed to between eight and 11 police-involved deaths in the county in the past two years, issues now being explored include looking at how other communities have handled similar police-community relations issues, Anderson says. “We don’t need to reinvent the wheel,” she says, adding that if the county needs to bring in outside experts, it should do so. Also, she adds, local law-enforcement agencies could start additional cultural sensitivity training immediately, without waiting for the U.S. Commission on Civil Rights report. “We don’t have to sit on our hands.”

Sonoma County Human Rights Commissioner June Moes is hopeful that better understanding can be achieved during an upcoming Human Rights Commission forum. The commissioners (six of whom attended the state and federal hearing) all agree that steps must be taken to mend the split between community members and law enforcement officials. “Obviously, we need dialogue, and my hope is that the commission can pick up the ball and run with it,” says Moes, stressing that the county commission is not anti-law enforcement. Of the 13 commission members, two are Santa Rosa police officers and another is a retired law-enforcement official.

Both Anderson and Judith Volkart of the American Civil Liberties Union of Sonoma County stress the need for local government to become more involved in the debate over police practices. The women had sent personal invitations to all city council members and Sonoma County supervisors to attend last week’s hearing. “The agenda now needs to be set by local communities,” says Volkart. “Each of the communities needs to begin looking at policies, procedures, and hiring practices of local law enforcement that will reflect community values while still preserving the safety of officers.”

MEANWHILE, Volkart is concerned by the tone of law enforcement officials–many of whom have complained that statements made to the panel were “distorted”–during and after the hearings, and worries that it may be tough to re-establish talks. “It sounds like they are locking the door and shutting us out,” she says. “They don’t seem eager or even willing to have discussions.

“But the best weapon police can have is their community’s confidence.”

Law enforcement officials contacted for this article did not return calls this week.

Others encourage the ongoing attempt to foster communication. Don Casimere, a former Berkeley police sergeant who for the past 14 years has worked on civilian police review for the Richmond Police Commission, believes “citizens can objectively and fairly impact police services.”

Casimere was part of a panel of police procedure experts who testified at the Feb. 20 civil rights hearing.

This week, Casimere said both law enforcement officials and the community have work to do in building better understanding between local police and community members and overcoming barriers to communication to restore confidence and improve relationships between the various factions.

“There needs to be further dialogue,” he says. “It doesn’t need to stop because the commission is no longer in town.”

City and county government should take some responsibility for further talks, he adds, so that not all the burden falls on community groups.

“It’s not police against the community or the community against the police. I’d think enlightened police executives would welcome citizens’ advice on community matters and not be intimidated or angered by input,” Casimere says. “It doesn’t have to be either hard-nose enforcement or community policing. Police are charged with enforcing laws, but there has to be a balance, with police officers providing services to the public that people are entitled to.

“We’re talking about bringing the ‘them’ and ‘us’ together to make ‘we’–a community.”

ALL IN ALL, committee members were perplexed by the tenseness in the room and the level of hostility and outrage in Sonoma County. “I’ve never seen such an intensity of interest and a ‘them’ and ‘us’ attitude,” said U.S. Commission on Civil Rights Vice Co-Chair Cruz Reynoso, a former California Supreme Court justice.

He scanned the packed room and pointed to the symbolic yellow badges worn by some as an example of the divisiveness.

“There’s something here not completely healthy.”

During their presentation, Police Chiefs Mike Dunbaugh and Patrick Rooney and Sheriff Jim Piccinini reeled off lengthy lists of their departments’ accomplishments.

“Congratulations on the public service activities, but the reason we’re here today is to discuss policies and procedures,” State Civil Rights Advisory Committee member Dena Spanos-Hawkey reminded them. “I live in Los Angeles and when you top us that’s pretty incredible.”

However, Piccinini said the committee was “being misled by specialinterest groups.” Not so, said Volkart. “It’s not a few fringe elements and activists,” she told the civil rights panel, adding that some factions who are concerned that police seem to be refusing to give up investigative control to the community are not “anti-law enforcement.”

From the February 26-March 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Fornigate, Part II

By Bob Harris

HERE’S SOMETHING unexpected: Bill Clinton’s recent troubles may have diminished him in the eyes of some Americans, but opinion polls show that most of us actually couldn’t care less. Even though most think he hasn’t been entirely honest, Clinton’s approval rating is at an all-time high. What exactly does that mean?

Looking more closely, the polls also show that Clinton’s numbers went down only while his denials were carefully worded. “The charges I have seen are untrue” certainly sounds like there might be something we don’t know yet. However, once his denials became absolute, the approval ratings began to increase, rising dramatically after a State of the Union address that refused even to acknowledge the scandal’s existence.

The number of people who believe that illicit sex took place has remained fairly stable. So Clinton hasn’t changed anybody’s mind, though he has changed how they feel about what they think. The only logical conclusion: we really don’t mind when politicians lie. The only thing we do mind is when they do it unconvincingly.

Nixon, for example, was popular when he lied confidently. Look at the old newsreels. In the 1950s, he seemed to truly believe his congressional opponents were communist fellow travelers. Boom, bang, instant VP. But later on–about the time he claimed to have a “secret plan” to end the war in Vietnam (when in fact some of his aides were actually trying to derail peace talks)–he seemed to believe his own baloney less and less. Watch his face. By the time of the resignation speech, you could see in his eyes that even he knew there was hardly any point in pretending anymore. And so off to San Clemente he went.

JFK, on the other hand, was terrific. In the 1960 debates, Kennedy accused Nixon of being soft on Cuba, knowing full well (having earlier received a CIA briefing himself) that Vice President Nixon was in the loop on the CIA’s secret anti-Castro programs. No way could Nixon respond–hey, here, look at all this secret stuff we’re doing–so JFK nailed Nixon with a false charge, looked good doing it, and we’ve loved him ever since.

(That said, the current cottage industry in linking Kennedy to Marilyn Monroe, Sam Giancana, the Sasquatch, and assorted other sordid trysts isn’t to be trusted, either. If you follow the footnotes on these claims closely, you’ll find that they’re mostly facile repetitions of never-proven charges made 30 years ago and claims of “witnesses” like Judith Campbell Exner, whose stories grow larger and more detailed as years pass–precisely the opposite of genuine human recollections. However, following footnotes isn’t something many writers often do.

Similarly, virtually no evidence other than her say-so exists to support Monica Lewinsky’s story, but the press and public continue to act is if everything has already been proven.

Fair enough. Clinton wanted to be just like JFK; he’s finally getting the rest of his wish. If Hillary ever wears a pink pillbox hat, the first thing Bill should do is duck.

Ronald Reagan? Same deal: He could look us right in the eye and claim that 80 percent of air pollution came from trees, that Jimmy Carter never debated Gerald Ford, or that Grenada was a threat to national security–and say it all with such sincerity that it had to be true. Sure, Trident nuclear missiles can be recalled after launch. Sure, the Panama Canal Zone is U.S. soil. Sure, the Contras were the moral equivalent of our Founding Fathers. Sure, the congressional ban on aid to the Contras was never intended to apply to something like, oh, aid to the Contras. …

We loved that lying buffoon so much we’ve renamed Washington National Airport after him.

George Bush broke records for popularity during the Gulf War, when misplaced patriotism allowed him to lie with absolute confidence: Kuwait was a democracy; the U.N. coalition was more than a fig leaf for U.S. policy; Iraqis really ripped babies from incubators; smart bombs and stealth airplanes really work; and the war wasn’t ultimately about oil. We tied ribbons and sang songs and gave people dirty looks if they didn’t play along.

But Bush lost our confidence when he lost his own. He never really seemed to believe that the tax hike he approved wasn’t really a reversal of his “read my lips” pledge; that the best way to create jobs is by cutting the tax on capital gains; or that Dan Quayle was actually qualified for the job. And so off to the golf course he went.

This preference for leaders who can (a) tell us what we want to hear, even if it’s illogical or just plain false, and then (b) seem to be speaking the truth, even when we’re already certain they’re being dishonest, might explain why voters reward not the clearest thinkers but the most delusional.

So what the latest polls actually reveal isn’t anything unique. All it means is that we’ve decided that Clinton is officially in the major leagues. We don’t actually believe what he’s saying is true, but he says it so convincingly that we like having him as our leader.

Which leads me to make you this promise: From this day forward, I promise that I will lie to you on a regular basis. But I also promise to do my personal best to make sure you feel good about the way I do it.

It’s the least I can do to earn your trust.

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Mixed Bag


Counter Balance: Singer/songwriter Beth Orton yearns.

Sonny, Louis, Goldie, and Beth

Louis Armstrong
Master of Jazz, Live in Chicago, 1962
(Storyville/Mobile Fidelity)

Sonny Stitt
Just in Case You Forgot How Bad He Really Was
(32 Jazz)

HERE IS A HOT PAIR of previously unreleased live dates from two radically different but totally engaging artists. Trumpeter Louis Armstrong wasn’t exactly setting the world on fire when he recorded this sizzling set of Dixie-influenced jazz. Kennedy was in the White House, Camelot was in full swing, and Satchmo still had three years to go before his commercial career reignited with the pop hit “Hello Dolly,” which blew the Beatles off the top of the charts. Still, Armstrong was a master of electrifying Dixieland swing, uptempo rags, and Southern blues ballads–and he’s in top form on this gold-plated audiophile release from the Sebastopol-based Mobile Fidelity label.

On the other hand, reedman Sonny Stitt never got his due, and his talents were seldom showcased properly on wax. But this badass CD culled from a long-lost recording of a 1981 live date–taped just months before his untimely death–from the now-defunct Keystone Korner in San Francisco shows just how visceral Stitt could be on alto or tenor sax. This is authoritative jamming at its best from this former Miles Davis sideman. It’s also a fitting tribute to the long-gone tradition of jazz at North Beach clubs, where giants of the genre like Miles Davis and Thelonious Monk would carouse in the wee hours. Billed as a bebop summit, this essential recording features Stitt, alto saxophonist Richie Cole (a longtime fixture on the Sonoma County jazz scene), tenor and alto saxophonist John Handy, pianist Cedar Walton, vibist Bobbie Hutcherson, drummer Billy Higgins, and bassist Herbie Lewis. All these musicians are underrated; captured in their prime, they now come across as something of a dream team. Not to be missed.
GREG CAHILL

Beth Orton
Trailer Park
(Dedicated)

THIS IS A FINE late 1997 sleeper. The British singer/songwriter is best known in the pop music world as the lone human voice to appear on the Chemical Brothers’ techno powerhouse Dig Your Own Hole. Her own disc is nothing like techno, but instead occupies a strange space between folk-rock and dreamy ambiance. The triumph here is production: Orton isn’t a stunning writer or vocalist, but her achingly cool homeliness seems naturally suited to this tasteful blurring of Celtic-tinged Euro-pop, lo-fi alterna-lounge, electro-whimsy, and old-school song craft. Acoustic touches from violin and cello effect a sparse edginess that creates definition within the dreaminess. Yet the spaciness belies a solid and consistent emotional grounding. In short, this is the record Sarah McLachlan could make if she wasn’t so full of her own hipness–a perfectly modern piece of yearning, rainy-day romanticism.
KARL BYRN

Goldie
Saturnzreturn
(Full Frequency Range Recordings)

BRITISH TECHNO producer Goldie’s ambitiously grand 1995 disc Timeless is a benchmark of the drum ‘n’ bass subgenre. His double disc follow-up, Saturnzreturn, sinks under more hollow ambitions. The first disc is a 50-minute pseudo-symphony called “Mother.” It starts with seven minutes of sound effects appropriate to the boiler-room scenes in Titanic and then takes another 20 minutes to even start moving. “Mother” is superficially cerebral, and its droning vocals indicate that Goldie is aspiring to create a classical work in the vein of Polish composer Henri Gorecki’s trendy Symphony No. 3 (which is, unfortunately, already pretty boring itself). After this grueling exercise in dullness, it’s impossible to feel motivated by the livelier and more colorful second disc, which nods to soul, jazz, and punk, and features a cameo by veteran rapper KRS-1. Even on this disc, Goldie still mistakes mere swooshes, bleeps, and clatters for substance. He could benefit from simplifying his art, but Saturnzreturn reveals that his ideas are thin in the first place.
K.B.

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Civilian Police Review Boards

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Deadly Force


Michael Amsler

Mad as Hell: Copwatch organizer Jeff Ott is calling for an independent probe into 8 recent police-involved killings in the county–an unprecedented number. But a civil rights panel formed after the shooting last year of Kuan Kao, pictured on the right, by a Rohnert Park police officer will review only deadly-force policies.

Forum on police-involved deaths sparks hot emotions

By Paula Harris

T HERE’S DEFINITELY a lack of mutual communication and respect,” says community activist and Copwatch organizer Jeff Ott when asked to sum up the state of relations between local law-enforcement officials and social justice groups in the county.

At this point, that strained relationship has become even more awkward as the much-anticipated public hearing by the U.S. Commission on Civil Rights–which has been reviewing eight local police-involved deaths in the past two years–approaches on a swirl of allegations from those on both sides of the issue.

That hearing was prompted by the April 29 shooting of Kuan Chung Kao, 33, by Rohnert Park Police Officer Jack Shields in a late-night incident that drew national media attention and sparked charges by community activists that the killing was racially motivated.

No one knows quite what to expect from the upcoming hearing, but it’s drawing mixed feelings.

By all accounts, the Feb. 20 hearing will be a vastly toned-down version of what the commission had originally conceived. Instead of a joint forum convened equally by state and federal officials, 11 of the commission’s 16-member State Advisory Committee will preside over the meeting, with the feds announcing last week that they will take a diminished role. In addition, the commission has reversed its decision to subpoena witnesses after objections from law enforcement officials led to a letter of protest from Santa Rosa Police Chief Mike Dunbaugh.

Dunbaugh asked the commission to reconsider its involvement because of the concerns of officers who had already been cleared of any wrongdoing in the cases. “Some people have gone through multiple layers of review and have been exonerated and vindicated,” he says. “They’ve been wondering the whole time if they are going to have to go through this again.”

He and other officials will attend voluntarily, Dunbaugh says, adding that he has not yet been informed about the meeting’s agenda or format.

Tom Pilla, a civil rights analyst for the U.S. Commission on Civil Rights, says the forum will include an open session at which individuals can discuss law enforcement policies, practices, and procedures. Within several months, the committee will distribute a report and make recommendations to the U.S. Justice Department. The White House also gets a copy.

“This is going to be a starting point,” says Victor Hwang, a civil rights attorney with the Asian Law Caucus who has been critical of the handling of the Kao case. “We’re not going to solve community issues without open dialogue. The good thing [about the forum] is the recognition of how serious a problem this is. After the forum, it will be up to local folks and law enforcement to work together to build some long-term solutions.”

Mary Frances Berry, chairperson of the U.S. Commission of Civil Rights, has emphasized that the hearing will not focus on individual cases of alleged police brutality. That is upsetting to some victims’ families who say they want impartial, independent investigations. The cases already have gone through internal affairs investigations and, in some instances, through a review by the Sonoma County District Attorney’s Office. All the officers involved in the incidents have been cleared.

It appears that the only outside review of the cases most likely will take place in the civil courts, where there are several wrongful-death lawsuits pending over the police-involved deaths, including a $50 million suit filed last week by Kao’s widow, Ayling Wu, against Rohnert Park officials.

“We’re stuck with the court process, which should be the last resort, but in Sonoma County it seems to be the only resort for these sorts of questions,” says John Crew, director of the Police Practices Project for the ACLU of Northern California.

Still, he believes the upcoming forum will provide “a powerful outside analysis” of the deadly-force policies of the police in the county. “We’ve had too much secrecy about police policies, practices, and procedures in Sonoma County,” he says. “If flaws are identified, the forum can encourage reform. If there are no flaws but some misunderstandings, the forum can help correct or explain them.”


Michael Amsler

Under Review: Santa Rosa Police Chief Mike Dunbaugh says he is willing to consider civilian police review boards–if they’re handled correctly.

NOT EVERYONE AGREES. Some critics charge that local police have engaged in cover-ups, and fear that law enforcement officials are holding themselves above the law. “These people are playing judge, jury, and executioner,” laments Darlene Grainger, the twin sister of Dale Robbins, 40, a local man who was shot dead in the lobby of the Santa Rosa Police Department in January 1996 after allegedly wielding a metal steering-wheel club lock at officers. A federal judge subsequently cleared the officer involved in the shooting, but a Sonoma County grand jury report criticized the department’s own internal investigation of the case.

Dunbaugh says the countywide protocol of investigations is currently being rewritten.

Grainger alleges, however, that questions surrounding the circumstances of her brother’s death have never been answered.

The string of officer-involved deaths of eight men in a two-year period began just days after the March 29, 1995, execution-style shotgun slaying of popular Sonoma County Sheriff’s Deputy Frank Trejo, 58, by state parolee Robert Scully, 38. Trejo was the first officer killed in the line of duty in the county in 20 years, and his murder caused some to speculate about police now having a “payback” motive.

“I don’t think there is a pattern–it would be a mistake to make that allegation,” responds Dunbaugh. “What needs to be looked at is that officers are confronted more often in dangerous situations, so if there’s an increase of those situations, then there’s an increase in the use of force to counteract this. The job is much more complicated and riskier. Officers are confronted weekly with people who want to hurt them.”

The Santa Rosa Police Department hires just one out of every 100 candidates tested, he says. “We do a good job of screening people who want to do this job for the wrong reasons.”

A Sept. 17-23 edition of the SF Weekly noted that statistics show that “police in bucolic Santa Rosa kill more citizens per capita than cops in crime-ridden cities like San Francisco and New York.” But Dunbaugh says the stats don’t support the notion that there are more officer-involved shootings of late. “In the last five years in Santa Rosa, there were seven shootings, but there were 11 the five years before that,” he observes.

As for the criticism, Dunbaugh contends that most of the public support the police. He insists that such local activists as the Purple Berets and Copwatch–which have been highly critical of local law enforcement’s actions–are trying to alter that perception.

“[These groups] have every right to have a point of view and be involved in social issues,” he says, “but there are some misrepresentations and what appears to be a strong political agenda overriding senses of good judgment and honesty.”

DURING THE FALL, a coalition of law enforcement officials and local community groups met to iron out their differences. Talks broke down in November after two surprise announcements by law enforcement officials: a county grand jury would design a new review policy to examine all future officer-involved deaths, and plans were under way to create a new civilian police review panel to study police procedures, but not specific cases.

Activists, who had been pushing throughout the year for county and municipal civilian police review boards, felt betrayed by the announcements because the new policies were formed without their involvement. Law enforcement officials countered that the groups had the mistaken impression that the proposed review panel would include representatives from police agencies.

They argued that the grand jury is a randomly selected group of voters and could serve as a model for the panel.

But Nancy Wang of the Redwood Empire Chinese Association and others complained that this is a poor example, since the grand jury is controlled by the district attorney and holds closed-door meetings.

Dunbaugh says that press reports claiming he was against a citizen’s police review board are inaccurate. He now says he is willing to consider it, but adds, “What I’ve experienced so far has been false information, emotion, political agendas, no concern for money or the people it will impact, and an interest in kangaroo courts by a small group of vocal individuals with significant special interests.”

The U.S. Commission on Civil Rights public hearing will be held on Friday, Feb. 20, from 8.30 a.m. to 5 p.m. in Room 410 of the State Office Building, 50 D St., Santa Rosa.

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Hepatitis C

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Silent Killer


Michael Amsler

Shot in the Dark: After 10 years of intravenous drug abuse, Carly McFarland has turned to regular alpha interferon injections to control a potentially fatal liver disease.

Public health officials warn of hepatitis C outbreak

By Dylan Bennett

C LEAN FROM intravenous drugs for 10 years, she thought that months of always feeling tired were the result of turning 40 years old. But after she got blurred vision, extreme nausea, insomnia, and pain in “the upper quadrant of the abdominal area,” Carly McFarland saw a doctor, was diagnosed with hepatitis C–a potentially fatal liver disease–and began treatment with alpha interferon.

“It is working,” says McFarland, a parts manager in a Santa Rosa copy company. “I passed the three-month test. It had decreased my viral load from 2 million to 5,000.

“That’s very good.”

A large protein produced by virus-infected cells, interferon inactivates viruses. But boosting this natural resistance to infection hasn’t been easy.

When asked if she has side effects from alpha interferon, McFarland says, “Oh, yes, lots. General anxiety, joint pain, I feel like I have arthritis all the time. Nausea, major nausea: the first few weeks I threw up a lot, but that passed. A lot of tiredness, sickness, achiness; you feel like crap all the time. But, hey, if it’s going to work, I can deal with crap for a year.”

The recent deaths of two local HCV-infected drug treatment workers and the ominous results of newly available blood tests have put hepatitis C virus center stage in the minds of Sonoma County public health officials, who say they are in dire need of federal and state money for public education and testing.

HCV spreads through contact with blood and causes death through cirrhosis of the liver. Unlike with other types of hepatitis, no vaccine or cure exists for HCV. The only known treatment is expensive and ineffective in more than 50 percent of patients. Five to 10 percent of those infected are expected to die from virus. People commonly contract HCV from contaminated intravenous drug injections and blood transfusions.

Country singer Naomi Judd, who retired from the stage in 1991, is the most famous victim of the potentially fatal liver disease.

Last month, a symposium about HCV, hosted by local public and non-profit health agencies and held “by popular demand” on a rainy weekday afternoon at the Santa Rosa Veterans Building, drew over 100 people, including many from the drug-abuse recovery community. The event was inspired partly by the deaths of Doug Patricks, former director of the Santa Rosa Treatment Program, a methadone clinic treating heroin addicts, and Ronnie Ruggles, a psychological technician at the Drug Abuse Alternative Center.

“It feels like where HIV was 15 years ago in terms of knowledge,” says Michael Spielman, DAAC’s executive director.

The largest group of people highly at risk are those who have taken drugs intravenously anytime in the last 30 years. A smaller but equally at-risk group includes hemophiliacs and other recipients of clotting-factor concentrates before 1987. Other groups at risk include a broad swath of mainstream society–anyone who received a blood transfusion or solid-organ transplant before 1992 has a 6 percent chance of infection. And for nearly half of all transmissions of HCV, there is no medical explanation.

Evidence shows that HCV can be contracted also by snorting cocaine if infected blood gets onto a straw used for inhaling cocaine and then passed around.

HCV makes even sharing a shaving razor or getting a tattoo a possible health risk. “Tattooing is a potential risk of transmitting the virus, of course, if the person doing the tattooing doesn’t clean his needles properly, tattoos somebody who has hepatitis C, and then tattoos you,” says Dr. David Staples, a physician who specializes in the treatment of HCV.

Because HCV has a latency period of 20 to 30 years, officials say people who experimented even just a few times with intravenous drugs decades ago may only now be feeling symptoms. About 1.8 percent of the population is thought to carry the virus.

In Sonoma County, of 280 cases detected last year, 10 were acutely ill. In all, fewer than 1,000 cases of HCV have been officially tallied in the county, but thousands more residents are thought to be unknowingly HCV-positive. Nationally, 4 million people are infected, and 30,000 new cases are identified each year. HCV is now the leading cause of liver transplants. The 8,000 yearly deaths from HCV are expected to triple in the next 10 to 20 years.

The cause for concern among health officials is the lack of awareness and late-breaking knowledge of HCV. Blood tests have been available only since 1990–a very brief period from a medical perspective.

Lee Tillman, director of the Santa Rosa Treatment Program, says his facility inadvertently began testing methadone clients for HCV only a year ago. Tillman says a survey of methadone clients revealed much ignorance and denial of HCV.

“We are making a lot more diagnoses because we are able to make a diagnosis now and we weren’t able to before,” says Staples. “And there is a tremendous population out there that were infected back in the ’50s and ’60s, when they were doing drugs for a short period of time, got infected then, and are being detected now.”

Spielman says about 85 percent of Sonoma County’s estimated 10,000 intravenous drug users, past and present users of heroin or methamphetamine, are probably HCV-positive. “Those people would be highly at risk, and they are not being regularly tested,” says Spielman, “It’s a rare, rare case when you hear about a person who cleaned up 10, 15, 20 years ago who doesn’t have hep C.”

The county public health department does not offer testing.

“We don’t have the resources to go out and test all of the populations that need to be tested,” says Dr. George Flores, the county’s public health officer. “We don’t even offer hepatitis C testing through the public health department in this county. We refer people to their own physician for that testing. That could be costly. Especially people who don’t have insurance have a barrier there.”

The two tests for HCV cost over $100 each, adds Flores.

“The federal and state government needs to step on board with this and make resources available,” insists Flores. “This is not just a county issue. In fact, it’s a nationwide issue, or international issue. We’re finding that many countries around the world have the same problem.

“Hepatitis C is like an iceberg. We’ve only seen the tip of this iceberg.”

In fact, the state government has joined the fight against HCV. State Sen. Richard Polanco, D-Los Angeles, introduced Senate Bill 694 in late January “to develop a statewide strategy that encompasses diagnosis, prevention, and treatment,” according to legislative assistant Chris Flammer. “This bill includes the public health side of hepatitis C , as well as folks who are incarcerated. There is a tremendous problem among the incarcerated,” he says. “With our legislation we want to have some medical protocol on the treatment side, a decent state-wide game plan in respect to education about hep C, and for diagnosis. We want this to be a very encompassing, comprehensive piece of legislation.”

Flammer says the bill should be ready for the governor’s signature or veto by the end of August. Meanwhile a cure is “not on the immediate horizon,” and HCV patients must survive with less-than-perfect treatment. Doctors administer the expensive drug alpha interferon for an initial period of six months to reduce the “viral load” in some HCV patients.

For those who meet the criterion for alpha interferon treatment, the drug offers at best a 30 percent chance of shaking the virus. Staples says that after six months of treatment, 10 to 15 percent of patients respond by losing the virus, and that after a year of treatment, 15 to 30 percent of patients do.

“We are trying to develop a treatment that is more effective than what we presently have,” says Staples, “because I would be the first to admit that alpha interferon is not ideal treatment. It’s expensive. It has side effects associated with it. It doesn’t work nearly as often as we’d like to see it work.”

STAPLES recommends stress reduction and a high-fiber diet to all of his patients, but notes that healthy living is not a proven cure. “It makes common sense to lead that kind of lifestyle, but I can’t say it clinically makes a difference.”

For Rickey Summerfield, 43, a carpenter and drug addict hailing originally from Georgia, and suffering from advanced cirrhosis of the liver, only an organ transplant in August of last year could make a difference. “The hepatitis took me down,” says Summerfield with a gentle Southern accent. “Within a year’s time I went from healthy to ‘probably not going to last but a couple more months.’ If I hadn’t had a transplant in August I doubt I’d be speaking to you right now.”

Summerfield says his symptoms included severe mental confusion and water retention that caused him to gain 40 pounds in two weeks. Doctors had to literally drain the water out of his body. “It was really uncomfortable,” recalls Summerfield. “But it was a lot better than having the water inside you. I woke up one night and couldn’t breath. The fluid had backed up to where my lungs weren’t working correctly.

“For me, with the hepatitis and advanced cirrhosis, I compared it to rotting to death. My body was rotting on the inside–a real bad ugly feeling. I don’t think anything could be worse.”

One local drug treatment official said Summerfield was “extremely lucky” to get the liver transplant and patient-advocate doctor at UC Davis. Former drug addicts, he says, have virtually no chance for an organ transplant at San Francisco hospitals that have serious bias against such individuals. Death from cirrhosis, also called end-stage liver disease, comes from a variety of complications, including internal bleeding, infections, coma, kidney failure, or “just wasting away because the people become so weak and the liver fails to support them any longer,” explains Staples.

Staples says HCV is not a virus that is transmitted through casual contact, and people don’t have to be afraid of being around other people who have HCV unless they have some kind of intravenous exposure.

Without a cure, vaccine, or effective treatment to look toward, Spielman and Flores bang the drum of education and testing.

Spielman emphasizes that people who fit in any of the high-risk categories should get themselves tested. He also proposes needle-exchange programs. “If they have HCV, they can start living a more healthy lifestyle, just like with HIV,” he reasons. “There’s not really a cure for HIV, but there are things you can do. Alcohol is certainly the killer. If you have hep C, first you should stop drinking.

“HCV ties right back into needle exchange and the importance of stopping the spread of HCV, because it is a stoppable and preventable disease if people don’t stick their heads in the sand. Now that we have the test and HCV is out of the blood supply, the next step is to cut HCV out of the addict population by needle exchange.”

Flores warns against perceiving HCV as a disease that only drug addicts have. “Public awareness is very important around this,” pushes Flores. “Hepatitis C virus is not just a thing to say is confined to the substance-using population, because indeed it’s not. We need to become more informed across the board.

“Those who need to be tested include grandmothers and grandfathers, many of whom are in advanced stages now, having had a transfusion years ago.”

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Rafael Film Center

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House of Dreams


Janet Orsi

Cinema Paradiso: Mark Fishkin is creating a new North Bay art house.

Rafael Theater stirs after long slumber

By David Templeton

F ROM ACROSS the street, obscured by a gray torrent of rain, the time-worn art-deco marquee of San Rafael’s historic Rafael Theater rises up conspicuously above an unsightly barricade of wet wooden beams and weather-soaked boards, behind which hides the remainder of the building that was once among the most beautiful and popular movie palaces in the Bay Area.

Shut up tight since 1989–when the Loma Prieta earthquake caused the theater to be deemed seismically unsafe–the Rafael’s future seemed as dim as the now-ruined light bulbs still outlining the fading marquee. Thanks to the Film Institute of Northern California–which two years ago renovated the classic Lark Theatre in Larkspur–working with a fierce cadre of North Bay film buffs and some expert fundraisers, the Rafael Theater is just beginning an astonishing transformation: not only is it scheduled to open again by the end of this year, but it intends to do so as one of the Bay Area’s hottest new filmgoing destinations, a living museum of cinematic history that will trace the art of the movies from the silent-film era straight into a high-tech, interactive future.

“It will be a museum of the moving image,” says Petaluma resident Mark Fishkin, executive director of the Film Institute, which also produces the Mill Valley Film Festival. “We’ll be able to greet people in the lobby, saying, ‘Come on in. This is what movies used to be like.’ And they can have that experience, and then we’ll say, ‘Now, let’s show you what movies are becoming.'”

Fishkin is standing in the theater’s lightless lobby–a work crew accidentally disabled the electrical power box–inches away from a curtain of rain leaking onto the broken-tile entryway in an atmospheric chorus of drips and splashes that echo all through the cavernous expanse of the room.

Ann Brebner, project chairperson for the Rafael Film Center, as the new three-screen complex will be called, shines a flashlight around the lobby, illuminating various architectural features of the nearly 100-year-old building, now fully retrofitted to appropriate seismic standards. Brebner points out the sweeping balcony, ornate wooden moldings, and a marvelous faded mural of an unclad female figure rising up out of a swirling mist.

“Silent movies began playing here in 1918,” Brebner relates. “It was the Orpheus Theater then, until it burned down in 1937 and was reopened in ’38 as the Rafael.” She shines the light on the mural again. “She was covered up by mirrors when we found her,” she says, feigning a gasp. “Apparently they hid her in 1961, when the Rafael began showing a lot of Disney movies. It was evidently deemed inappropriate for children to walk in and see a naked lady up on the wall.”

T HE PROJECT IS A long-awaited dream for Fishkin and Brebner. The finished Rafael Film Center will feature a 350-seat theater in the original auditorium–restoring the existing art-deco features–minus the original balcony, which will be converted into a 125-seat theater in the style of the Orpheus’ silent-movie house. A third theater, with 90 seats–reflecting a high-technology film theater of the future–will be established in the adjacent building, directly over the planned cafe that will lead into the main lobby of the complex.

All this was supposed to have opened last fall, but production was halted when fundraising efforts ran out of steam. An expanded board of directors has created a special committee of experienced fundraisers to find the necessary cash to complete the $6.8 million job. At first hoping to avoid taking on debt, the Film Institute has now given in, accepting a $3 million construction loan and taking on an additional $3 million bank loan.

“We hope to raise the remaining monies to pay off the loans sometime during the construction period,” Fishkin says. “But at least we now have the flexibility to continue with the project.”

Donations are actively being sought, and a number of innovative enticements are being offered. For instance, the first donor to contribute at least $1 million will receive the honor of lending the name of their choice, perhaps in memory of a loved one, to the theater complex as a whole. That name will be the official corporate name of the facility, used in all literature and on the letterhead. For smaller donations, naming rights will be given on everything from the individual theaters to the upstairs lobby and the grand staircase.

In addition to the Film Center’s museum status, the complex is expected to serve as a major educational asset–with classes invited in to view films that correspond to the students’ curriculum–as well as to be a desirable environment in which to view small independent movies, and even rare specialty films that will be available nowhere else.

“For instance, some marvelous films are available in several different languages,” Brebner enthuses. “We envision being able to show one film in three different languages, all at the same time, a different language for each screen. We want people to walk by the theater and to be able to say, ‘There’s always something in there for me. There’s something that relates to who I am and where I come from.’

“That,” she smiles, “is part of our dream.”

To contribute to the Rafael Film Center’s fundraising campaign, call 415/383-5256.

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Eccentric Glory


Gemma La Mana

Last Action Heroes: Bill Pullman and Ben Stiller create original characters.

To each his own in ‘Zero Effect’

By David Templeton

David Templeton drops by the home of renowned eccentric Mickey McGowan–a frequent Talking Pix guest–to discuss the delightfully off-the-wall mystery Zero Effect.

FROM THE STREET, Mickey McGowan’s tree-lined San Rafael house is surprisingly indistinct, almost invisible. It is not till you mount the front steps and come face to face with a front porch strewn with old, plastic doll heads and piles of floppy, shockingly weathered teddy bears, and a windowsill lined with weird, staring statuettes, that you realize you’ve entered the world of someone unencumbered by run-of-the-mill notions of standard home decorating.

This, in spirit at least, is the Unknown Museum, a world-renowned holding tank of odd, television-inspired memorabilia from the ’50s, ’60s, and ’70s. Although the museum is currently closed to the public, McGowan is featured along with the museum in the brand-new book Self-Made Worlds: Visionary Folk-Art Environments (Aperture, 1998). McGowan dwells happily with his wife, Finnlandia, here in this off-kilter wonderland of quirky fond remembrances and, in terms of the sheer volume of artifacts, complete sensory overload.

“If we were open, it would be far more chaotic,” says McGowan of the museum, leading the way into a kitchen cluttered with old metal lunchboxes, giant plastic hamburgers, jars containing pickled Pee-Wee Hermans, and open cabinets crammed tight with food products popular 40 years ago. “There’d be hanging mobiles of white sandwich bread, plus bathroom scales laid out like stepping stones to follow.”

I am reminded of a line in the foreword to Self-Made Worlds, describing the featured artists: “Remarkable manifestations of the idiosyncratic; the eccentric glory of the human imagination.”

Which brings us to Zero Effect.

Starring Bill Pullman as Daryl Zero, the world’s most private “private eye,” Zero Effect is a small, loopy film with original ideas and a twisted, emotionally satisfying foundation. Daryl Zero, one of the freshest characters to hit the screen for some time, is a master detective who is terrified of the world outside his heavily guarded apartment, a man whose eccentricities threaten to keep him apart from the woman he suspects is a blackmailer, and with whom he unexpectedly falls in love.

“I loved this movie,” McGowan exclaims. “Real, true, affectionate love. And Daryl! What a wounded puppy. I loved him immediately. You could tell right away that he’s mentally ill, obviously, but he’s a genius. From the moment you first see him, you know that if he didn’t just happen to have it together enough to do the private-eye thing, he’d be out on the streets or in some mental hospital somewhere, like a lot of crazy artists who get into a weird eccentric lifestyle and then can’t channel it into something productive.

“He’s a heart-on-my-sleeve, take-me-or-leave-me, I’m-messed-up, I’m-paranoid kind of a guy, standing there saying, ‘Here I am!’ Someone like me can relate to someone like Daryl Zero completely.” Laughing, he adds, “Well, not completely. Let’s just say I relate on many levels.”

For example, McGowan frequently employs a Zero-like mindset while scouring garage sales and exploring dumpsters in search of artifacts for the museum.

“I like his philosophy of ‘Why be looking for one thing when you can be looking for everything or anything?’ That’s the nutshell of his professional approach,” McGowan says, standing up to make some tea. “That’s the way I am when I go out to a garage sale or an estate sale: I’m looking for whatever happens to be in front of me. I don’t go out with something particular in my head.

“That’s conceptual shopping,” he adds, “and I certainly don’t subscribe to that.”

On the subject of eccentricity, my curator host is a practiced expert.

“Eccentricity is anything deviating from the norm, of course, whatever that norm might be,” he says, and then observes that in the book Incredibly Strange Music (ReSearch, 1993), in which he discusses his immense collection of rare, hard-to-find records, “I defined strange music like this: take Barry Manilow, who is not particularly strange in the United States. Well, all right, true, he’s strange, but he’s mainstream, or was at the time I first said that.

“But if you take a Barry Manilow record into a village in the African wilds,” he insists, “it would seem eccentric, at least certainly odd or strange.

“Eccentricity is not a bad thing,” he continues, returning to the table. “It’s actually very good. I don’t mind it when people label me an eccentric. I’d be surprised if they didn’t at this stage. I mean … ,” he opens his eyes wide and waves his arm in a sweeping circle, “… just look around you.

“There are sometimes unkind assumptions made about eccentric people, though,” he says. “I’ve been visited by reporters in the past who flat-out ask me things like, ‘Was your father as crazy as you are?’

“When the museum reopens, I plan to have a little card to hand out to reporters, with a list of questions I will no longer be bothered with. Or,” he leans forward, having a flash of inspiration, “maybe I’ll attach a pull-string to myself–like many of the great dolls of our time–with 12 standard answers to any dumb question.

“Reporters could simply pull my string and then just quote whatever comes out,” he grins, clearly warming to the idea.

And what answers would he program himself to say?

“Oh you know, the classics,” McGowan replies. “‘I love you,’ ‘Please play with me,’ and, just in case, the ever-popular ‘Go away. I want to be alone now.'”

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Romantic Wines

0

Blushing Cup


Michael Amsler

Roses Are Red, Violets Are Blue, This Wine Is Great, and So Are You: You don’t have to be a poet to laud a night of love.

Seeing red is just right for romantic wines

By Bob Johnson

AS A SINGLE DAD for more than a dozen years, it has been a long time since I’ve done any serious dating. When it comes to romance, I’m more than a bit rusty. In order to obtain some truly useful information for a report on romantic wines–in honor of the February romance ritual known as Valentine’s Day–I called upon a female acquaintance for counsel.

“What,” I asked her, “is your idea of the perfect romantic date?”

“Hmm,” she hummed. “We’d get dressed up and go out to dinner–not to eat, but to dine. We’d have some good conversation, some good food, some good red wine, and then, later on … well, you know.”

Of course, I know. I may not have been dating much lately, but I’m not dead. After the dressing up, the good conversation, and the good food would come … good dessert!

But back to the good wine.

Without question, a romantic dinner is one of those occasions that cries out for wine. And not just any wine. If you’re trying to impress a date, this is the time for red wine.

Fortunately, red wine isn’t hard to find. It’s produced in virtually every wine-growing region around the world, although the quality lessens as the climate grows cooler. In Italy, where some of the world’s most romantic men reside (so I’m told by the aforementioned female friend), a red wine is called rosso. In France, it’s rouge. And in Spain, it’s tinto.

The United States makes its fair share of red wine, too, with most answering to the name of a varietal grape: cabernet sauvignon, merlot, zinfandel, and so on. And some of America’s finest red wine is vinified in Sonoma County.

In fact, one of the most highly sought-after cabernets in the world is the Alexander Valley bottling from Silver Oak. Other outstanding Alexander Valley cabs come from Jordan, Geyser Peak, Chateau Souverain, Simi, and Clos du Bois.

In the mood for merlot? You can’t go wrong with Sonoma County bottlings from St. Francis, Matanzas Creek, Chateau Souverain, or Armida.

The Dry Creek Valley is zinfandel country, with excellent renditions provided year after year by Lytton Springs, A. Rafanelli, Quivira, J. Pedroncelli, Alderbrook, and Mazzocco.

No, you don’t have to go “over the hill” to find world-class bottlings. More good news: If you’re a romantic on a budget, red wines of comparable quality from Sonoma County typically cost less–sometimes much less–than their Napa Valley counterparts.

The Sonoma County red wines that follow are rated on a scale of one to four corks, with one cork being equivalent to first base on the “make-out” scale; two corks equaling second base; three corks equaling third base; and four corks equaling a home run. Batter up! …

Field Stone 1994 Alexander Valley Cabernet Sauvignon
($13-$15)
This is a wine that has been on the market for several months, yet for some inexplicable reason can still be found on many wine shop shelves. The nose conjures up images of caramel, cream, and chocolate-covered cherries, while the flavors lean toward black cherry, cocoa, and cassis. As flavorful and satisfying as many cabs costing twice as much. Rating: 3 corks.

Cardinale 1993 Meritage ($60)
The Wine Spectator (referred to simply as “God” by wine geeks) recently panned this bottling from Kendall-Jackson and, frankly, I don’t get it. While it’s not as fruit-forward as the 1992 version and will benefit from a few years in the bottle, this still is great juice. The grapes used in the blend come from both Sonoma and Napa counties, and the resulting wine is a smorgasbord of flavors, ranging from raspberries to plums and from chocolate to vanillin oak. Rating: 3.5 corks.

Stonestreet 1995 Alexander Valley Merlot ($21-$24)
If it didn’t say merlot on the label, one could confuse this wine for a cabernet. It’s big and bold, and the fact that it’s unfiltered allows all the aromas and flavors of the fruit to shine. It smells like a combination of coffee roastery at daybreak and mom’s kitchen when she’s baking a chocolate cake, and it’s loaded with jammy fruit and smoky oak flavors. Certainly a candidate for aging, but why wait? Rating: 3.5 corks.

J. Fritz 1995 Dry Creek Estate Merlot ($15-$18)
If you like the taste of fresh berries, you’ll love this wine. And if you enjoy the floral aroma of cabernet franc, this also is the wine for you; cab franc comprises 20 percent of the blend. Balance is provided by just a hint of vanillin oak. Like the Field Stone cabernet, a true bargain. Rating: 3 corks.

Supplies of these wines vary; the J. Fritz merlot, in particular, could sell out quickly. That’s the bad news. The good news is that wines like these tend to be gobbled up by restaurateurs, who include them on their wine lists. Furthermore, all are wonderful food wines, making them ideal companions to a romantic dinner … no matter how you define “romantic.”

From the February 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

16 Horsepower

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Eccentric GloryGemma La ManaLast Action Heroes: Bill Pullman and Ben Stiller create original characters.To each his own in 'Zero Effect'By David TempletonDavid Templeton drops by the home of renowned eccentric Mickey McGowan--a frequent Talking Pix guest--to discuss the delightfully off-the-wall mystery Zero Effect.FROM THE STREET, Mickey McGowan's tree-lined San Rafael house is surprisingly indistinct, almost invisible. It is not...

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Blushing CupMichael AmslerRoses Are Red, Violets Are Blue, This Wine Is Great, and So Are You: You don't have to be a poet to laud a night of love.Seeing red is just right for romantic winesBy Bob JohnsonAS A SINGLE DAD for more than a dozen years, it has been a long time since I've done any serious dating....
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