Talking Pictures

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Reel Men

Breakdown

By David Templeton

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This time around, he buddies up with the two-headed testosterone von Hoffman brother hurricane to see the manly action thriller Breakdown.

Todd von Hoffman cues up and takes his shot. He misses. “Bruce Willis is OK,” he semi-enthuses, standing up and reaching for his beer as I lean against the bar, reading aloud from the local movie listings. I’ve just suggested seeing The Fifth Element, the latest Willis flick, but I continue looking.

Finally, I come to Breakdown, a Kurt Russell thriller. Lots of guns, trucks, and fistfights.

“That’s the one!” exclaims brother Brant, stepping up to take his own shot. “Anything with Kurt Russell in it.”

“Kurt Russell,” grunts Todd, “just reeks of ‘Regular Guy.'” Moments later, we pile into my vehicle for the cross-town trek to the theater. “My kind of car!” Todd shouts. “It’s a total mess!”

My boisterous guests this afternoon are the Los Angeles-based authors of The von Hoffman Bros.’ Big Damn Book of Sheer Manliness (General Publishing Group; $29.95). A hilarious, lovingly designed book, this weighty tome is a lusty salute to the kinds of things that many ‘regular guys’ appreciate. With the support of over a thousand photographs, the von Hoffmans offer their praises of beer, dogs, meat, baseball, and cigars. There is a list of the world’s best ‘guy movies’–Spartacus being No. 1–plus a bodacious list of synonyms for the word breast and another–twice as long–offering alternatives for a man’s ‘Johnson.’ Best of all is “The Bombastic Manifesto: What Guys Know,” an opening essay in defense of masculinity so ballsy and bold that it would make men’s movement poet Robert Bly blush.

Which brings us to Breakdown, a film in which a yuppified Russell must contend with savage rednecks intent on mayhem after his car breaks down on a lonely stretch of road somewhere in the American West. An evil trucker is involved; Kurt rises to the challenge.

“I haven’t seen anything so relentless since Aliens,” Brant proclaims after the show. “If this is your cup of tea, this movie delivers.” We’ve located a bar down the street from the theater, and–Budweisers in hand–have settled in to discuss the film. That we appear to have chosen a gay bar does not faze the von Hoffmans for one moment. After all, beer is beer.

“This movie pushes some very disturbing buttons,” Todd offers. “You know, there has never been a time when the average guy has felt so great a need to protect and cover and huddle over our children, our families, our possessions, even our lives. This picks up on that and exploits it to an amazing extreme.

Describing an opening scene from the movie, Todd continues, “When the cowboy comes up to Kurt and starts giving him shit, a knot the size of a fist was twisting right in the center of my chest. Both of you felt it too, I’m sure. Because we, as men, know what that feels like, that prelude to putting up our dukes. The juices start running, the heart beats, the hands shakes because you’ve got that fight-or-flight thing happening.”

“And Kurt felt like a wuss,” Brant adds, referring to Russell’s decidedly passive reaction to this confrontation. “He let him get away with it, and we’ve all been there, haven’t we?”

Brant tells of the time he was accosted by the former boyfriend of a woman he was dating. “He dragged her out of the car by her hair,” he recalls, cringing. “I was scared out of my mind. I couldn’t do anything. I felt so emasculated.”

“I have the opposite problem,” says Todd. “cuz I’ve been in a lot of fights.” Relating the tale of a neighbor who’d been revving his motorcycle for hours, he says, “Instead of going with my instincts and taking a baseball bat down there, I just went up to him and in a calm voice I said, ‘I want this to stop. Right now.’ That was it. No come back. No parting shot. I never heard that bike again. It was very satisfying, and it never got violent.

“There’s just no question,” he happily sighs, “that facing up to a confrontation–if it’s justified–is an intensely satisfying thing.”

“Psychologists will tell you that some people are actually looking to get beaten up,” Brant adds. “We mention this in the ‘Bombastic Manifesto.'”

“It’s in the section titled, ‘What guys know about fighting,'” Todd nods, solemnly quoting, “‘From time to time, you will come upon a brother who is not asking, not begging, but indeed screaming out to have his ass kicked, and it is your honor-bound duty to accommodate him.”

“‘And at any time,” Brant joins in, smiling only slightly, “that brother may be you or me.” He lifts his bottle in a silent toast to all possessors of testosterone, adding, “And is that bombastic or what?”

From the May 29-June 4, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metro Publishing, Inc.

Sausages

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Big Scoobies


Totally Tubular: Angelo Ibleto even puts broccoli into the mix.

Photo by Michael Amsler



Sausage gets a whole new grind

By Steve Bjerklie

FRIENDS SCOFF WHEN I CONFESS my love of sausage. They blame my German ancestry or my nostalgia for ballpark red-hots shared with my dad. They conjecture that perhaps its a latent fascination I’m not even aware of for cigars, submarines, and other tubular objects. They shouldn’t. My love is simple: I love good sausage because sausage tastes good. I love it, too, because sausage is the greatest chameleon of foods known to humankind.

A look inside butcher Angelo Ibleto’s cooler proves the point. Next to plump, vacuum-packaged six-packs of bratwurst, linguisa, chorizo, andouille, boudin, Polish, and other traditional sausage fare, sit rafts of turkey-Hawaiian and turkey-cranberry sausage, apple sausage, even turkey-broccoli sausage. These aren’t mere sausages; these are entrées in a casing. They are to hot dogs what filet mignon is to a Whopper.

“To be in business today,” says Ibleto in a rat-a-tat Italian accent, “you’ve got to be a Houdini. You can’t sit around doing nothing, not changing anything, drinking beer all day.” He laughs at the irony, for of course he’s a wine drinker.

Ibleto’s sausages, which he sells out the door of his home butcher shop east of Petaluma, along with his award-winning line of salsas and other condiments, are but a tip in a trend that’s transforming the sausage business nationwide. Stagnant sales, brought by health and diet concerns, of traditional Old World­type sausage drove the industry’s progressives to rethink the entire idea of stuffing seasoned meat into a sheep-gut casing.

Toward the end of the 1980s, Bruce Aidells added to his line of eponymous-branded Cajun sausage specialties (andouille and boudin) with new items seasoned with lemon, sage, basil, and tarragon. He took out the pork and put in chicken or turkey. Over in Napa, Gerhard Twele made his delicious apple-and-chicken sausage a regional breakfast staple. And in the East Bay, Montebello replaced the fat in its sausages with potatoes.

And then there’s Southern California, where Jody Maroni began selling concoctions on Venice Beach that Oscar Mayer couldn’t have imagined on an acid trip. Maroni has dozens of recipes and a product line that sounds like a Third World bazaar: “Yucatan” chicken sausage seasoned with basil and Dos Equis beer; a pork-based Portuguese link featuring figs, pine nuts, coriander, cilantro, and Marsala wine; “Moroccan” lamb sausage spiced with currants, tangerines, and cumin.

“This is great stuff,” Marconi says, standing beneath a Campari umbrella in front of his ocean-side stand. “This is good food. This is sausage art. This is all the fun stuff the big guys have left behind, and so they’ve left behind the kinds of people who are coming up to me, wanting sausages with tangerines in them, for God’s sake.”

Closer to home, Ibleto, who has been in the meat business more than 20 years, points out the economic necessity of adapting to changing conditions. “There is hardly any beef in the county anymore. Families that used to raise cattle, their children don’t want to do it. City people who come up and buy land, they want to raise horses, not cattle. Over the past 15 years, 27 butcher shops in the county have closed. There are only a few of us left now.”

Changing tastes, too, played a big role. The grease-puddling sausages of yore caused California foodies to dive for cover. It was tough to reconcile bratwurst and arugula.

A few years ago, Ibleto got a call one day from the American Cancer Society. Could he come up with a “healthy” sausage for an ACS banquet? The president of the United States helped him out. The day before, George Bush had made the comment that since he had become the leader of the free world, he didn’t have to eat broccoli anymore. Angelo knew that if Bush–famously known for snacking on fried pork rinds–didn’t like it, it was probably healthy. He bought a crate of broccoli at a local super, diced the florets, and threw them into a mix of ground turkey and spices. At the banquet he got raves all around for the new sausage, and his turkey-broccoli link remains one of his best sellers.

Its success, in fact, set Ibleto on a new course. For the next Christmas he made a piquant, sweet-and-peppery turkey-cranberry sausage, and it flew out of his shop. Now he keeps it in stock year-round. Other exotic combinations soon followed: a turkey Italian sausage enhanced with Sebastopol apples; another Italian-style sausage flavored with sun-dried tomatoes and more apples; and a sweet-and-sour turkey “Hawaiian” link. “I’ll probably try a vegetarian sausage next,” he says. “People come here and tell me they’re vegetarian. I say, ‘What are you doing in a butcher shop?’ But if I can make something to make them come back, I should.” He watches me enjoy a succulent slice of mild pork Louisiana sausage, hot off the grill. “I am glad that you are not a vegetarian. Some writers are, you know.”

Ibleto makes sausage in 350-pound batches two days a week. The old, enameled Hobart grinder he uses isn’t much larger than a big sink–this is cozy, hands-on manufacturing. And like any sausage man of pride, Ibleto is finicky about his raw materials, buying beef only from Harris Ranch and pork from the Midwest. He specifies lean cuts of both, and none of his traditional sausages drizzle fat the way links from big-name processors do.

I’ve seen an Oscar Mayer plant grind out more sausage in one minute than Ibleto will in his lifetime. He couldn’t care less. The giants of the industry are in some other business.

For his part, Ibleto has begun re-experimenting with tradition. Just before I leave his shop he waves me into a back room with the enthusiasm of a kid showing off a secret hiding place. He points to the ceiling. “My new ones,” he says, smiling.

A half-dozen moldy white tubes dangle from a rail–examples of pure sausage-making craft, Italian dry salami. A wondrous product. He cuts one down, peels back the paper, knifes off a few slices. They tingle and explode in my mouth, the best salami I’ve had since a trip to the Mediterranean years ago. Ibleto watches my face. He knows. I may be standing in a shop east of Petaluma, but my tongue is enjoying a stroll on the Italian Riviera.

From the May 29-June 4, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

Adam Theis

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Lion’s Roar


Michael Amsler

Renaissance Man: Adam Theis wraps his lips around many musical styles.

Trombonist Adam Theis leads pack of local young jazz lions

By Boulevards team.
© 1997 Metrosa, Inc.

Citizen Review Boards

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Up for Review


Happier Times: Ayling Wu, first-born daughter Karolyn (now 5), and Kuan Kao.

Law enforcement balks, but social justice advocates say recent spate of police shootings shows need for civilian police review boards

By Citizen Review Boards.

Police Resistance

IN RECENT WEEKS, Kao’s death has fueled a move to create civilian police review boards to scrutinize the actions of local law enforcement agencies.

“It seems like there are more instances [of police brutality],” says Jeff Ott of the Santa Rosa­based Copwatch. “Now is the right time [for independent review of police actions].”

Local members of the American Civil Liberties Union already are laying the groundwork for civilian police review boards. “In my opinion, 90 percent of police officers are doing an excellent job–they’re laying their life on the line for you,” says Rene Lopez of the Rohnert Park­based National Latino Police Officers Association. “But there are a few that we need to control, because those people have got the authority to draw a weapon and kill you.

“We need somebody to oversee them because the police departments are not going to go out and conduct an investigation to find themselves guilty. We need someone else to look into matters.”

Lopez, an ex-state Department of Motor Vehicles investigator and Novato resident, heads the civilian police review board in his hometown, the only such organization in the North Bay. He also is chairman of a local ACLU subcommittee studying the issue.

“If you run a solid police department and do everything by the numbers, why would you object to a police review board?” he asks. “You should be glad to have a police review board take a look at what your department is doing. But if you’re always trying to hide things and something goes awry, then you don’t want people to look at it.”

But the concept is running into stiff resistance locally. Acting Sheriff Jim Piccinini points out that there already are several ways to review police conduct, including internal departmental review and investigations by the District Attorney’s Office, the Sonoma County grand jury, and the state Attorney General’s Office.

“You have to decide if there are sufficient review procedures in place,” Piccinini adds, “or if one more would slow the process.”

Bucking the Trend

THROUGHOUT the United States, there has been a sharp rise in the number of citizen review boards in the last five to 10 years, according to John Crew, director of the Police Practices Project for the ACLU of Northern California. “Of the 50 largest U.S. cities, more than three quarters now have some form of civilian review board. University of Nebraska Professor Sam Walker has documented an enormous growth in suburban- and medium-sized communities creating civilian review boards,” Crew says.

“That growth is occurring at the same time there’s a nationwide trend toward community policing,” he adds. “The police want to work in partnership with the community, but it makes no sense to extend their hand in partnership and then withdraw their hand to take part in an internal affairs system where they police themselves in secret.”

The increasing concern about financial claims filed against police departments and a desire to make sure that cities are not wasting tax dollars on expensive public safety programs is another reason for the growth of civilian review boards.

Additionally, civilian review of law enforcement agencies is better understood now than it was in the ’70s, Crew explains, when it was seen as an anti-cop thing. “Now it’s more about good government than bad cops. Police have unique powers, can directly deprive someone of their freedom, can arrest them, can use excessive force, can even use deadly force. We need some independent method of checks and balances. Even San Diego County–a very conservative area–has recognized this.”

Indeed, the concept has matured and been professional in recent years, he adds, so that it’s become difficult for law enforcement agencies to claim that civilian review is a boogeyman that’s going to destroy law enforcement.

“Sonoma County is a holdout and bucking the trend,” Crew concludes. “Sure, the FBI will investigate the death of Kao. But the FBI operates totally differently than a civilian review board. The FBI will have to prove beyond a reasonable doubt that the officer is guilty of a crime. That’s really hard to do. The FBI won’t look at issues such as: How did the officer get himself into that position? What mistakes may have been made? Did the officer comply with policy? Should the policy be changed?”

Closed Society

“AS A YOUNG POLICE OFFICER, I had a problem with any kind of interference in the police department,” says John Parker, an ex-Oakland police officer who now heads the San Diego County Citizen’s Law Enforcement Review Board. “My opinion changed as I became more sensitive to what the community needs–more accountability. I saw damage being done by the code of silence employed by many police officers, and I couldn’t abide by it.

“It made me an outcast, just as much as someone who had complained about the police from the outside.”

In San Diego County, the civilian police review board won overwhelming public support as a ballot measure in 1991; the city of San Diego had a review process for several years. Yet, local sheriff’s deputies are still fighting against being brought before the board and having to testify, Parker says.

“Law enforcement is a closed society, they want to police themselves,” he observes. “They want to believe that no one understands policing other than trained law enforcement professionals, but any intelligent adult can read and comprehend written police procedures and rules and regulations, and know or learn what officers are supposed to do in given situations.”

The bottom line, he adds, is that police officers are public employees who work for the citizens, and those citizens have a right to ensure that the police are accountable.

Secrecy and deception are built into the policing system, Rene Lopez says. “If you are a line officer and something goes wrong, you’re not going to snitch yourself out to your superiors,” he points out. “Is the sergeant going to snitch himself out? Is the lieutenant going to say, I knew the sergeant and the line officer were screwing up under my supervision? Hell, no! So the top guy often doesn’t know what’s going on in the ranks because nobody tells him anything. People just aren’t going to come forward to say, I screwed up–fire me. The system is that we hide everything we do wrong, from the line officers right up to the top.

“If you’re the chief of a law enforcement agency and are confident that everybody is doing everything by the numbers, you should welcome an independent review.”

Some form of independent review is needed in a situation like the Kao case to prevent bias among investigators and shore up public confidence in police agencies, says ex-cop Parker. “Police officers will try to support one another and cover for each other. That was my experience as a police officer–some officers will manipulate [the circumstances] and cover [for their peers].”

From the May 29-June 4, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

Talking Pictures

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Cells and Culture


Lorey Sebastian

Thou Shalt Not: The coveted Courtney Cox and bad-boy Aiden Quinn.

An agnostic physician ponders death, love, and ‘Commandments’

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 Yale Professor Dr. Sherwin Nuland to see the offbeat biblical comedy ‘Commandments.’

AFTER MY FIRST 10 minutes with Dr. Sherwin B. Nuland, I know I would happily go under his knife should I ever have need of a surgeon. By the time we leave the theater and sit down to discuss the film Commandments, I’ve all but decided to run home and sire another child just so I can ask Dr. Nuland to be its godfather.

According to reliable sources, this is a relatively common response to the man–a clinical professor of surgery at Yale–whose best-selling book, How We Die (Knopf; 1994), which won the National Book Award, and astonishing, brand-new The Wisdom of the Body (Knopf; $26.95) have earned him such labels as “wise,” “sensitive,” and “unsparingly compassionate.” Even more to the point is this description I received from the lips of one who knows him: “He’s really smart, and he’s really nice, too.”

May the same be said of us all.

And would that it were true of Commandments, the odd, disorganized tale of a man (Aiden Quinn) so angry with God he vows to break all of the Ten Commandments. Nuland enjoyed the basic idea, but not much more.

“I think we are dealing with a screenwriter [David Taplitz, who also directed] whose essential insistence is that there is a greater, stronger power,” he sums up afterwards, his white hair slightly wind-tousled as we sip coffee at a sidewalk cafe. “What this screenwriter is doing is indulging himself in the need to say, ‘My God, there must be a God.’

“And I would argue,” he says, “that that is just our cells telling the rest of our body that we need order.

“We need unity,” Nuland continues, “we need to believe there is a prime mover written in our bodies just as people used to think there was one up in the celestial sphere.

“You look at these 75 trillion cells,” he says, patting his arm, his shoulder, his leg, “with all their massive number of reactions. But what prevents chaos, what prevents death, is that order is almost suffused through it so that every little irregularity is corrected.”

“Are you saying,” I ask, slightly incredulous, “that the cultures we’ve created, our religions, the way we come together as people, all of that is an impulse that comes from our bodies?”

“That’s exactly what I’m saying,” he nods. “It’s impossible to study cellular biology without being staggered by the analogy between what’s going on in cellular life and our entire attitude toward life and living.”

“And the Ten Commandments?”

“One way of creating order,” he replies. “What is ‘goodness,’ after all? Goodness is predictability. If people are uniformly good, their behavior is predictable, there is order in society, and we continue to live.”

“So when people ask the big questions about the meaning of life,” I wonder, “is the answer in our cells?”

“In our cells?” he repeats, pausing to consider this. “Here’s what I think: I think life has no meaning. I think that in essence we’re a bunch of chemicals driven by the instinct for survival. But we have become–because of our brain–much, much greater than that. We have achieved the ability to give meaning to life. We give it, God doesn’t. It’s largely our aesthetic sense, the constant improvement of our aesthetic sense, always based on the need for harmony and order.

“But I think it’s more than that. This may sound corny but I’m absolutely convinced of it. I think that it’s love that makes the world go around.

“There are certain anthropologists,” he explains. “who believe that the moment that child is [born] it is already conditioned to the awareness that the relationship with mother is not the only relationship, that close relationships are what count. Its brain still has to develop, so from the beginning there is a dependency on others to survive. Everything about our nature and nurture, I think, militates in favor of the necessity of love.”

“Some say God is love,” I throw out.

“Yes, they do,” he smiles, fully at home in his own agnosticism.

The one drawback to agnosticism, however, is its preclusion of life after death. Dr. Nuland, who has been present at the last moments of numerous lives, admits that he’d prefer to believe that death is not the end.

“It would be lovely to be wrong,” he laughs. “It would be lovely if there were an afterlife and my consciousness could continue. Because it does make me panicky to think that someday my consciousness will disappear.

“But I think it will.” He opens both eyes wide with wonder. “Oh well,” he laughs.

From the May 22-28, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

Joel Simon

On the Border

By Christopher Weir

THEY DON’T TREAT people like this in San Diego or El Segundo,” says a border-town activist in Joel Simon’s Endangered Mexico: An Environment on the Edge (Sierra Club Books; $27). “Well, we are human beings too.”

These human beings, Simon reveals, are the losers in Mexico’s dangerous game of environmental roulette. Forced from their native landscapes by desiccated farmlands, cultural disintegration, and entrenched ecological mismanagement, many find themselves working in American-owned border factories, earning 55 cents an hour and living in shantytowns haunted by their employer’s toxic detritus.

Is it any wonder, Simon asks, that these human beings should cross the border to seek a better life brokered by agricultural and industrial fat cats gunning for cheap, illegal labor?

Still, Endangered Mexico is not about placing blame but rather about facing grim realities. From the jungles of southern Mexico to the slopes of the Sierra Madre, from the sun-addled shores of Cancún to the acrid industrialism hedging the U.S. border, Endangered Mexico deftly navigates a land on the brink of ecological implosion and illustrates how the foreshocks already affect the United States.

Strangely, Simon’s otherwise comprehensive work sidesteps a central question: What role does population growth play in Mexico’s environmental conundrums? Only near the very last page does Simon really engage the population dynamic, and even then he quickly dismisses it as relatively insignificant. If Mexico’s population explosion–from 25 million people in 1945 to more than 90 million today–is indeed a comparatively minor factor within the context of the country’s general environmental mismanagement, then Simon should have proved that point much earlier–and with more compelling discussion about the cultural, religious, practical, or medical forces behind Mexico’s population trends.

Nevertheless, Simon’s journalistic prowess makes Endangered Mexico an insightful, incisive, and instructive exposé. His reporting is balanced, but not to the point of indecision or spinelessness. His sympathies and passions never descend into illogic, and he is honest about the cultural and socioeconomic currents to which Mexico’s ecological emergencies are wired.

Endangered Mexico ultimately dismantles our collective assumptions to reveal a world teeming with complexities, riddles, and contradictions, a world in which increased border patrols and free-trade agreements are mere fingers in the bursting dikes of economic chaos and ecological bankruptcy.

If the United States wants to develop effective immigration and trade policies with regard to Mexico, Simon argues, then it must eventually confront the tough questions posed by Mexico’s No. 1 problem: environmental dysfunction.

“The border is too vast and the migrants too determined for enforcement to have more than a limited effect,” Simon writes. “The integration between the developed and developing world is not unique to the United States and Mexico. It is part of a global trend. That is why the United States needs to take a greater interest in Mexico’s environmental crisis.”

Because while it may be nearing midnight in the once-fertile garden of Mexico, it’s not too late to turn back the clock. “Nature, like hope,” writes Simon, “does not die so easily.”

From the May 22-28, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

CD Reviews

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Carny Time

By Gil Kaufman

THE FIRST SOLO offering from self-proclaimed “Hip Hop Amadeus” Wyclef Jean of the Fugees, Wyclef Jean Presents the Carnival, will hit stores on June 24. The album, which press materials refer to as a “multi-cultural, multi-genre, multi-generational tour de force . . . also a call to higher musical consciousness,” features everything from a hip-hop reappropriation of the Bee Gees disco ditty “We Trying to Stay Alive” to a hip-hop interpolation of the traditional Cuban anthem “Guantanamera” (with Latin superstar Celia Cruz).

Several of the tunes are sung in Jean’s native Haitian French/Creole tongue (“Sang Fezi,” “Jaspora,” “Yele” and “Carnival”), and a number feature the Refugee Allstars, Jean’s Fugees band mates Lauryn Hill and Prakazrel, joined by John Forte (the first signing to their label, Refugee Camp Records) and Melky Sedeck (Wyclef’s sister).

The Neville Brothers drop by on “Mona Lisa,” reggae legends the I-Threes lend their voices to “Gunpowder,” and Jean himself conducts the New York Philharmonic Orchestra on “Gone ‘Til November.”

Jean will take the Carnival on the road during the summer for a still-unannounced series of dates.

FORMERLY BALD pope-basher Sinéad O’Connor re-emerges from three years of self-imposed exile on June 3 with a new six-track EP called Gospel Oak. Her first effort since 1994’s poorly received Universal Mother, the EP, with five new songs written by O’Connor and a live cover of the traditional Irish song “He Moved Through the Fair,” will be preceded by the single “This Is to Mother You.”

The provocative no-edit video for “This Is to Mother You” was described by a source as “starting out with a tight shot of O’Connor’s face and then pulling back to reveal her in bed with Kris Kristofferson, with whom she goes at it in a very sexy, sensual way.”

It was journeyman country-rock singer/songwriter Kristofferson (his compositions include “Me and Bobby McGee,” which was made famous by Janis Joplin) who defended O’Connor’s honor when she was booed off the stage of a Bob Dylan tribute in 1992 after her so-very-controversial pope picture-shredding incident on Saturday Night Live.

THE NEW ALBUM from the Prodigy will finally see the light of day on July 1. Entitled The Fat of the Land, the disc has been an oft-delayed affair as the band tweaked and re-tweaked tracks, no doubt feeling just a bit of pressure to live up to its “Monsters of Electronica” billing.

The album will be preceded by the single “Breathe.” In addition to their hit “Firestarter,” the album also will feature an as-yet-untitled collaboration with Kula Shaker’s Crispian Mills and a track called “Diesel Power” with Dr. Octagon/Kool Keith on the mike. Also rumored to be on the album is a cover of L7’s “Fuel My Fire” with backing vocals from Republica singer Saffron.

The self-produced effort will get a live preview on May 26 in Toronto when the band plays its first string of U.S. dates (also oft-delayed) before joining Lollapalooza for a half dozen gigs in the closing slot.

Gil Kaufman is senior music writer at ‘Addicted to Noise‘.

From the May 22-28, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

Courthouse Square

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Square Deal?


Shadow of a Doubt: In the ’40s, Alfred Hitchcock used it as a film location. Now Courthouse Square is becoming a political hot potato.

Not everyone is sold on the Courthouse Square reunification plan

By Paula Harris

BERNIE SCHWARTZ envisions a green haven. A friendly, safe, and accessible downtown park. Maybe something modeled on the homey plazas in Sonoma and Healdsburg, with diagonal footpaths and level terrain, and bustling with such community activities as live performances, art shows, a winter ice rink, and chess games under thin-limbed canopy trees.

“Unless downtown can become an attractive place to seniors and families, we’re never going to revitalize,” Schwartz says. “We want to enrich and enliven downtown so it works for the community and then becomes irresistible as a tourist attraction.”

Right now, according to the 17-year owner of California Luggage on Fourth Street, Courthouse Square is sprawling, difficult to navigate, feels unsafe, and is underused because it’s “isolated, not integrated.”

As part of the Coalition to Restore Courthouse Square, a group pushing to reunify Santa Rosa’s Old Courthouse Square, Schwartz wants to create a recreational gathering place and increase shopping and downtown parking by adding 80 parking spaces.

But the controversial project is generating not only hopes, but fears. Some local merchants think that after investing big bucks in the ’60s to split Courthouse Square, the city should leave well enough alone.

As planned, the $1.9 million project would eliminate the sunken areas, redwood trees, some fountains, and other “visual blockades.” The plan also calls for unifying the east and west halves of the square by closing the one-block cobblestoned segment of Santa Rosa Avenue, between Third and Fourth streets, that bisects the square and links to Mendocino Avenue.

The study was put together for the Coalition to Restore Courthouse Square by local civil engineering firm Carlile, Macy, Mitchell & Heryford. When asked about funding for the study, civil engineer Dick Carlile, who was recently appointed to the Santa Rosa Planning Commission, says the work was done on a “mainly volunteer” basis.

There’s no question how Dave Madigan feels about the project. The message emblazoned in large black letters on the storefront windows at Madigan’s Stationery store at Mendocino and Fifth reads: “Just say no . . . to the reunification of Courthouse Square.”

Father and son owners Tom and Dave Madigan say cost is a big concern. “We’ve just finished paying for the downtown design plan from 1981, the rents are high, and then there’s the cost of earthquake remodeling–they should give us some breathing room,” complains Tom Madigan.

“Essentially half our taxes go to supporting downtown bureaucracies,” says Dave Madigan, who this week sent out letters to the downtown community on behalf of the Downtown Business Association, decrying the project, “and taxes are added into rent.

“Look at the number of empty stores downtown to see a direct result.”

Traffic congestion is another concern, with detractors pointing out that there’s more traffic in Santa Rosa than in Healdsburg or Sonoma. “The [architectural] illustration looks very nice, but the traffic flow will cause the worst bottleneck you ever saw,” claims Tom Madigan.

“Then, the diagonal parking means cars will have to back out into the traffic flow. It’s going to be bedlam.”

Sid Dadeghian, owner of both the Sonoma Coffee Co. and Squeezers on Fourth Street, says the city’s priorities should be building a multistory parking lot in the area and adding foot patrol officers for better security. “The change in the square isn’t going to help anyone. Ninety-nine percent of the businesses are against it, and the only merchants who want it are those who’d benefit directly,” he claims. “This makes no sense. By the time construction is finished, there may not be many businesses left here.”

Pete Mogannam, an owner of the 4th Street Market and Deli at Fourth and Mendocino, says he supports the plan 100 percent, but only “if it stays clean with no loitering, panhandling, and drug dealing, if it portrays a good image for downtown, and doesn’t turn into another Juilliard Park [where loitering, drug dealing, and random violence discourage visitors].”

Schwartz says Courthouse Square has a “dead zone”–empty buildings and tree groves that induce lurking, and costly vandalism that the new design would counteract. “We need to overwhelm this vacuum for undesirable activity with desirable, legitimate activity,” he observes.

Supporters of the reunification see it as a revenue maker that will fill now vacant retail spaces and attract swanky stores like Crate and Barrel and the Z Company. “If you increase the business vitality, you increase the coffers,” says Schwartz.

“I think the whole town would enjoy [the new square], not just the downtown merchants,” says Bonnie Lyon, a downtown psychotherapist. “It’s unfair when the benefit accrued by all Santa Rosa should be a burden on the merchants.”

However, Chris Facas, general manager of the Santa Rosa Plaza mall and chair of the Downtown Partnership Committee, an advisory panel appointed by the council to explore ways to revitalize downtown, says that although the committee embraces the concept of reunification, it’s far from a done deal.

“We’ve requested the City Council to provide us with assistance to see what economic benefits would be gained and assistance developing strategies for financing,” he says. “We have not asked the city to spend $2 million.”

From the May 22-28, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

Disney and McDonald’s

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Hi Ho, Hi Ho, Indeed

By Jim Hightower

“Disney Makes Dreams” goes an old advertising pitch for the maker of Cinderella, Snow White, and Fantasia, along with Mickey, Goofy, Pluto, and all those other loveable Disney characters. But for the young workers in Vietnam, Disney is a nightmare, a company far more abusive than the wicked old step-sisters who kept Cinderella in bondage.

In Vietnamese sweatshops, hundreds of young women who are only 17, 18, 19 years old, spend their youth making little giveaway toys that are based on cute characters from Disney movies. These little toys are part of the “Happy Meals” that McDonald’s fast-food restaurants sell.

A McDonald’s spokesman is thrilled with the success of these children’s meals, recently gushing that, “Our new global alliance [provides] unbeatable family fun as customers enjoy ‘the magic of Disney’ only at McDonald’s.”

He should check the magic of the toy factory in Da Nang City, where the women toil 10 hours a day, seven days a week, plus mandatory overtime. They are paid six cents an hour. Lest you think that’s real money in Vietnam, it costs 70-cents there just to buy, not a “Happy Meal,” but the most basic meal of rice, vegetables and tofu. A breakfast, lunch and dinner would cost the workers $2.10 a day … yet they are paid only 60-cents a day.

No one sings “Hi-Ho, Hi-Ho, It’s off to Work We Go” on that starvation pay. Plus, it’s a dangerous place to work, with poisonous fumes filling the sweatshop. In February, 200 women fell ill, and three were hospitalized by over-exposure to acetane, a chemical solvent. Despite such incidents, the Disney/McDonald’s factory refuses all appeals to have the simple decency to improve the ventilation system.

To help stop this abuse by Disney and McDonald’s, contact the National Labor Committee at 212-242-3002.

Web exclusive to the May 22-28, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

Sonoma Valley Shakespearean Festival

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Inside Out


A Midsummer Night’s Dream: Sonoma Valley Shakespearean Fest returns.

All the world’s a stage in summer

By Gretchen Giles

THE PLAY’S the thing in the soft gloamings of the warming season, and theatergoers come in droves when the stage is built of sweet-smelling fresh planks and the walls are, well, when there are no walls at all.

Because, by and large, in a Sonoma County summer the acts play best outside. With the exception of the outstanding season offered by Summer Repertory Theatre at the Santa Rosa Junior College and Santa Rosa High School auditoriums, it is the parks and wineries that ring out with wordplay, swordfights, and passion.

The Sonoma Valley Shakespeare Festival begins the season with a scamper and a bang, starting all three of its repertory pieces on the same weekend, June 20-22. Leading off on the 20th with A Midsummer Night’s Dream the day before the solstice proper, the fest next explores the dark-blooded wisdom of Hamlet on the 21st, and then cracks the whole thing up with the Reduced Shakespeare Company’s version of The Complete Works of William Shakespeare (Abridged) on the 22nd.

Sonoma Valley’s artistic director, Carl Hamilton, has flirted in the past with mounting non-Shakespearean plays for his annual Bard bashes. However, he plays it relatively straight this year, throwing only the Abridged zinger–which he double-zings by casting three women in the main roles. What is actually unusual is Hamilton’s choice to produce the classic Hamlet, a play best savored in deep winter moods redolent of Elsinore itself.

“This will be our fourth tragedy,” says Hamilton. “I just throw them in there.” Belying the notion that summer audiences want only laughter and cross-dressing, Hamilton is confident that a big chewy play with plenty of dead bodies strewn limply across the final scene will work for the picnic crowd, particularly since the recent release of actor Kenneth Branagh’s fine interpretation of Hamlet is still lingering on the big screen.

These three productions will chase one another through the summer, playing well through the end of September and being produced mainly on the stage abutting the graded slopes of the Gundlach-Bundschu winery (the Fieldstone Winery will also serve as a short-term venue). Wine will be available by the glass or bottle, and it’s highly recommended that you bring a hamper full of goodies to accompany it.

The Avalon Players continue to snatch food off of patrons’ plates in mid-soliloquy at the Buena Vista Winery. Players’ director Kate Kennedy ensures that plenty of tomfoolery crops up in her lively productions–they may not always be faithful to the text, but they’re always faithful to the sense of fun intended. This year they assay the shipwreck-and-separated-twins comedy of Twelfth Night, a play whose characters include one Sir Toby Belch and the venerable Sir Andrew Aguecheek, guaranteeing that there won’t be a dry eye in the house–too much laughter. The Players move off the hillside and ring their production around Buena Vista’s fountain this year, their season beginning July 19 and running through the end of September.

Over in Sebastopol, Main Street Theatre’s annual Shakespeare in Ives Park is also staging Twelfth Night. As with last year, when both Main Street and the Valley of the Moon company did The Tempest, these two productions promise to be vastly different. Main Street executive director Jim dePriest is breaking his own rules this year, restaging the play not at his Santa Rosa­based Sonoma County Repertory Theatre as in years past, but at Santa Rosa’s Finley Park for the end run to the inside season.

With his usual forthrightness, dePriest admits that his reasoning for this change is that “the run just becomes too damn long for the actors” if the Shakespeare production is restaged for a full slate of performances inside SCR.

Performances begin Aug. 15 in Sebastopol, running for almost two weeks before moving to Finley Park Aug. 27.

Among dePriest’s regular stable of fine actors for Twelfth Night is Eric Thompson, who has been responsible for the smashes over at the Valley of the Moon Shakespeare company in Glen Ellen, a troupe that is bowing out of the Bard battles for this summer. Losing Thompson (who directed last year’s fine Tempest and out-Pucked the competition in A Midsummer’s Night Dream the year before) was blow enough for VOM director Kathleen Mason, but losing their space in the glorious Dunbar Meadow proved really disheartening. Finding temporary staging at the Sonoma Developmental Center, Mason and company finally decided to pack it in when providing actors for the roles proved too difficult.

The Avalon Players, Buena Vista Winery, 18000 Old Winery Road, Sonoma; 996-3264. The Sonoma Valley Shakespeare Festival, Gundlach-Bundschu Winery, 2000 Denmark St., Sonoma; 575-3854. Sebastopol Shakespeare Festival, Ives Park, Hill Street; 823-0177.

From the May 22-28, 1997 issue of the Sonoma County Independent

This page was designed and created by the Boulevards team.
© 1997 Metrosa, Inc.

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